Hinda Mandell is associate professor in the School of Communication at RIT in New York, and is editor of Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats (Rowman & Littlefield, 2019); co-curator and co-editor of Crafting Democracy: Fiber Arts and Activism (RIT Press, 2019); a co-editor of Nasty Women and Bad Hombres: Gender and Race in the 2016 US Presidential Election (University of Rochester Press, 2018); the author of Sex Scandals, Gender and Power in Contemporary American Politics (Praeger, 2017) and co-editor of Scandal in a Digital Age (Palgrave Macmillan, 2016). Mandell’s website is omghinda.com, and she’s on Twitter: @hindamandell and @crochetactivism, and Instagram: @crochetactivism. Mandell is passionate about organizing crowd-created yarn installations in public spaces that are connected to the history of a region's social-reform movements.

• Foreword Jayna ZweimanIntroduction Chapter 1: Yarn, Thread, Scissors, Fabric: A Crafter’s Tool Kit for Mending Democracy as Engaged CitizensHinda MandellPart 1: Crafting Histories Chapter 2: Craftivism from Philomena to the PussyhatSandra MarkusChapter 3: Weaving the Way Toward Liberty: John Singleton Copley’s Portrait of Mr. and Mrs. Thomas Mifflin (Sarah Morris)Elizabeth S. HawleyChapter 4: Spinning, Sewing, and Soliciting for the American RevolutionLaura Elizabeth SapellyChapter 5: The Anti-Craft Activism of Enslaved Americans: Conspicuous Consumption as ResistanceKatie KnowlesChapter 6: The Underground Railroad Quilt Code Myth and the Culture of Crafted Experience Felicity Lufkin Chapter 7: Frederick and Anna Douglass’s Parking Lot: Public Art’s Role in Combatting Historical Erasure and Urban RenewalHinda MandellChapter 8: Stitching Dissent: From the Suffragists to Pussyhat PoliticsAnne BruderChapter 9: How Homespun Cotton Cloth Became the Fabric of Indian Political LifeRekha Sharma and Gargi BhaduriChapter 10: “It’s Getting Bitchy in Knitting Circles”: The History of the Stitch ‘n Bitch Movement and Internalized MisogynyErika JacksonPart 2: Politics of Craft Chapter 11: The Entanglement of Consumption, Commerce and Craft ActivismHannah BushChapter 12: How to Smash the Patriarchy: A Guide for Fat Old Ladies and Their FriendsA graphic essay by Donna DruchunasChapter 13: Craftivism as DIY CitizenshipTal FitzpatrickChapter 14: A Tale of Two ScarvesMáire O Sullivan, Shona Bettany and Toni EagarChapter 15: ‘Consent Trumps Everything:’ Sexual Assault Discourse, Election Craftivism and the Clothesline Art ProjectJill Swiencicki and Shannon DeHoffChapter 16: Curating Craftivism and Rethinking our CollectionsShirley Wajda and Mary Worrall Part 3: Crafting Cultural Conversations Chapter 17: Gentle Doesn’t Mean Passive: The Strength of Temperate Activism in Breaking Down Corporate BarriersSarah CorbettChapter 18: It was Always Your Grandmother’s Craft, and That’s Just PerfectBetsy GreerChapter 19: Mending the WorldSarah KuhnChapter 20: Crafting Change Through Pliable Texture: Craft Activism for Community-Based Art TherapyLauren LeoneChapter 21: In Stitches: Crafting, Crime, Harm and JusticeAlyce McGovern and Elaine FishwickChapter 22: Crafting the Vulva Quilt Michelle Napoli and Michaela KirbyChapter 23: Craft as a Pedagogy of HopeSuzanne Schmidt Chapter 24: Reshaping the Narrative around People of Color and Craftivism Diane IveyAfterword: The Sisterhood of the Trump/Putin Cross-StitchAlison Rowley and Althea ThompsonAbout the Editor and the Contributors

For historians, the blend of the diverse essays is helpful in that it encourages linking past (and the history of crafts used for resistance and activism) to present (successful models of craft for political and economic engagement). This type of connection can only deepen our understanding of the history of craft for activism (or craftivism), and our representation of it in our museum collections and writing. For readers interested in engaging in craft for dissent, the lessons of activist crafting, both in the distant and more recent past, are valuable in making decisions about how to carry out craft-based actions.

Hinda Mandell is associate professor in the School of Communication at RIT in New York, and is editor of Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats (Rowman & Littlefield, 2019); co-curator and co-editor of Crafting Democracy: Fiber Arts and Activism (RIT Press, 2019); a co-editor of Nasty Women and Bad Hombres: Gender and Race in the 2016 US Presidential Election (University of Rochester Press, 2018); the author of Sex Scandals, Gender and Power in Contemporary American Politics (Praeger, 2017) and co-editor of Scandal in a Digital Age (Palgrave Macmillan, 2016). Mandell’s website is omghinda.com, and she’s on Twitter: @hindamandell and @crochetactivism, and Instagram: @crochetactivism. Mandell is passionate about organizing crowd-created yarn installations in public spaces that are connected to the history of a region's social-reform movements.

• Foreword Jayna ZweimanIntroduction Chapter 1: Yarn, Thread, Scissors, Fabric: A Crafter’s Tool Kit for Mending Democracy as Engaged CitizensHinda MandellPart 1: Crafting Histories Chapter 2: Craftivism from Philomena to the PussyhatSandra MarkusChapter 3: Weaving the Way Toward Liberty: John Singleton Copley’s Portrait of Mr. and Mrs. Thomas Mifflin (Sarah Morris)Elizabeth S. HawleyChapter 4: Spinning, Sewing, and Soliciting for the American RevolutionLaura Elizabeth SapellyChapter 5: The Anti-Craft Activism of Enslaved Americans: Conspicuous Consumption as ResistanceKatie KnowlesChapter 6: The Underground Railroad Quilt Code Myth and the Culture of Crafted Experience Felicity Lufkin Chapter 7: Frederick and Anna Douglass’s Parking Lot: Public Art’s Role in Combatting Historical Erasure and Urban RenewalHinda MandellChapter 8: Stitching Dissent: From the Suffragists to Pussyhat PoliticsAnne BruderChapter 9: How Homespun Cotton Cloth Became the Fabric of Indian Political LifeRekha Sharma and Gargi BhaduriChapter 10: “It’s Getting Bitchy in Knitting Circles”: The History of the Stitch ‘n Bitch Movement and Internalized MisogynyErika JacksonPart 2: Politics of Craft Chapter 11: The Entanglement of Consumption, Commerce and Craft ActivismHannah BushChapter 12: How to Smash the Patriarchy: A Guide for Fat Old Ladies and Their FriendsA graphic essay by Donna DruchunasChapter 13: Craftivism as DIY CitizenshipTal FitzpatrickChapter 14: A Tale of Two ScarvesMáire O Sullivan, Shona Bettany and Toni EagarChapter 15: ‘Consent Trumps Everything:’ Sexual Assault Discourse, Election Craftivism and the Clothesline Art ProjectJill Swiencicki and Shannon DeHoffChapter 16: Curating Craftivism and Rethinking our CollectionsShirley Wajda and Mary Worrall Part 3: Crafting Cultural Conversations Chapter 17: Gentle Doesn’t Mean Passive: The Strength of Temperate Activism in Breaking Down Corporate BarriersSarah CorbettChapter 18: It was Always Your Grandmother’s Craft, and That’s Just PerfectBetsy GreerChapter 19: Mending the WorldSarah KuhnChapter 20: Crafting Change Through Pliable Texture: Craft Activism for Community-Based Art TherapyLauren LeoneChapter 21: In Stitches: Crafting, Crime, Harm and JusticeAlyce McGovern and Elaine FishwickChapter 22: Crafting the Vulva Quilt Michelle Napoli and Michaela KirbyChapter 23: Craft as a Pedagogy of HopeSuzanne Schmidt Chapter 24: Reshaping the Narrative around People of Color and Craftivism Diane IveyAfterword: The Sisterhood of the Trump/Putin Cross-StitchAlison Rowley and Althea ThompsonAbout the Editor and the Contributors

For historians, the blend of the diverse essays is helpful in that it encourages linking past (and the history of crafts used for resistance and activism) to present (successful models of craft for political and economic engagement). This type of connection can only deepen our understanding of the history of craft for activism (or craftivism), and our representation of it in our museum collections and writing. For readers interested in engaging in craft for dissent, the lessons of activist crafting, both in the distant and more recent past, are valuable in making decisions about how to carry out craft-based actions.

Hinda Mandell is associate professor in the School of Communication at RIT in New York, and is editor of Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats (Rowman & Littlefield, 2019); co-curator and co-editor of Crafting Democracy: Fiber Arts and Activism (RIT Press, 2019); a co-editor of Nasty Women and Bad Hombres: Gender and Race in the 2016 US Presidential Election (University of Rochester Press, 2018); the author of Sex Scandals, Gender and Power in Contemporary American Politics (Praeger, 2017) and co-editor of Scandal in a Digital Age (Palgrave Macmillan, 2016). Mandell’s website is omghinda.com, and she’s on Twitter: @hindamandell and @crochetactivism, and Instagram: @crochetactivism. Mandell is passionate about organizing crowd-created yarn installations in public spaces that are connected to the history of a region's social-reform movements.

• Foreword Jayna ZweimanIntroduction Chapter 1: Yarn, Thread, Scissors, Fabric: A Crafter’s Tool Kit for Mending Democracy as Engaged CitizensHinda MandellPart 1: Crafting Histories Chapter 2: Craftivism from Philomena to the PussyhatSandra MarkusChapter 3: Weaving the Way Toward Liberty: John Singleton Copley’s Portrait of Mr. and Mrs. Thomas Mifflin (Sarah Morris)Elizabeth S. HawleyChapter 4: Spinning, Sewing, and Soliciting for the American RevolutionLaura Elizabeth SapellyChapter 5: The Anti-Craft Activism of Enslaved Americans: Conspicuous Consumption as ResistanceKatie KnowlesChapter 6: The Underground Railroad Quilt Code Myth and the Culture of Crafted Experience Felicity Lufkin Chapter 7: Frederick and Anna Douglass’s Parking Lot: Public Art’s Role in Combatting Historical Erasure and Urban RenewalHinda MandellChapter 8: Stitching Dissent: From the Suffragists to Pussyhat PoliticsAnne BruderChapter 9: How Homespun Cotton Cloth Became the Fabric of Indian Political LifeRekha Sharma and Gargi BhaduriChapter 10: “It’s Getting Bitchy in Knitting Circles”: The History of the Stitch ‘n Bitch Movement and Internalized MisogynyErika JacksonPart 2: Politics of Craft Chapter 11: The Entanglement of Consumption, Commerce and Craft ActivismHannah BushChapter 12: How to Smash the Patriarchy: A Guide for Fat Old Ladies and Their FriendsA graphic essay by Donna DruchunasChapter 13: Craftivism as DIY CitizenshipTal FitzpatrickChapter 14: A Tale of Two ScarvesMáire O Sullivan, Shona Bettany and Toni EagarChapter 15: ‘Consent Trumps Everything:’ Sexual Assault Discourse, Election Craftivism and the Clothesline Art ProjectJill Swiencicki and Shannon DeHoffChapter 16: Curating Craftivism and Rethinking our CollectionsShirley Wajda and Mary Worrall Part 3: Crafting Cultural Conversations Chapter 17: Gentle Doesn’t Mean Passive: The Strength of Temperate Activism in Breaking Down Corporate BarriersSarah CorbettChapter 18: It was Always Your Grandmother’s Craft, and That’s Just PerfectBetsy GreerChapter 19: Mending the WorldSarah KuhnChapter 20: Crafting Change Through Pliable Texture: Craft Activism for Community-Based Art TherapyLauren LeoneChapter 21: In Stitches: Crafting, Crime, Harm and JusticeAlyce McGovern and Elaine FishwickChapter 22: Crafting the Vulva Quilt Michelle Napoli and Michaela KirbyChapter 23: Craft as a Pedagogy of HopeSuzanne Schmidt Chapter 24: Reshaping the Narrative around People of Color and Craftivism Diane IveyAfterword: The Sisterhood of the Trump/Putin Cross-StitchAlison Rowley and Althea ThompsonAbout the Editor and the Contributors

For historians, the blend of the diverse essays is helpful in that it encourages linking past (and the history of crafts used for resistance and activism) to present (successful models of craft for political and economic engagement). This type of connection can only deepen our understanding of the history of craft for activism (or craftivism), and our representation of it in our museum collections and writing. For readers interested in engaging in craft for dissent, the lessons of activist crafting, both in the distant and more recent past, are valuable in making decisions about how to carry out craft-based actions.