Notes
- Griselda Pollock, ‘Feminism and modernism’ in Rozsika Parker and Griselda Pollock, Framing Feminism: Art and the Women's Movement 1970–1985, London: Harper Collins, 1987, p.83.
- Christopher Reed, Not At Home: The Suppression of Domesticity In Modern Art and Architecture, London: Thames and Hudson, 1996, p.273.
- See Patricia Grimshaw, Marilyn Lake, Ann McGrath and Marian Quartly, ‘Affirmations of difference’ in Creating A Nation, Ringwood: Penguin Books, 1996, pp.217–314; this chapter discusses, among other things, the cultural changes which have affected the structure of Australian families in the later part of the twentieth century.
- Sue Rowley, ‘The journey's end: women's mobility and confinement’ in J. Hoorn (ed.), Strange Women. Essays in Art and Gender, Melbourne: Melbourne University Press, 1994, p.82.
- ibid.
- Rowley's statements were included in a questionnaire which was sent to all five quilt makers asking for their responses.
- Gaston Bachelard, The Poetics of Space, Boston: Beacon Press, 1994, p.4.
- Gary Cross, ‘The suburban weekend: perspectives on a vanishing twentieth-century dream’ in Roger Silverstone (ed.), Visions of Suburbia, London: Routledge, 1997, p.110.
- Quoted in Quilters’ Guild Inc., The Green Show: Contemporary Australian Quilts, Manly: Manly Art Gallery and Museum, 1997, p.25.
- ibid.
- ibid.
- ibid.
- ibid.
- John Hartley, ‘The sexualization of suburbia’ in Roger Silverstone (ed.), Visions of Suburbia, London: Routledge, 1997, p.182.
- Quoted in Jan Irvine, Australian Quilts: The People and Their Art, Brookvale: Simon & Schuster, 1989, p.56.
- Deborah Brearley, interview with the author, 16 February 1999.
- ibid.
- Susan Stewart, On Longing. Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, London: Duke University Press, 1993, p.133.
- Brearley, interview.
- Griselda Pollock, ‘Modernity and the spaces of femininity’ in Griselda Pollock, Vision and Difference. Femininities, Feminism and Histories of Art, London: Routledge, 1988, p.62.
- The picket fence metaphor has been used in recent debate in Federal Parliament, where the picket fence stands for the 1950's Menzian suburban ideal promulgated by the present Liberal Party.
- Cross, ‘The suburban weekend…’, p.110.
- Bachelard, The Poetics of Space, p.6.
- Miriam Dixson, The Real Matilda, Ringwood: Penguin Books, 1994, p.60.
- Sandy Kirby, Sight Lines. Women's Art and Feminist Perspectives in Australia, Sydney: Craftsman House, 1992, p.79.
- Lois Densham, interview with the author, 28 February 1999.
- ibid.
- Quoted in Deborah Brearley (ed.), Australian Quilt Review, Melbourne: Aird Books, 1990, p.30.
- Densham, interview.
- Cross, ‘The suburban weekend…’, p.109.
- Reed, Not At Home…, p.253.
- Bachelard, The Poetics of Space, p.6.
- Densham, interview.
- ibid.
- Margaret Atwood, Alias Grace, New York: Doubleday, 1996, passim.
- Jane Anderson (screenplay), Sarah Pillsbury and Midge Sanford (producers), How To Make An American Quilt, (Videorecording), Los Angeles: Universal City Studios Inc., 1995.
- Rozsika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine, London: The Women's Press, 1984, p.215.
- Quoted in Alan Moult, Craft In Australia, Frenchs Forest: Reed, 1984, p.112.
- Stewart, On Longing…, p. 135.
- ibid, p.138.
- ibid, p.139.
- Helen Grace, ‘Icon house: towards a suburban topophilia’, in Helen Grace, Ghassan Hage, Lesley Johnson, Julie Langsworth and Michael Symonds, Home/World: Space, Community and Marginality in Sydney's West, Sydney: Pluto Press, 1997, p.173.
- Stewart, On Longing…, p. 138.
- Judy Hooworth, interview with author, 8 April 1999.
- ibid.
- ibid.
- It should be noted here that the quilters surveyed, including Judy Hooworth, are all professional quilt makers. Hooworth's statement regarding her freedom ‘to do as I please’ should, therefore, be read as a professional freedom rather than as an assertion of a class position.
- Quoted in Quilters’ Guild, Colours of Australia: Directions in Quiltmaking, Sydney: Fairfax Press, 1995, p.49.
- ibid.
- Chris McAuliffe, Art and Suburbia, Sydney: Craftsman House, 1996, p.11.
- E.H. Gombrich, The Sense of Order: A Study in the Psychology of Decorative Art, London: Phaidon, 1979, p.5.
- Rowley, ‘The journey's end…, p.82.
- ibid.
- Deborah Malor, ‘Women's points of view: the domestic, the vernacular, the garden, and the paddock’, Australian journal of Art, vol. XIII, 1996, p.89.