Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.

    Girls and young women were at the heart of many of these shifts. Out of this milieu, the Girl Guide movement emerged as a response to modern concerns about gender, race, class, and social instability. In this book, Kristine Alexander analyzes the ways in which Guiding sought to mould young people in England, Canada, and India. It is a fascinating account that connects the histories of girlhood, internationalism, and empire, while asking how girls and young women understood and responded to Guiding’s attempts to lead them toward a “useful” feminine future.

    The origins of these conflicts, historian R. Marie Griffith argues, lie in sharp disagreements that emerged among American Christians a century ago. From the 1920s onward, a once-solid Christian consensus regarding gender roles and sexual morality began to crumble, as liberal Protestants sparred with fundamentalists and Catholics over questions of obscenity, sex education, and abortion. Both those who advocated for greater openness in sexual matters and those who resisted new sexual norms turned to politics to pursue their moral visions for the nation. Moral Combat is a history of how the Christian consensus on sex unraveled, and how this unraveling has made our political battles over sex so ferocious and so intractable.