Let op: lees voor vraag 7 de volgende alinea uit 'chapter 4: Artists and patrons' van het boek Femina by Janina Ramirez, 2024:
Over the past two centuries women have both pushed against and leaned into the connection of femininity with embroidery. The idea that a woman stitching is a virtuous act has a long history, for while she is still, silent and submissive, she cannot be challenging or corrupted. In the eighteenth century, tenacious women like Mary Wollstonecraft saw the process of embroidering as restrictive. In her Vindication of the Rights of Women, she wrote how it 'confines their thoughts to their person', and rejected it in favour of less sedentary activities like gardening, experimental philosophy and literature. But there have also been moves to reclaim fabric as a medium for celebrating female contributions to art. Tracy Emin's famous embroidered tent, Everyone I Have Ever Slept With (1995) included 102 appliquéd names stitched around the inside. The quote at the centre - 'With myself, always myself, never forgetting' - not only suggests the piece focuses on Emin's personal battles, but also reiterates Wollstonecraft's suggestion that the process of embroidering is personal, private and performs a role in memorializing.