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We would like to thank the following:

Arts Council England for their financial support;
Goldsmiths, University of London;
Whitworth Art Gallery, University of Manchester;
Victoria and Albert Museum for hosting the event as support in kind, and in particular Leanne Manfredi, Programme Manager, Higher Education and Creative Industries, Learning and Interpretation, for the advice and support she has given us throughout;
Tessa Jackson, chief executive, Iniva, for accepting our invitation to work in partnership, and Teresa Cisneros, Education Curator Iniva, for hosting a workshop and for invaluable advice;
Lyn Malcolm, artist, for permission to adapt and use an image of her Subversive Stitch sampler, commissioned by Cornerhouse and the Whitworth Art Gallery, Manchester for The Subversive Stitch exhibitions 1988;
Jess Smulders Cohen, artist, who has worked with us from the start as designer and administrative support;
Cathy Hoste,library adminstrator, Goldsmiths, for administrative support;
Piotr Karter, independent filmmaker, for technical support at the workshop held at Iniva;
Ines Rebelo and Ignaz Cassar for their work on the web site development.

At an early stage we held two round table workshops to help shape the content and format of the symposium, and to identify key issues. We would like to thank those who participated in these discussions: Claire Barber, Bev Bytheway, Ele Carpenter, Nadim Chaudry, Christine Checinksa,Teresa Cisneros, Fran Cottell, Jessica Hemmings, Tanvi Kant, Margareta Kern, Leanne Manfredi, James O'Hern, Claire Pajaczkowska, Rose Sinclair, Jo Stockham, Cecilia Vicuña, Grant Watson, and Verdi Yahooda.           

Permissions:
Cornerhouse, Manchester, and Whitworth Art Gallery, Manchester, for permission to digitally reproduce The Subversive Stitch exhibition catalogue, 1988, for the online resource hosted by Women's Art Library at Goldsmiths.
Bloomsbury Press, London for permission to reproduce Tribute to Rozsika Parker, compiled by Pennina Barnett for Textile, The Journal of Cloth and Culture, Vol. 9, Issue 2, pp. 200–11, 2011 on the online resource.

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The Subversive Stitch Revisited: The Politics of Cloth
 marks 25 years since the opening in Manchester of two landmark touring exhibitions in1988 that developed Rozsika Parker's ideas into a visual event. Organised under the umbrella title 'The Subversive Stitch', they included an historical exhibition, 'Embroidery in Women's Lives 1300 - 1900' curated by Jennifer Harris, and a contemporary exhibition, 'Women and Textiles Today' curated by Pennina Barnett and Bev Bytheway, then Exhibitions Organiser at Cornerhouse, which were first shown at Whitworth Art Gallery and Cornerhouse respectively. The contemporary exhibition included the work of:

Sam Ainsley, Caroline Broadhead, Fran Cottell, Judith Duffey, Beryl Graham, Lesley Hanney, Rozanne Hawksley, Cas Holmes, Janis Jefferies, Sharon Kivland, Anne Lydiat, Jane Lyster, Lyn Malcolm, Alison Marchant, Sarah McCarthy, Anne Michie, Claire Newton, Kate Russell, Jo Stockham, Kate Stockwell, Jenny Wilson, Verdi Yahooda, Spinsters, Silvia Ziranek. In addition, a selection of campaigning textiles made in political protest and resistance was also exhibited, including work by Margaret Ling in support of the ANC and Anti-Apartheid Movement, Jane Ray for the Women's Committee of the Anti-Apartheid Movement, Lesley Hanney for Aylesham Women's Support Group during the Miner's Strike of 1984-5, Chilean women's arpilleras including work by Sylvia Galleguillos produced under the military dictatorship of General Pinochet, Greenham Common commemorative banners made by Thalia Campbell, a banner by Jannettja Longyear for the Silentnight Strike, and State Terrorism banner made Leamington Spa Women's Banner Workshop in response to bombings of Libya.