For instance, more abstract and massive installations were created by women artists who managed to break through in the male dominated art scene. Most famous in this choice of medium is feminist artist Judy Chicago's Dinner Party (1979, Image 1), consisting of three long tables placed in a triangular form (resembling the female symbol of the upside down triangle) on which famous women from history and mythology are resembled. The richly embroidered personalised name tags and beautifully crafted and suggestively painted porcelain are all considered women's works, on top of the theme of making the table ready for dinner.
As the contemporary artform we see it in today, most often there is a reaction or connection to mass produced media and consumerism, such as magazines and newspapers, but social media plays a big role as well in the contemporary form of embroidered art. The contrast lies within these themes of throw-away culture versus the time consuming, hand made medium.
Even more direct in reclaiming the body is stitching directly onto the skin, as seen in work by Eliza Bennet, who projects female stereotypes and social constructs onto herself in this way in her photographic series A woman's work is never done (2013, Image 3). This series represents how traditionally women's work is often seen as light and easy, while in reality the hard manual labour women traditionally do is often undervalued (and underpaid).