Between 1948 and 1954, Anne Ryan produced over 400 small‐scale collages out of worn fabrics and handmade paper. Although this work earned her a fruitful affiliation with the Betty Parsons Gallery in New York, its ‘feminine’ delicacy distinguished it from the bold styles generally associated with the artist's abstract expressionist peers. Revisiting the presupposition of a ‘feminine’ touch, this essay assesses the collages in light of Ryan's expertise as a sewer. Drawing from feminist theories on the significance of everyday embodied knowledge, it is argued that the artist defined the limits of her practice through careful material and tactile choices, demonstrating what is proposed to be a craft expertise engrained over a lifetime of handling threads and fabrics. Such claims, in turn, have broader bearing on how we continue to write about the relationship between modernist art and the structures, skills, and habits of the domestic everyday.

中文翻译：

---

安妮·瑞安（Anne Ryan）的拼贴画工艺

从1948年到1954年，安妮·瑞安（Anne Ryan）用破旧的织物和手工纸制作了400多幅小型拼贴画。尽管这件作品使她与纽约贝蒂·帕森斯画廊（Betty Parsons Gallery）取得了丰硕的联系，但其“女性化”的精致风格使其与艺术家抽象表现主义同僚通常具有的大胆风格相区别。本文以“女性化”的前提为前提，根据瑞安（Ryan）作为下水道的专业知识，对拼贴进行了评估。从女权主义理论中汲取了日常体现知识的重要性的观点认为，艺术家通过谨慎的材料和触觉选择来定义自己的实践极限，证明了在处理线和织物的一生中根深蒂固的工艺专长。反过来，这样的主张