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Westminsterresearch the Feminine Awkward
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The Feminine Awkward: Graceless Bodies and the Performance of Femininity in Fashion Photographs Shinkle, E. This is an Accepted Manuscript of an article published by Taylor & Francis in Fashion Theory, doi: 10.1080/1362704X.2016.1252524 The final definitive version is available online: https://dx.doi.org/10.1080/1362704X.2016.1252524 © 2017 Taylor & Francis The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] The feminine awkward: graceless bodies and the performance of femininity in fashion photographs Eugenie Shinkle The past decade or so has seen fashion photography embracing a catalogue of uncomfortable attitudes. Anxious, embarrassed gazes. Knotted hands. Knees and elbows, necks and torsos, bent and folded at uncomfortable angles. Mottled skin and disembodied limbs. Grating, uneasy relationships between bodies and garments. This idiom, particularly prevalent within the alternative fashion press and increasingly within photographic art as well, is one that I’ve come to think of as the ‘feminine awkward’.1 Awkwardness, as I understand it here, is a negative or “agonistic” affect, organised by “trajectories of repulsion;” (Ngai 2005, 11) a feeling that tends to repel rather than to attract. It involves a combination of emotional and bodily unease – gawky, bumbling embarrassment and physical discomfort; a mild torment of body and mind. -
As Americans Fixated on Modern Art and the Space Race, Harper's
POP GOES BAZAAR As Americans fixated on modern art and the space race, Harper’s Bazaar editor Nancy White pushed fashion to its outer limits By Stephen Mooallem ON APRIL 9, 1959, NASA announced the start of Project Mercury, a program whose goal was to send the rst astronauts into orbit. It was the latest volley in the Cold War–era space race, as the U.S. and the Soviet Union competed to conquer outer space. Harper’s Bazaar soon got in on the action too. For a fashion story in the February 1960 issue, Richard Avedon traveled to the NASA space center at Cape Canaveral, Florida, where he photographed the model Dovima in a series of con- spicuously modish looks with geometric shapes. At one point during the shoot, Dovima posed in front of a launch pad rigged with an SM-65 Atlas, which was not actually a spacecraft but the rst intercontinental ballistic missile capable of carrying a nuclear warhead. There was still a month to go in the 1950s, but the 1960s had already arrived. Nancy White, a longtime fashion editor at Hearst’s Good Housekeeping, had succeeded Carmel Snow as the editor of Bazaar two years earlier. White was the daughter of Hearst executive Tom White—and Snow’s niece—and her appointment was intended to help ease the transition as Snow, whose physical health had begun to decline as her drinking increased, moved to an emeritus role at the magazine. ‰ FOUNDATION © THE RICHARD AVEDON PHOTOGRAPH: COVER Jean Shrimpton, helmet by Mr. John, on the cover of the April 1965 issue, photographed by Richard Avedon 132 hite wasn’t a grande verging, and Bazaar raced to keep up. -
Cutting a Figure: Fashioning Black Portraiture
7/28/2017 Cutting a Figure: Fashioning Black Portraiture Critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies Search About caa.reviews May 25, 2010 CAA News Subscribe to Book Reviews Richard J. Powell CAA News Cutting a Figure: Fashioning Black Portraiture The newsletter of the Exhibition Reviews College Art Association Chicago: University of Chicago Press, 2009. 296 pp.; 40 color ills.; 76 b/w ills. Cloth $55.00 (9780226677279) Essays Review Categories Gwendolyn DuBois Shaw Recent Books in the Arts CrossRef DOI: 10.3202/caa.reviews.2010.54 Dissertations With the recent ushering in of the second decade of the twentyfirst century and the Era Supporters of Obama, the study of the black body has fully entered the field of arthistorical and visual culture studies, along with being one of the most popular sites of social, cultural, and political contestation. In fact it has long been a particularly fertile field for academic View CAA Journals rumination and semiotic dissection as well as the subject of numerous art collections and archival projects, including Dominique de Menil’s singular Archive of the Image of Visit the CAA Website the Black in Western Art, now in the care of the W. E. B. DuBois Institute for African American Research at Harvard University. In the past decade, the challenge of making sense of the various ideologies and geographical constellations that one might interrogate when researching this topic has been taken up by a number of scholars in the fields of art history and cultural studies, critics who have produced an increasingly expansive discourse on photographs, paintings, sculpture, film, and other media, including including Kellie Jones, Deborah Willis, and Charmaine Nelson. -
Large Print Guide
Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir. -
A Queer History of Modeling Work! Elspeth H
A Queer History of Modeling Work! Elspeth H. Brown Work! 218-77755_ch00_4P.indd 1 02/25/19 2:33 pm WoDuke University Press Durham and London 218-77755_ch00_4P.indd 2 02/25/19 2:33 pm A ueer History of Modeling Wo rk! . 218-77755_ch00_4P.indd 3 02/25/19 2:33 pm © . All rights reserved. Printed in Korea by Four Colour Print Group, Louisville, Kentucky. Designed by Courtney Leigh Baker Typeset in Garamond Premier Pro by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Brown, Elspeth H., [date] author. Title: Work! : a queer history of modeling / Elspeth H. Brown. Other titles: Queer history of modeling Description: Durham : Duke University Press, . | Includes bibliographical references and index. Identiers: (print) | (ebook) (ebook) (hardcover : alk. paper) (pbk. : alk. paper) Subjects: : Photography of women— Social aspects— United States. | Fashion photography— United States— History—th century. | Commercial photography— United States— History—th century. | Models (Persons)— United States. | Women in popu lar culture— United States— History— th century. | Femininity in popu lar culture— United States— History—th century. | Sex in advertising— United States— History—th century. | Queer theory. Classication: . (ebook) | . (print) | /.— dc rec ord available at https:// lccn . loc . gov / Duke University Press gratefully acknowledges the Social Sciences and Humanities Research Council of Canada, which provided funds toward the publication of this book. Cover art: Donyale Luna, -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
Fashion and Consciousness
Kwame S. Brathwaite with photographs by Kwame Brathwaite Fashion and Consciousness The Grandassa Models and the “Black is Beautiful” Movement On January 28, 1962, fashion, music, and politics converged in a ground- breaking showcase called Naturally ’62, held at Harlem’s Purple Manor. Subtitled The Original African Coiffure and Fashion Extravaganza Designed to Restore Our Racial Pride and Standards, the presentation sought, according to historian Tanisha C. Ford, to “prove to the world that ‘Black is Beautiful’ by promoting natural hairstyles and soul fashions as tools of liberation.” 1 The event was initiated and organized by my father, pho- tographer Kwame Brathwaite, his older brother, Elombe Brath, and the organization they co-founded with other like-minded artists in 1956: the African Jazz Art Society and Studios, or AJASS. Jazz greats Abbey Lincoln and Max Roach headlined Naturally ’62, which was initially planned as a one-time event. The first show proved so popular, however, that a second sold-out presentation was held that same night to accommodate the crowd. Naturally ’62 marked the debut of AJASS’s Grandassa Models. The name nodded to Carlos A. Cooks, founder of the African Nationalist Pio- neer Movement, who referred to Africa as “Grandassaland.” Transcending established cultural and fashion norms, models in the group were darker- skinned and committed to wearing their hair in natural styles and show- casing African-inspired fashion and jewelry. The show featured clothing that was colorful, textured, and versatile, flowing with the same grace and style as the models themselves. The women were chic, stylish, bold, and unapologetic. -
List of Errors Something Personal
Avedon: Something Personal, list of errors in formation in consecutive order 1 1. Revlon’s “Wine with Everything” (with Rene Russo) is years later than this 1975/6 New Year’s Eve time period. 2. Avedon did not have “silvery” hair in this time period (1975). From his 1975 passport: hair “black” with accompanying photo. 3. The whole 1975/6 New Year’s Eve scene in the book is counter to Stevens’ 2009 recorded oral history that she recorded for The Richard Avedon Foundation. 4. Avedon did not have a personal relationship with Marilyn Monroe, nor did he have her personal phone numbers (though he did have fictitious ones – from his novel). 5. The Almay model from the late 1960s is not Swedish, and Norma Stevens (then Norma Gottlieb Bodine) did not participate on any Almay shoot with Avedon in the late 1960s. 6. Stevens’ positive response to the Saran Wrapped model in the book is 100% counter to her 2009 recorded account (“it was just horrible and the client hated it, and I hated it.” 7. Suzy Parker’s was not the first belly button in an American high fashion magazine. 8. Christina Paolozzi’s bared breasts were not the first in an American high fashion magazine – not even for Avedon. 9. Naty and Ana-Maria Abascal were not part of a ménage à trois (they are twin sisters). 10. donyale Luna is not the first haute-couture “black beauty,” not even for Avedon. 11. With regard to Stevens’ “innumerable” Avedons she claims she owns, this statement runs counter to legal testimony she gave during an Avedon Foundation forensic audit in 2009 claiming that she owned almost no Avedons. -
Stefan Firca Dissertation
Circles and Circuses: Carnivalesque Tropes in the Late 1960s Musical and Cultural Imagination DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University by Stefan Firca , B.M., M.A. Graduate Program in Music The Ohio State University 2011 Dissertation Committee: Professor Arved Ashby, Advisor Professor Graeme Boone Professor Danielle Fosler-Lussier Copyright by Stefan Firca 2011 Abstract Circus, fairground, carousel, carnival imagery is everywhere during the late 1960s: in cover art, song lyrics, band names and song titles, music criticism, names of music venues, festivals, movies, literature. From circus tents to clowns, from jugglers to magicians, from carousels to parades, an entire carnivalesque lexis seems to be at play in what is generally termed “psychedelia.” The current study attempts to read and offer “thick description” (Geertz) of this vocabulary as part of a larger cultural and countercultural imagination, and integrate musical manifestations of the period (popular psychedelia and avant-garde / experimental music) in a semiotic network of metaphoric representation. If language is nothing more than a chain of metaphors (Lakoff), it is nevertheless true that we often take such metaphors as “rock ’n’ roll circus,” “song-carousel,” “riot of sound” for granted, since they are so widespread and culturally shared that an explanation of their meaning may appear pedantic. But what do these word-images actually mean? What is the range of their connotations? What is the relationship between them? Why are they so frequent in the late 1960s? And how are these tropes translated or suggested musically? One possible answer to the last question involves the broad concept of circularity , emblematic for the psychedelic era: a round melodic motive or harmonic progression, ii a cyclic phrase articulation, a motoric-recurrent riff, a spiraling or whirling waltz in triple time. -
Religion, Miss America, and the Construction of Evangelical Womanhood
Religion, Miss America, and the Construction of Evangelical Womanhood by Mandy Ellene McMichael Graduate Program in Religion Duke University Date: April 8, 2014 Approved: ___________________________ Grant Wacker, Supervisor ___________________________ Mark Chaves ___________________________ Randy L. Maddox ___________________________ Thomas A. Tweed ___________________________ Timothy B. Tyson Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2014 ABSTRACT Religion, Miss America, and the Construction of Evangelical Womanhood by Mandy Ellene McMichael Graduate Program in Religion Duke University Date: April 8, 2014 Approved: ___________________________ Grant Wacker, Supervisor ___________________________ Mark Chaves ___________________________ Randy L. Maddox ___________________________ Thomas A. Tweed ___________________________ Timothy B. Tyson An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2014 Copyright by Mandy Ellene McMichael 2014 Abstract Christian engagement with beauty contests shifted dramatically between the initial Miss America pageant in 1921 and its 90 th anniversary in 2011. This dissertation explores how and why many Christians found the organization an institution worthy of partnership with the church. It examines three aspects of Christian involvement in the contest: the long history of beauty pageants, the persistent emphasis on individual physical attractiveness, and the idea of witness in southern evangelical culture. It argues that after 1965, at least two factors enabled the unlikely marriage of Christians and the Miss America Organization: the perceived threat of second-wave feminism and evangelicalism’s increasing desire to engage culture. -
Dazed & Confused Donyale Luna
March 1966 front cover - she became Vogue’s first black cover girl. A black model gracing the cover of a mainstream magazine was of great cultural significance back in 1966. David Bailey, surely a connoisseur of beautiful women, remembers his first impressions of Luna. “She was extraordinary looking, she was so tall and skinny,” he says. “She was like an illustration, a walking illustration.” He is quick to play down his part in Vogue’s landmark decision. “It was just another beautiful girl,” he says cockily. “I didn’t care what she was, she could have been a fucking Martian for all I care.” He reckons the editorial folk at Vogue House were just as laid back about using a black model although he does concede, “the sales people always had a problem.” It is quite revealing that this milestone was made in the UK and not America where Harper’s Bazaar, who were happy to have her black beauty within the pages of their magazine, had only (dared) to feature drawings of Luna with a misleading pinkish complexion, on their January 1965 cover. Luna would have grown up in an America that rendered black skin second class and the only black faces she would have seen in the media would be those of actors playing servants or maids in films. There were not many black models either and the ones who did make it - mostly possessing Euro-centric features that could be more easily mistaken for something more ‘acceptable’ like Mexican - were confined to appearing in black women’s magazines like Our World and Ebony. -
LARGE Print Text for Vinyl and Expanded Labels June 2015
The Andy Warhol Museum Wall Text and Expanded Labels Compiled June 1, 2015 Contents Introduction ...................................................... 7 Gallery 701 ........................................................ 9 The Warhola Family ......................................... 9 Archival family photographs ........................ 10 Art School ...................................................... 11 Photographs from college ........................... 13 Upper Torso Boy Picking Nose ..................... 13 New York City ................................................ 14 Commercial Work .......................................... 16 Blotted Line TechniQue .................................. 17 Julia Zavacky, Warhol’s mother ................... 19 Warhol Drawings from 1956 trip around the world ............................................................ 20 Boy Book Drawings ...................................... 21 Edelman Commission Work ......................... 22 Gallery 702 ...................................................... 24 Hand-painted Pop .......................................... 24 2 Typewriter [2], 1961, 1998.1.8 .................... 25 Dance Diagram [2] (Fox Trot: “The Double Twinkle-Man”), 1962, 1998.1.11 ................. 26 Big Torn Campbell’s Soup Can (Pepper Pot), 1962, 1998.1.31 ........................................... 27 This Side Up, 1962, 1997.1.4 ....................... 28 S&H Green Stamps, 1962, 1998.1.21 ........... 28 Gallery 601 – Film Gallery ............................... 29 Early Film ......................................................