Rodeo Drive and the Red Carpet: the Show Must Go On
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A Sheffield Hallam University Thesis
How do I look? Viewing, embodiment, performance, showgirls, and art practice. CARR, Alison J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19426/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19426/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. How Do I Look? Viewing, Embodiment, Performance, Showgirls, & Art Practice Alison Jane Carr A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy ProQuest Number: 10694307 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694307 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Declaration I, Alison J Carr, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and a DVD booklet, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University. -
Stephen Jones Datasheet
TITLE INFORMATION Tel: +44 (0) 1394 389950 Email: [email protected] Web: https://www.accartbooks.com/uk Stephen Jones And the Accent of Fashion Hanish Bowles ISBN 9781851496525 Publisher ACC Art Books Binding Hardback Territory World Size 300 mm x 240 mm Pages 240 Pages Illustrations 297 color Price £45.00 First monograph on the work of the celebrated milliner Stephen Jones With a preface by John Galliano and texts by authorities such as Hamish Bowles, Andrew Bolton, Suzy Menkes and Anna Piaggi, with new photography by Nick Knight and David Bailey "Picture the moment, in the run-up to a Christian Dior haute couture show. John Galliano is working silently in the Paris studio with his friend and ally, the master milliner Stephen Jones. The designer is looking at the arc of a silhouette, the drape of a skirt and the tilt of a hat: 'I often work through a mirror for most of my decisions and I always see Stephen's reflection,' says Galliano. 'He is reading my every nuance. He is studying my face. I don't need to say anything - he can read my mind'." - From the essay by Suzy Menkes. Stephen Jones is one of the world's most talented and distinguished milliners. This exquisitely illustrated monograph is the first to examine his illustrious career and famous collaborations. Including photographs from private collections and museums, the book focuses on a variety of aspects of his work, from his collaborations with Boy George, John Galliano and Thierry Mugler to his work with photographers Bruce Weber and Nick Knight. -
Hammer Museum Summer 2012 Non Profit Org
For additional program information:For additionalprogram 310-443-7000 Wilshire Boulevard California LosAngeles, 90024USA10899 Hammer MuseumSummer2012 www.hammer.ucla.edu BEGINNING JUNE1 Saturday & Sunday 11am–5pm &Sunday Saturday MUSEUM HOURS Tuesday–Friday 11am–8pm Tuesday–Friday Closed Mondays NEW Los Angeles, CALos Angeles, Permit no.202 Non Profit Org. Profit Non US Postage PAID IN. IN. 4 ⁄ 1 X 8 16 ⁄ 11 , 2012 (DETAIL). DIGITAL PHOTOGRAPH. DIGITAL , 2012 (DETAIL). 2011 (DETAIL). GRAPHITE AND ACRYLIC ON PAPER. 11 ON PAPER. GRAPHITE AND ACRYLIC 2011 (DETAIL). Summer 2012 Calendar Summer 2012 MOUNTAINS DWARF THE CITY, DWARF MOUNTAINS . CHARACTER PORTRAIT (ISABELLA BLOW, MARIO TESTINO VERSION) (ISABELLA BLOW, CHARACTER PORTRAIT . SCOLI ACOSTA MICHELE O’MARAH COVER: FRONT: COVER: FRONT: AND GALERIE LAURENT GODIN, PARIS. SCOLI ACOSTA COURTESY GUNEWARDENA. (29.7 X 21 CM). COLLECTION OF FRANK ESCHER AND RAVI BACK: WEDEMEYER. PHOTO BY ROBERT THE ARTIST. COURTESY DIMENSIONS VARIABLE. NEW MUSEUM HOURS 2 3 BEGINNING JUNE 1 HAMMER NEWS Tuesday–Friday 11am–8pm, Saturday & Sunday 11am–5pm, Closed Mondays news director the 1 HIGHLIGHTS FROM RECENT ACQUISITIONS L.A.-based artist Charles Gaines works with various mediums, including photography, drawing, text, and video, relying on existing and invented systems to generate his from A MESSAGE FROM THE DIRECTOR works. Numbers & Trees VI, Landscape, #4 (1989) is part of a body of work in which Gaines transformed photographic images within a series of prescribed operations. Made in L.A. 2012 is finally here! For nearly two years of the Tate’s Turner Prize and the Whitney Museum of the staffs at the Hammer and LA><ART have worked at American Art’s Bucksbaum Award. -
Places to Go, People To
Hanson mistakenINSIDE EXCLUSIVE:for witches, burned. VerThe Vanderbilt Hustler’s Arts su & Entertainment Magazine s OCTOBER 28—NOVEMBER 3, 2009 VOL. 47, NO. 23 VANDY FALL FASHION We found 10 students who put their own spin on this season’s trends. Check it out when you fl ip to page 9. Cinematic Spark Notes for your reading pleasure on page 4. “I’m a mouse. Duh!” Halloween costume ideas beyond animal ears and hotpants. Turn to page 8 and put down the bunny ears. PLACES TO GO, PEOPLE TO SEE THURSDAY, OCTOBER 29 FRIDAY, OCTOBER 30 SATURDAY, OCTOBER 31 The Regulars The Black Lips – The Mercy Lounge Jimmy Hall and The Prisoners of Love Reunion Show The Avett Brothers – Ryman Auditorium THE RUTLEDGE The Mercy Lounge will play host to self described psychedelic/ There really isn’t enough good to be said about an Avett Brothers concert. – 3rd and Lindsley 410 Fourth Ave. South 37201 comedy band the Black Lips. With heavy punk rock infl uence and Singing dirty blues and southern rock with an earthy, roots The energy, the passion, the excitement, the emotion, the talent … all are 782-6858 mildly witty lyrics, these Lips are not Flaming but will certainly music sound, Jimmy Hall and his crew stick to the basics with completely unrivaled when it comes to the band’s explosive live shows. provide another sort of entertainment. The show will lean towards a songs like “Still Want To Be Your Man.” The no nonsense Whether it’s a heart wrenchingly beautiful ballad or a hard-driving rock punk or skaa atmosphere, though less angry. -
1 | Page the EVOLUTION of 'IMMERSIVE
THE EVOLUTION OF ‘IMMERSIVE’ EXHIBTIONS AT THE V&A MUSEUM, LONDON – 2008-2021 By Victoria Broackes and Geoffrey Marsh 1. Introduction GCDN members have expressed interest in the potential of ‘immersive’ exhibitions and related ‘experiences’ as programmatic elements that can meet their ambitions for broadening the base of their audiences. Audience analysis does demonstrate that these ‘experiences’ offer the opportunity of a cost-effective option with the ability to attract larger and more diverse audiences. As a result, there is particular curiosity about whether there is a basic underlying methodology, which can, however, create varied outputs that are faithful to the character and mission of their own districts. A comprehensive study of immersive exhibitions would require a book, so, as a starting point, this review examines the experience of the Victoria & Albert Museum in London – where we and colleagues have curated a series of immersive exhibitions over the last fifteen years. It stresses this was an evolutionary journey where skills, opportunities and confidence built up over time. However, the growth of a (semi-) commercial immersive exhibition market over this period means that GCDN members may have the opportunity of short circuiting such a process by connecting to an increasing number of ‘off the peg’ products, systems and creators in the post-Covid world. Sections 2, 3 and 4 trace the evolution as it happened, not simply as a matter of record but also to illustrate the interplay of opportunities, technology, sponsorship and other factors that impacted what was produced. Those seeking a summary overview may best move directly to Section 5 onwards. -
Download Portfolio (PDF)
Grace Bol Grace Bol Grace Bol RAM SHERGILL “ Growing up in the UK I had a dream… a dream that I could live my life through a kaleidoscope of different cultures” (Shergill, 2019) Ram Shergill captures a kaleidoscope of different cultures through his photography. His intercultural upbringing has been an asset in terms of his photographic explorations. Internationally recognised for his contribution to the industry, Ram remains at the forefront of his field, using both photography and fine art to create a discussion that questions the notion of identity, dress, and the power of performance. At the beginning of his photographic journey Ram Shergill worked with Milliner Philip Treacy on a project and was mentored into the world of fashion photography by Isabella Blow and Alexander McQueen. Ram was Awarded the Arts Culture and Theatre Award (ACTA) in 2016 for his contribution to photography. His work has been shown in exhibitions worldwide including Sotheby’s, The Victoria & Albert Museum, The Wallace Collection, Somerset House and the Whitechapel Gallery and many more internationally acclaimed galleries. Since Graduating in 2019 from London College of Fashion Ram Shergill’s portraits of Amy Winehouse were acquired by The National Portrait Gallery and are now in their permanent collection. Ram has had books published internationally showcasing his work, including the highly acclaimed book, ‘India Fantastique’ published by Thames & Hudson — celebrating couturiers Abu Jani and Sandeep Khosla. Ram continues to shoot for numerous international publications such as Vogue, Harper’s Bazaar, The Times, The Observer, L’Officiel and W magazine. He has also created highly innovative campaigns and books/ catalogues for Galeries Lafayette, Dior, Louis Vuitton, Gilan Diamonds, Leica Camera, Harvey Nichols and Selfridges amongst many others. -
The Vulgar Fashion Redefined
The Vulgar Fashion Redefined Barbican Art Gallery, London, UK 13 October 2016 – 5 February 2017 Media View: Wednesday 12 October, 10am –1pm Supported by Agent Provocateur #thevulgar “Vulgarity exposes the scandal of good taste” – Adam Phillips Potent, provocative and sometimes shocking, the word vulgar conjures up strong images, ideas and feelings in us all. The Vulgar: Fashion Redefined is the first exhibition to consider this inherently challenging but utterly compelling territory of taste. It both questions notions of vulgarity in fashion while revelling in its excesses, inviting the visitor to think again about exactly what makes something vulgar and why it is such a sensitive and contested term. Drawn from major public and private collections worldwide, with contributions from leading modern and contemporary designers such as Walter Van Beirendonck, Manolo Blahnik, Christian Dior, Iris van Herpen, Pam Hogg, Marc Jacobs for Louis Vuitton, Stephen Jones, Christian Lacroix, Karl Lagerfeld for Chloé and CHANEL, Alexander McQueen for Givenchy, Prada, Jeremy Scott for Moschino, Philip Treacy, Viktor & Rolf and Vivienne Westwood. The Vulgar opens at Barbican Art Gallery on 13 October 2016. Conceived by exhibition-maker Judith Clark and psychoanalyst Adam Phillips, the exhibition takes fascinating literary definitions of ‘the vulgar’ as a starting point and includes a wealth of over 120 stunning exhibits from the Renaissance through to the 21st century. Weaving together historic dress, couture and ready-to-wear fashion, textile ornamentation, manuscripts, photography and film, this carefully crafted installation illustrates how taste is a mobile concept: what was once associated with vulgarity is reconjured by designers to become the height of fashion. -
Isabella Blow, Photo: Roxanne Lowit
CHAPTER : TITLE fashiON ISABELLA BLOW, PHOTO: ROXANNE LOWIT TEXT: JULIA CHRISTIAN Im September erscheint »Isabella »Isabella Blow« will be published in Blow«, ein Buch voll persönlicher September, a book full of personal Briefe, Fotografien und Zeichnun- letters, photographs and draw- gen der Branche an eine Modema- ings from the industry to a fashion cherin, die keine war und der Mode maker, who was not quite one, dennoch ein Stück ihrer eigentli- and yet who gave back the fashion chen Bestimmung zurück gab. world a piece of its own purpose. 106 STYLE AND THE FAMILY TUNES 03-2010 STYLE AND THE FAMILY TUNES 03-2010 107 CHAPTERfashi O: NTITLE CHAPTERfashi O: NTITLE Es gibt diesen Issie-Moment. Die Sekunde, in der man für There is this Issie moment. The second when you are Augenblicke vom Leben geblendet wird. In der sich selbst die dazzled by life for a few moments. When even the dreariest trostloseste Situation zu etwas Außergewöhnlichem erhöht. situation is elevated to something extraordinary. And when one Und in der sich eines hemmungslos zelebriert: die menschliche thing is boundlessly celebrated: human individuality. Typically Individualität. Urbritisch und für Issie doch nicht, was sie unter British and yet for Issie not essentially the meaning of the term Britischer Exzentrik versteht: »Exzentriker essen Goldfische!« British eccentric: »Eccentrics eat goldfish!« Isabella Blow, the Isabella Blow, die britische Modechefin des Tatler und der British fashion director of Tatler and the Sunday Times, stylist, Sunday Times, Stylistin, Entdeckerin und Muse von Philip discoverer and muse of Philip Treacy, Alexander McQueen and Treacy, Alexander McQueen oder Sophie Dahl, aß, was der Sophie Dahl, ate whatever the French chef served at her glitzy französische Koch zu ihren rauschvollen Festen auf Hilles parties at Hilles in Gloucestershire. -
Special Resolution Member
Lauren Ritchie The Secretary Website: www.millineryaustralia.org E-mail: [email protected] Instagram: @millineryaustralia Special Resolution Member Meeting 8 2017 1. Introduction 1.1. Welcomed to the 8th Millinery Association of Australia Members Meeting hosted on August 1st at St Kilda Library 1.1.1.Presentation by Waltraud Reiner 1.1.2.Formal Meeting Begins at 7:30pm 1.1.2.1. Attendees 1.1.2.1.1. At St Kilda: Waltraud Reiner, Georgia Skelton, Rose Hudson, Lauren Ritchie, Felicity Northeast, Lys Stevens, Kim Williams, Jo Peterson, Leighanne Crocker, Gillian Andrew, Leteisha Knetch, Dianne Kilduff, Robin Rivett, Karin Goodman, Wendy Scully, Margaret Watson, Kim Williams (17) 1.1.2.1.2. Via Zoom: Delphine Nicholason, Victoria Henderson, Kylie Heageny, Irene Moore, Christine Martin, Michele Cameron, Cathy Chivers, Ginetta Rositano, Penelope D’Alton, Bronwyn Shooks, Sandy Aslett, Catherine Ellen, Elaine Mergard, Dianne Roberon, Brenda Lui, Brenda Wilson, Catherine Kelly, Lauren Sutcliffe, Debbie Kelly, Sandy Forrester, Lisa Bell, Jennifer Bryan, Lauren Sutcliffe Via Zoom Total (Zoom 23) -
Political Challenges in the Neo-Burlesque Spectacle
WiN: The EAAS Women’s Network Journal Issue 2 (2020) Cyberlesqued Re/Viewings: Political Challenges in the Neo-burlesque Spectacle Mariza Tzouni ABSTRACT: Provided that the 1990s was characterized as an era of newness with the insertion of extreme technological advances, the rise of multiculturalism, new media expansion and the appearance of the World Wide Web, neo-burlesque appeared as an all-new form of entertainment which de/re/contextualized the act of viewing. Burlesque has been metamorphosed through the occurrence of neo-burlesque as an attempt to stress newness into the old; that is to re-generate a nationalized theatrical sub/genre to an inter/nationalized cyber/spectacle which re/acts against the sociopolitical distresses of the twenty-first century. Initiated with the Yahoo Group along with a plethora of online groups and blogs which have sprung till then, the Internet manages to weave a nexus among producers, performers and fans inter/nationally. It has also enabled neo-burlesque to cross over the national borders and break those barriers which were formerly narrowed to mainly the U.S theatrical reality. In this milieu, the rise of social media; namely, Facebook, Twitter and Instagram, have facilitated both the performers’ and the spectators’ re/viewings since the former can re/present and promote their neo-burlesque pieces as well as advertise their campaigns and products increasing in this way their popularity while the latter, in their turn, can be informed about the performers’ recent activities, purchase goods or follow their accounts as evidence of support or even condemnation. Moreover, YouTube has revolutionized spectatorship since neo-burlesque performers of versatile performing styles, age, race and body sizes launch their work in order to gain popular appeal through the gathering of views claiming in this way an increase of paychecks and attendance to distinguished events and venues. -
Marilyn Monroe's Star Canon: Postwar American Culture and the Semiotics
University of Kentucky UKnowledge Theses and Dissertations--English English 2016 MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM Amanda Konkle University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.038 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Konkle, Amanda, "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM" (2016). Theses and Dissertations--English. 28. https://uknowledge.uky.edu/english_etds/28 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Dita Von Teese Reveals What Shaped Her Into the Burlesque Superstar She Is Today
THE BEST OF IRVINE’S CRAFT COCKTAILS • EXPLORATION OF IRVINE’S MUSEUM OF WOMAN • A SLICE OF NATURE AT IRVINE’S WILDLIFE SANCTUARY DECEMBER 12, 2018 • No. 5 DITA VON TEESE REVEALS WHAT SHAPED HER INTO THE BURLESQUE SUPERSTAR SHE IS TODAY. 2 | DECEMBER 12, 2018 | IRVINEWEEKLY.COM YOUR MOUNTAINS |YOUR PASSES YOUR 2018/19 SEASON SALE PASS HURRY - PRICES GO UP DEC. 22 BIGBEARMOUNTAINRESORT.COM CLASSIFIEDS | IRVINEWEEKLY.COM the California Courts Online DECEMBER 12, 2018 • No. 5 Self-Help Center (www.courtinfo.ca.gov/self- help), your county law li- brary, or the courthouse nearest you. If you cannot pay the ling fee, ask the court clerk for a fee waiver Education form. If you do not le your response on time, you may lose the case by default, AIRLINE CAREERS begin here and your wages, money, - Get started by training as and property may be taken FAA certied Aviation Tech- without further warning nician. Financial aid for form the court. qualied students. Job There are other legal re- placement assistance. Call quirements. You may want Aviation Institute of Mainte- to call an attorney right CONTENTS nance 800-725-1563 away. If you do not know an www.IncomeCentral.net attorney, you may to call an DECEMBER 2018 12, attorney referral service. If you cannot afford an attor- ney, you may be eligible for free legal services from a nonprot legal services pro- gram. You can locate these nonprot groups at the Cal- ifornia Legal Services Web- site (www.lawhelpcalifor- Employment nia.org), the California Courts Online Self-Help IT Position.