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Louisa Elderton and Rebecca Morrill, eds, Vitamin T: Threads and Textiles in Contemporary Art 路易莎·埃尔德顿和丽贝卡·莫里尔主编,《维生素T:当代艺术中的线和纺织品》
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1741210
Janis Jefferies
A hardback volume, Vitamin T is an encyclopaedic, global survey of more than 100 artists, chosen by art world professionals — critics, curators and museum directors — for their work with threads, stitching and textiles. Though an expensive purchase, it has a seductive cover, lavish colour illustrations, a very accessibly written introduction by Jenelle Porter and is filled with concise biographical information. For textile historians, the texts and biographical inserts may prove frustratingly limited in scope, but it is a useful catalogue for investors. The book is overseen by editors Louisa Elderton and Rebecca Morrill who get tangled up, in the Preface (p. 9), in a dilemma that haunts many writers and theorists in the textile arts field. On the one hand, many of the works included in Vitamin T do not fit any predetermined classification of material, technique or medium-specific discipline. They fall somewhere between painting, sculpture and installation. Indeed, many of the artists utilise various practices of weaving, knotting, embroidery and knitting, and an expanded range of materials not normally associated with the making of textiles — burlap, plastic, wood, rubber — and so avoid being pigeonholed. Given this, as the editors admit, the book’s subtitle, Threads and Textiles in Contemporary Art, actually suggests a scope far narrower than its contents. In fact, by attempting to be pluralistic in choice, Vitamin T paradoxically offers no more than a fast-moving snapshot of a new hierarchy of acceptable entries into a very particular art world market. It is worth reading Jenelle Porter’s introduction to Vitamin T. Previously senior curator at ICA Boston, USA, Porter was responsible for curating the 2014 survey show, Fiber: Sculpture 1960–Present. This traced, in Porter’s view, a revolution in fibre art that happened during the 1960s, a decade that attempted to blur the lines between art and craft. The term ‘fibre art’ came into use by mostly American curators and art historians to describe the work of the artist-craftsperson following the Second World War, which saw a sharp increase in the design and production of ‘art fabric’. In the 1950s, as the contributions of craft artists became more recognised — not just in fibre but also in clay and other media — an increasing number of weavers began binding fibres into non-functional forms as works of art. As outlined by Porter in both Vitamin T and Fiber, the art world has long held a bias against fibre-based artists and their work. Often historically gendered feminine, carrying connotations of intimacy and domesticity, fibre compositions were relegated to the realm of craft, far from the ranks of fine art. Porter staked a claim for positioning fibre more firmly proximate to the explorations that have propelled abstract forms of art since the 1960s, and the Boston catalogue profiled a significant number of the field’s most influential artists, most of whom were white American or European women opera
精装本《维他命T》是一本百科全书式的全球调查,收录了100多位艺术家,这些艺术家是由艺术界的专业人士——评论家、策展人和博物馆馆长——挑选出来的,他们的作品涉及线、缝纫和纺织品。虽然这本书很贵,但它有一个诱人的封面,华丽的彩色插图,珍妮勒·波特写的非常通俗易懂的介绍,里面充满了简明的传记信息。对于纺织历史学家来说,文本和传记插页的范围可能有限得令人沮丧,但对投资者来说,这是一个有用的目录。这本书由编辑路易莎·埃尔德顿和丽贝卡·莫里尔监督,他们在序言中(第9页)陷入了一个困扰纺织艺术领域许多作家和理论家的困境。一方面,《维生素T》中包含的许多作品不符合任何预先确定的材料、技术或媒介特定学科的分类。它们介于绘画、雕塑和装置之间。事实上,许多艺术家使用各种编织、打结、刺绣和针织的方法,并使用了更多通常与纺织品制作无关的材料——麻袋、塑料、木材、橡胶——以避免被归类。鉴于此,正如编辑们所承认的那样,这本书的副标题“当代艺术中的线和纺织品”实际上表明,它的范围远远小于它的内容。事实上,维他命T试图提供多元化的选择,矛盾的是,它提供的不过是一个快速变化的快照,反映了进入一个非常特殊的艺术世界市场的可接受的新层次结构。Jenelle Porter对Vitamin t的介绍值得一读。作为美国波士顿ICA的高级策展人,Porter曾负责策划2014年的调查展览“纤维:雕塑1960年至今”。在波特看来,这可以追溯到20世纪60年代纤维艺术的革命,这十年试图模糊艺术和工艺之间的界限。二战后,“纤维艺术”一词被大多数美国策展人和艺术史学家用来描述艺术家-工匠的作品,二战后“艺术织物”的设计和生产急剧增加。20世纪50年代,随着工艺艺术家的贡献得到越来越多的认可——不仅在纤维方面,而且在粘土和其他媒介方面——越来越多的编织者开始将纤维粘合成无功能的形式,作为艺术品。正如波特在《维生素T》和《纤维》中所概述的那样,艺术界长期以来一直对以纤维为基础的艺术家和他们的作品抱有偏见。纤维制品通常在历史上被认为是女性化的,带有亲密和家庭生活的内涵,被降级为工艺领域,远离美术的行列。波特主张将纤维定位得更接近于自20世纪60年代以来推动抽象艺术形式的探索,波士顿的目录介绍了该领域大量最有影响力的艺术家,其中大多数是在纽约以外工作的美国或欧洲白人女性。有些人,如奥尔加·德·阿马拉尔和安妮·威尔逊,也包括在维生素T中,尽管后者包括许多英国和美国的黑人从业者,这是受欢迎的。一个著名的例子是住在哈莱姆区的桑福德·比格斯(Sanford Biggers),他长期以来一直着迷于布料,尤其是来自加纳的“非洲”布料,他的作品与欧洲有史以来第一本出版的关于非洲艺术的论文有关。纤维艺术运动可能缺乏主流运动的批判性分析:英国的《工艺》杂志(Craft)报道了纤维艺术,但美国的《艺术论坛》(Artforum)却没有,比如《书评》(Book Reviews)
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引用次数: 1
Peter Maunder, Tiverton Cloth: The Story of the Town's Woollen Trade 1475–1815 Peter Maunder,蒂弗顿布:1475-1815年小镇羊毛贸易的故事
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1741200
Nicholas R. Amor
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引用次数: 0
Pam Inder, The Rag Trade: The People Who Made Our Clothes 帕姆·因德,《破布贸易:为我们制造衣服的人》
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1741208
J. Halbert
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引用次数: 0
Pasold Research Fund/Taylor & Francis Textile History Open Access First Publication Award 帕索尔德研究基金/Taylor&Francis纺织历史开放获取首次出版奖
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1764792
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引用次数: 0
Dressed ‘as if for a Carnival’: Solving the Mystery of the Origins of Children’s Fashion. A New Perspective on the History and Historiography of Children’s Dress 穿着“仿佛是为了狂欢节”:解开儿童时尚起源之谜。童装历史与史学的新视角
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1743930
Małgorzata Możdżyńska-Nawotka
The article has a double focus: explaining the so-far obscure origins of children’s fashion in the later eighteenth century and putting its emergence in the context of the ‘grand narrative’ concerning the ‘discovery of childhood’ during this pivotal period. Contrary to Rousseau’s famous dismissal of the hussar suit, the role of ‘fancy dress’ inspiration in the development of children’s fashions for the first time purposefully meant to distinguish the (male) child from the grown-ups and, concurrent with the Enlightenment’s ideas on childhood, emerges as central rather than marginal. The repertory of styles adopted for boys’ wear is shown to have been inspired by various ethnic and historical dress traditions rooted in the fascination with masquerade characteristic of the Rococo culture but harnessed to express the emerging new attitudes. Among them, special attention is given to inspirations by Polish national dress. Second, the article takes on the argument presented by Daniel Thomas Cook in his inspiring article in Textile History, 42, no. 1 (2011). Having acknowledged the foundational role of fashion history in the emergence of childhood studies, Cook regards its present status as peripheral. He dismisses the underlying premise of its principal ‘grand narrative’ as based on a fruitless distinction between utility (and functionality) and fashion rather than the invention or discovery of the ‘child’ and ‘childhood’. While partially accepting Cook’s criticism, the article argues that the ‘grand narrative’, thus modified and expanded, retains its usefulness. In the nineteenth century, the ‘fancy dress’ and ‘playfulness’ theme continued, reflected in the most popular children’s styles (sailor suit, Little Lord Fauntleroy suit) and a range of others, temporarily or locally prominent, and intertwining with multifarious cultural, artistic, social and commercial developments.
这篇文章有两个重点:解释18世纪末儿童时尚迄今为止不为人知的起源,并将其出现置于这一关键时期“发现童年”的“大叙事”背景下。与卢梭著名的对轻骑兵套装的否定相反,“奇装异服”灵感在儿童时尚发展中的作用首次有目的地将(男性)儿童与成年人区分开来,与启蒙运动关于儿童的思想同时,成为中心而非边缘。男孩服装所采用的风格系列被证明受到了各种种族和历史服饰传统的启发,这些传统植根于对洛可可文化伪装特征的迷恋,但却被用来表达新兴的新态度。其中,特别注重波兰民族服饰的灵感。其次,本文采用了丹尼尔·托马斯·库克在《纺织史》第42期第1期(2011年)上发表的一篇鼓舞人心的文章中提出的论点。库克承认时尚史在儿童研究出现中的基础性作用,认为其目前的地位是次要的。他驳斥了其主要“宏大叙事”的基本前提,认为其基于实用性(和功能性)和时尚之间的徒劳区分,而不是“儿童”和“童年”的发明或发现。虽然部分接受了库克的批评,但文章认为,经过修改和扩展的“宏大叙事”仍然有用。在19世纪,“花哨的衣服”和“嬉戏”的主题继续存在,反映在最流行的儿童风格(水手服、小领主福特勒罗伊服)和一系列其他风格中,暂时或局部突出,并与各种文化、艺术、社会和商业发展交织在一起。
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引用次数: 1
Transatlantic Textiles: Ireland’s Dun Emer Textiles in America During the First Decade of the Twentieth Century 跨大西洋纺织品:二十世纪头十年爱尔兰在美国的Dun em纺织品
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1646622
C. Fowler
This essay reconstructs the circumstances surrounding the display of Dun Emer textiles in America at the 1904 St Louis World’s Fair and two Irish fairs in New York, held in 1905 and 1907. The essay...
本文重构了1904年敦埃默尔纺织品在美国展出的情形 1905年和1907年在纽约举行的圣路易斯世界博览会和两届爱尔兰博览会。这篇文章。。。
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引用次数: 2
Pasold Research Fund/Taylor & Francis Textile History Open Access First Publication Award 帕索尔德研究基金/Taylor&Francis纺织历史开放获取首次出版奖
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1665799
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引用次数: 0
Cultural Heritage 文化遗产
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1653639
B. Karl
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引用次数: 0
Gender 性别
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1653638
A. Hood
. The article presents artistic projects in which the issue of gender is actualized. The above was carried out from the position of post-humanist ideas through the study of the impact of the development of technologies on modern socio-cultural processes. Thus, the projects created in different genres were analyzed, including post-cinema (“Night Walk for Edinburgh”, “A Total Jizzfest”) aimed at chang-ing gender perceptions in society, Ellen Pearlman’s opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera” (AIBO), in which, thanks to the involvement of artificial intelligence as an actor, gender opposition is reinforced. The Female Laptop Orchestra (FLO) project is dedicated to the support of female creativity, which, thanks to the involvement of information and communication tools, com-bines music creation with research in its activity. An important aspect of the considered projects is defined as interactivity, which is im-plemented by involving the viewer in the process of their creation. It was found that, on the one hand, the digital virtual space made it possible to reduce the importance of social roles or gender affili-ation, thereby leveling the stereotype of the opposition between the author’s masculinity and femininity. On the other hand, with the development of machine learning technologies, a new opposition between the human author and the artificial intelligence in the same ca-pacity is gradually emerging.
本文介绍了实施性别问题的艺术项目。以上是从后人文主义思想的立场出发,通过研究技术的发展对现代社会文化进程的影响而进行的。因此,对不同类型的项目进行了分析,包括旨在改变社会性别观念的后电影(《爱丁堡夜行》、《疯狂狂欢》)、艾伦·皮尔曼的歌剧《情感智能的人工智能脑波歌剧》(AIBO),由于人工智能作为演员的参与,性别对立加剧。女性笔记本电脑乐团(FLO)项目致力于支持女性创造力,由于信息和通信工具的参与,该项目将音乐创作与研究结合在一起。所考虑的项目的一个重要方面被定义为交互性,它通过让观众参与到项目的创建过程中来实现。研究发现,一方面,数字虚拟空间可以降低社会角色或性别认同的重要性,从而消除作者男性气质和女性气质对立的刻板印象。另一方面,随着机器学习技术的发展,人类作者与同一能力的人工智能之间的新对立正在逐渐出现。
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引用次数: 50
Zuzana Šidliková, Lost (m)ODE, Clothing Culture in Slovakia from 1945 to 1989 ZuzanaŠidliková,迷失(m)ODE,1945年至1989年斯洛伐克的服装文化
IF 1 2区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1653648
L. Taylor
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引用次数: 0
期刊
TEXTILE HISTORY
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