By Monica Sklar,
February 17th, 2009 at 10:06 pm
(Academic Research & Related, Conferences and Calls for Papers, Uncategorized)
This was a real highlight of a conference. Each year F.I.T. puts a symposium on, and while I’ve wanted to go before, I’ve never felt driven to spend the travel dough until now for this subculturally themed event. And I am so glad I did. It’s at the expense of attending two conferences (PCA and CSA) which I have team papers in this spring, but the rest of my team said they could present w/o me in order for me to be able to use limited my time/money to go to this special weekend that was right up my alley. So, I flew in from Minneapolis to NYC Thursday night and flew out Saturday night. Quick trip but so worth it.
My IPod playlist on the plane and otherwise:
Tegan & Sara “The Con” (my recent choice for ‘album of the year’) and “So Jealous”
R.E.M. “Accelerate”
The Shins “Chutes Too Narrow”
Bob Mould
Lots of episodes of “The Office”
Plus MOJO‘s current issue is devoted to Motown singles so I dove into that as my Detroit hometown pride dictates I just had to by the overpriced magazine.
Being a subculture conference and all I decided to stay at the famed (infamous) Chelsea Hotel which was equally a dump and adorable. Character was an understatement as the lobby was filled with men in skirts and fur coats, seniors in sparkly berets, aging hipsters, and obvious tourists. I meant to photograph the front of room 100, where Sid killed (?) Nancy, and also the room Charles James stayed in, but honestly this whole weekend was a whirlwind so it never happened. I did however take some shots of my room so you can see the light of day realities of this Warholian architectural icon. When I first walked in to my room I was sort of horrified at its dated appearance but quickly acclimated to its quirks and decided that yes, I would in fact stay again. It’s like staying at your weird aunt or your 20 yr. old cousin’s apt. when they’re out of town. Including the oddball neighbor who starts her morning coffee and computer use at a portable table set up on her front porch (my front door) at 7am. Yeah. Wow. I know. It is a hotel/permanent residence combo place though so I tried to remember that. Below are some shots.
The Chelsea Hotel-an average room with private bath
Chelsea hotel bathroom which of course is bigger and nicer than the hotel room-that always seems to be the case in NYC
My kitchenette-surprisingly clean
There was tons of fabulous art everywhere-I meant to take more shots but here are just a handful
More Chelsea Hotel art-Outside of my room there were fabulous large scale portraits of Christo and other artists. There were also nifty sculptures in the lobby.
This is Me and Tanya Seeman at the conference. Tanya‘s a superstar costume designer/stylist (and dear friend) and gave me one of my first gigs for a sketch comedy show which was simultaneously dressing funny-men like Dave Attell and Jim Breuer and trying to brainstorm what the boogeyman looks like for a routine (sort of appropriate for the Goth symposium).
This is Me and Francesca at the conference. Francesca has the fab blog/journal Fashion Projects and is working on her dissertation on the “grotesque body” and relating it to Leigh Bowery and other 80s styles such as New Romantics. She recently finished up a fellowship at the MET.
This is Dunja Brill who recently came out with the book Goth Culture: Gender, Sexuality and Style 
and Zoe (whose last name I didn’t catch) who is working on her dissertation in geography on goths and globalization.
Most of my photos of the presentations didn’t turn out so hot, but this one is OK of Catherine Spooner’s lecture. Catherine has written quite a bit and I have made good use of her book Fashioning Gothic Bodies.
Friday night a bunch of us relaxed with some mandatory NY-style pizza. This is Paul Hodkinson, Hillary, and Ted Polhemus. Paul‘s book Goth: Identity, Style and Subculture 
was a perfect fit for the conference and his presentation gave a look into his method of inclusions and exclusions in the book and addressed concepts about conflict interpreting design symbolism and meaning, which spoke loudly to my own writing about punk style. And of course Ted has written so much it would never fit in one post, but I will plug Streetstyle: From Sidewalk to Catwalk
, which is near and dear to my heart as a fav book, and also because he’s trying to do an updated reprint for the out-of-print modern classic and is in need of a publisher if you know one.
Same pizza joint. This is Me and David Muggleton. He’s got the book The Post-Subcultures Reader
(which somehow I don’t have even though I’m friends with people who have chapters in it and I’m sure it’s a must have for my dissertation) and my bookshelf staple Inside Subculture: The Postmodern Meaning of Style.
David‘s talk dove us into the highly relevant concept of linear timelines for subcultural development versus organic, and more amorphous or even cyclical ways of looking at the boundaries we’ve established for these social groups and lifestyles.
More pizza and great conversation. Tanya, Catherine, and Carol Tulloch who is a senior research fellow at the V & A in black visual culture. I’m bummed I’ve never seen any of the exhibits she’s curated such as the one on Rock Against Racism as they sound like they were rad.
This is Me and Tove on Saturday back at the Chelsea hotel (notice the sculptures above our heads) after bailing on Anna Sui/Andrew Bolton to have cocktails at my wacky hotel bar before I had to catch my flight. Tanya had thought Tove was the winner of Stylista but alas, she’s a secret celebrity, not a reality TV star. She’s a former fashion student who is currently working at the Whitney and soon will be getting her fashion and culture blog off the ground. She also organizes the Costume Society of America e-Newsletter which if you read Worn Through you know I grab a ton of info from.
If I can find some time this upcoming weekend I’ll put together a Part II of this post discussing the presentations, the notes I took, what seemed to be audience reactions, and my own reactions. However, I’ve got a ton of exam grading and research set up for this weekend, as well as attending a showing of Derek Jarman‘s cult classic “Jubilee” at the Walker Art Center on Saturday and my book club brunch on Sunday–so honestly-I’m not sure if it’s going to happen. If I don’t write in more detail feel free to email me with questions and comments.
4 Comments
By Monica Sklar,
February 17th, 2009 at 5:00 am
(Jobs)
As Spring nears it’s time for students to start considering Summer internships so I will begin to list more and more of those as I come across them. Below is a great one (minus the unpaid part):
Los Angeles County Museum of Art
Costume and Textiles Internship
Summer 2009
Qualifications: Student currently enrolled in a graduate-level art history, museum studies, costume and textile studies, or related program. An academic concentration in eighteenth and/or nineteenth century European costume and/or textiles is required; knowledge and skill in garment construction strongly recommended; hands-on art handling experience preferable.
Salary/Compensation: Unpaid
Job Description: The Los Angeles County Museum of Art invites applications for a summer 2009 internship in its Costume and Textiles Department. Selected interns will assist the curatorial staff in preparation for an upcoming major exhibition while gaining greater knowledge in costume and textile history as well as additional hands-on art-handling experience. The intern must commit to the completion of 240 hours which may be used for academic credit towards a graduate level degree in art history, museum studies, costume and textile studies, or related field.
The ideal candidate is organized and self-motivated with the ability to multi-task, meet deadlines, and work as a team player. This candidate must be a strong researcher with excellent written and verbal communication skills and a strong working knowledge of MS Office. The ideal candidate must also be knowledgeable in the fields of costume history or costume construction. Responsibilities may include organizing and documenting objects through the cataloging process, managing digital images for documentation, conducting in-depth research of objects, handling objects and rare books materials, and assisting with display of costumes.
Interested applicants may submit a CV and a statement of intent via email to Nancy Carcione
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By Monica Sklar,
February 16th, 2009 at 2:51 pm
(Conferences and Calls for Papers)
A special issue of Women’s Studies will examine the woman art collector which might be avenue for someone in dress and design studies to publish a piece. Below is the call.
Women’s Studies: An Interdisciplinary Journal invites submissions for this special issue.
The deadline is May 1, 2009.
While there are certainly women collectors whose interests tend toward more feminine-associated artifacts, such as jewels, fans, and lace, or work with domestic affiliations, such as embroidery, textiles, furniture, and glasswork, there are also women collectors who have ventured into new areas, amassing collections that in some cases make them the twentieth century creators of museums.
Paintings and sculptures of women have long been objects of the collector’s desire—what happens to this gendered dynamic when the collector is a woman? Is the drive to collect necessarily a masculine quality? What, if anything, is it to collect like a woman? Can collections be distinctively feminine? To what extent does a collection reflect its collector? What ethnic or feminist lenses may be applied to our understand of these collections? What is the role of women collectors in perceptions of what constitutes the history of an art or cultural form? Is collecting an expression of passion, a form identity creation, a social climbing activity, an investment, or something else all together? What qualities are there in the relationships between women collectors and their advisors, co-collectors, or curators? What are the various attitudes of the women collector toward collecting in various communities? How has the woman collector fit in (or not fit in) to the larger collecting community? What motivates the woman collector? What methods do they use to assemble the objects that are characteristic of their collections? Is there an economic, aesthetic, or personal commonality to these possessions? Many, if not most, collectors must be wealthy and have the leisure time to collect, but what are the other common identity features of the collector? What about the artist collector or women who collects with family members or partners—or ones who commission portraits of themselves?
Each manuscript must be accompanied by a statement that it has not been published elsewhere and that it has not been submitted simultaneously for publication elsewhere. All manuscripts must be formatted according to MLA guidelines. Essays should be approximately 25 pages in length. Authors should also supply a shortened version of the title for a running head, not exceeding 50 character spaces, an abstract of approximately 100 words, the author’s affiliation and location. Each submitted article must contain author’s mailing address, telephone number, e-mail, 100-word abstract, and a short biographical paragraph.
Queries and submissions may be emailed to Dr. Annalisa Zox-Weaver
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By Lauren Michel,
February 13th, 2009 at 5:00 am
(Teaching)
This term, one of the classes I am teaching is fashion illustration: how to draw the fashion figure and clothe it, depicting fabric types, styling, and construction details. If you are interested in learning how to draw for fashion illustration, or how to teach the subject, here are some resources to guide you.
First of all, the text I am using this semester is Fashion Sketchbook, 5th Edition by Bina Abling, published by Fairchild, Inc. As an instructor, I like this text because I find it well organized for me to teach from and for students to follow. It helps me do a proper job of introducing to students that what they are learning is not realistic depiction of the human form, but a stylized, standardized representation.
If you wish to focus more on illustrating clothes and less on the human form, you can use tracing paper and trace a croquis (a body, for you to “dress” over and over) from a print source, or you can purchase template to use. Fashion-Templates.com is an example of templates for sale by download (yes, they accept Paypal).
For those who are looking for illustration inspiration, pop on over to the web site of illustrator Irina V. Ivanova, .
One of the things I enjoy about teaching is learning what inspires my students. Some are inspired by comic book art and graphic novels. Some are inspired by twentieth century fashion photography. Some are inspired by nineteenth century fashion plates. Others are inspired by Japanese manga (comics and animated films). Click here to visit Manga University, which features online tutorials on how to draw manga.
Whatever a student’s inspiration or personal style, it is revealed in their fashion illustrations, as it would be in any creative work, and it is a real joy to see what unfolds as the term progresses and my students’ hone their drawing abilities. Do you like to draw? What inspires you? Let me know!
2 Comments
By Heather Vaughan,
February 11th, 2009 at 5:00 am
(History of Dress, Uncategorized)
Group of Claire McCardell dresses in storage. FIDM Museum Collection. Copyright FIDM Museum.
In November of 2008, I had the opportunity to interview Christina Johnson, Collection Manager of the Museum at the Fashion Institute of Design & Merchandising. I’ve finally finished going over the details, and am happy to be able to bring you, over the next several weeks, a wonderful look inside the collection Christina manages (a long with some equisite photographs). I hope to provide readers of Worn Through with useful information, as well as an enjoyable look into the many parts of the collection of the Museum at FIDM. This interview highlights their Gernrich, Versace, Dietrich, Mae West and Hollywood collections. I hope you will enjoy it as much as I did! For the first installment of the interview, Christina provided me with a brief history of the collection:
Christina: FIDM Museum was founded in 1977 as a resource for fashion designers, scholars, instructors and costume designers. It was originally a part of the FIDM College library and was cared for by librarians. The museum now consists of a Permanent Collection and a Study Collection. The Permanent Collection numbers about 10,000 pieces and is accessed primarily by scholars. The Study Collections consists of 2,000 pieces and is really for student access. Students can use both collections, but for the most part their needs are satisfied by the Study Collection, which is much more hands-on than the Permanent Collection.
Evening Coat. c. 1927. Gift of Ms. Judy Thomsen. FIDM Museum Study Collection. Copyright FIDM Museum.
Heather: And much more about inspiration?
Christina: Exactly. Utilizing the Study Collection, they can do anything but wear a garment or take it apart. So for example, our Study Collection Manager can roll out racks of pleats, or of 1970s garments or of Adolfo pieces to classrooms. It’s very much an educational tool. Whereas the permanent collection is mostly open to scholars, other museum employees and designers and has more stringent handling guidelines. The permanent collection is now up to about 10,000 pieces. About 10 years ago a dedicated, museum-trained staff was hired to care for the museum collection. The collection became very separate from the library, though both the library and the costume collection are under the same non-profit foundation.
Heather: I didn’t realize that the two were linked.
Christina: Yes and in terms of the scope the permanent collection is about 10,000 pieces at this point, dating from 1790 to the present. But really, the strength of the collection lies in the mid-19th century to about the 1980s. We are now actively trying to acquire early 19th century items as well as late 20th and early 21st Century items.
Day dress. c.1870. Gift of Anne Stampfer. FIDM Museum Collection. Photo by Brian Sanderson. Copyright FIDM Museum.
Heather: And how do you decide what to add to your collection?
Christina: We acquire new pieces by design merit. We ask: Is it an example of its era and is it of very high quality? It is very much a connoisseur type of collection, We are not as interested in the history of the piece or the wearer, or the provenance. Although if a piece comes with provenance, we always record it in our database. For the most part, the interest lies in the piece itself and our collection is focused on high end garments and couture.
Heather: I had assumed that most of your collection was tied to Hollywood, do you still acquire in that area?
Christina: We do still collect and are actively acquiring Hollywood costumes. In part, that’s because of how much influence Hollywood has had and continues to have on fashion. So many of our students and graduates find work in that industry, we find it’s important that it be represented. But again, that isn’t our main focus.
Heather: Can you tell me a little more about what you have in the collection?
Christina: FIDM does have a movie costume collection. Specifically, we also have on long-term loan, the Department of Recreation and Parks, City of Los Angeles Hollywood Costume Collection. That includes a good number of pieces from Marlene Dietrich and Jean Harlow. We have the largest collection of Marlene Dietrich clothing outside of the archive in Berlin.
Dietrich jackets Left: Travis Banton. Evening jacket worn by Marlene Dietrich. c. 1950. FIDM Museum Collection. Copyright FIDM Museum. Right: Travis Banton/Howard Greer. Evening jacket worn by Marlene DIetrich. c. 1935-1940. FIDM Museum Collection. Copyright FIDM Museum
Heather: Does that include their personal clothing as well as their Film costumes?
Christina: Yes, that includes their personal and Hollywood costumes. So for example we have Dietrich’s ready-to-wear suits by Adrian, and by Irene. We have her couture from Dior, Balmain and Jacques Fath. But we also have costumes from Witness for the Prosecution and Desire. So those are a part of that long-term loan.
Heather: Can you tell me a little more about how that collection came to exist?
Christina: The City of Los Angeles purchased, at auction, the contents of a Hollywood Museum in the 1960s. They were not able to care for the items properly, so they leant the portions of that collection (via long-term loan) to various museums. We have the costumes—about 300 pieces.
We’ll end “Part I” there, but there’s much more to come!
1 Comment
By Monica Sklar,
February 10th, 2009 at 5:00 am
(Jobs, Uncategorized)
This is a good temporary gig that might apply to someone in dress studies. I considered it, but I cannot go that far away for just one semester.
Visiting Assistant Professor of Art History and Visual Culture
Whitman College, WA
The Department of Art History and Visual Culture Studies at Whitman College invites applications for a one-semester, visiting position, at the rank of assistant professor, beginning January 2010. We seek candidates with good knowledge of art historical methodologies and their application to broader aspects of visual culture. Ph.D. preferred. The teaching load will consist of three courses including “Introduction to Art History and Visual Culture Studies” and upper-level courses in the area of specialization. Whitman College wishes to reinforce its commitment to enhance diversity, broadly defined, recognizing that to provide a diverse learning environment is to prepare students for personal and professional success in an increasingly multicultural and global society. In their application, candidates should address their interest in working as teachers and scholars with undergraduates in a liberal arts environment that emphasizes close student-faculty interaction; how their cultural, experiential, and/or academic background contributes to diversity; and their interest in participating in the College’s general education offerings.
Materials should include a letter of application; curriculum vitae; a statement addressing the candidate’s teaching interests and scholarly agenda, three letters of reference; graduate transcripts; teaching evaluations or other evidence of demonstrated or potential excellence in undergraduate instruction. Send materials to: AHVCS Search Committee, Olin Hall, Whitman College, Olin 345 Boyer Ave, Walla Walla, WA 99362.
Deadline: March 2, 2009.
Whitman College is a small, selective, liberal arts college dedicated to providing excellent educational opportunities for students. For additional information about Whitman College and the Walla Walla area.
Web.
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By Monica Sklar,
February 10th, 2009 at 5:00 am
(Jobs)
Dean of Graduate Studies
Rhode Island School of Design
Applications and nominations are invited for the position of Dean of Graduate Studies at Rhode Island School of Design. RISD, a preeminent graduate and undergraduate school of art, architecture and design, is looking for an innovative leader to build on the 125-year tradition of art and design education embodied in the mission of the college and to help shape the vision of graduate education at RISD.
The graduate dean is an advocate for the oversight of sixteen graduate programs in Fine Arts and Design: Architecture, Ceramics, Furniture Design, Glass, Graphic Design, Industrial Design, Interior Architecture, Jewelry + Metalsmithing, Landscape Architecture, Painting, Photography, Printmaking, Sculpture and Textiles, as well as a graduate concentration in Art History and oversees two departments: Digital + Media and Teaching + Learning in Art + Design. RISD offers seven graduate degrees including the MFA, MA, MArch, MAT, MID, MIA and MLA.
Graduate Studies at RISD has expanded rapidly over the past decade. This has been in response to the energy generated by the disciplines and the need to recognize artistic developments, new avenues of critical thought and technological innovations in all areas. The campus has extended its footprint in recent years, and as a result, many of the graduate programs have been consolidated in a new facility in downtown Providence. As part of the continuing development of graduate studies, RISD seeks to develop new opportunities for innovation in graduate level pedagogy and research, and to create new collaborative initiatives between departments and divisions, with other academic institutions, and with external partners. The Dean of Graduate Studies will play a leading role in these initiatives, and will further this academic development through an understanding of multidisciplinary concerns that distinguish and connect the diverse graduate programs in the School.
Reporting to the Provost, the Dean of Graduate Studies is a member of the Deans’ Advisory Council and is responsible for academic leadership regarding the planning and administration of all graduate programs at the college. Central to the role of graduate dean at RISD is a strong commitment to the role of graduate studies in art and design education, an appreciation of the complex relationship between disciplinary and interdisciplinary curriculum, and experience with recruitment of students and promotion of national and international diversity.
This significant leadership role involves the creation of a comprehensive series of interdisciplinary graduate seminars, budget management in relation to evolving curricular and facilities needs, and creative, articulate advocacy of the needs of all the graduate programs within the college.
Outreach functions of the Dean include development of strong bonds with other academic institutions, identification and development of new interdisciplinary opportunities for graduate students, as well as the establishment of initiatives with foundations, cultural institutions and corporate sponsors.
Qualifications include: Ph.D., MFA, terminal degree in field, or equivalent combination of experience and educational attainment; substantial exhibition, design or publication record with a national or international profile; experience with graduate level teaching and program management; administrative experience with a strong record of service; excellent interpersonal and communication skills; and the ability to work collaboratively and communicate effectively with a diverse set of constituencies.
For more information about RISD and to apply online, please visit http://www.risd.edu/jobs
Applicants will be required to submit:
1) a cover letter
2) a curriculum vitae
3) A statement of philosophy of graduate education and research in an Art and Design setting
Review of applications begins February 16, 2009, however the position will remain open until filled.
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By Monica Sklar,
February 9th, 2009 at 3:40 pm
(Conferences and Calls for Papers, Uncategorized)
I just wanted to check again and see if any of WT‘s readers will be attending FIT’s subculture symposium this week? Here is a PDf of the speakers. It is quite an impressive list and I believe it’ll be a rewarding opportunity to hear these scholars discuss their areas of expertise. I’ve talked to a few people who said they are going, and I’ll report back when I return next week.
2 Comments
By Monica Sklar,
February 6th, 2009 at 5:00 am
(Teaching, Uncategorized)
As mentioned in two previous posts (seen here and here), I’m working a lot with films this semester as I’m teaching a course that is an overview of all things dress, culture & fashion industry as well as a university-wide ethics credit. I thought I’d update you on the films that are going well and which I’ve dropped off my list as I’ve been watching them.
The first week as part of the intro to class I showed 3 “Streetstyles” clips which are free on iTunes. It is a video podcast produced by Current TV. The students loved them, asked me to show more, and even emailed me asking for the link.
The second week I was introducing modern fashion. It was a quick history of the past 100 years as we’re using the textbook Dynamics of Fashion from Fairchild. I showed a ten minute clip from the documentary Lagerfeld Confidential from minutes 10-18 when he discusses that fashion isn’t about social justice. Fabulous! Plus it is a great scene with a beautiful runway show. Multiple students came up after class asking for info about the whole movie and they didn’t mind at all it was in French.
Continuing on with history of fashion the next day I showed the first 24 minutes of Beauty in a Jar which is a retrospective with commentary from A & E about the start of the cosmetics industry. It has some useful profiles of early industry leaders and introduces concepts about changing body image standards. The students seemed intrigued by the business advances of Madame CJ Walker in that era long before the civil rights movement, and in general they seemed ok with the movie, but perhaps a little bored at times. Although it is 8:30 am and showing 30 minute films is at my own risk. The whole movie is great though and very contemporary.
That day I also showed a brief clip from Fashion Television about plastic surgery. They seemed much more riveted by this fast paced clip. FTV has a HUGE video library on their website which downloads very fast and can be put to use in the classroom with ease. I plan on showing a lot more from their site.
This week we learned about how environment & culture effect fashion and things like social mobility, economics, and psychological motivators like opposition and acceptance. I took a gamble and showed a segment from the National Geographic series Taboo about the Padang women who “stretch” their necks to be part of their society. I thought the students would be sort of fascinated, and while they did talk about the women a little, they showed only moderate interest.
For that same lesson I also showed the first 4 minutes and then minutes 10-16 of the documentary The Legend of Leigh Bowery to discuss opposing tradition and societal expectations. As there are mostly freshmen and sophomores in the class I was hesitant to show too much though as parts of the documentary contain a lot of the f-word, Leigh’s semi-sexual nudity, and discussions of his sex life. While of course this doesn’t offend me in the slightest, I’m not sure a Graduate Student Instructor like myself should get involved with the politics of showing a movie with explicit sexual content even in the name of art. Nonetheless, the students LOVED him and were very chatty after the clips discussing all the people they have met who have pushed boundaries with dress. They even asked questions after class about him and many want to see the whole flick which I had to awkwardly warn had “explicit content to watch at their own risk” which made me feel like an old prude, and totally contrary to my style, but I’m just trying to CYA of course!
In other news, I thought I’d show the documentary Fat (I think it’s Discovery Channel?) but decided that even though it was interesting it wasn’t really about dress/fashion and was starting to move into a different realm about sociology, nutrition and other related but slightly off topic issues. So similarily, I dumped the (HBO?) doc Thin about anorexia.
So far the students have said watching all the clips keeps them really interested. The only complication has been those who are absent, and those for whom English is a second language. I do not really want to upload all of these films to my course website, so for now I’m trying the idea of making them rent them if they miss class or couldn’t understand the content. I did plan on showing them in my office, but decided since I share and office with three others, and, since I’d have to let them use my computer rendering that time useless for me, is really their problem if they need to see it again and therefore can just rent or download them. The only catch are films that are not available on DVD and I’ll have to decide what to do about that.
I’ll let you know how this film extravaganza of a class is working out as the semester continues.
Please let me know if you have any suggestions of films, clips, video podcasts and the like.
3 Comments
By Monica Sklar,
February 5th, 2009 at 5:00 am
(Exhibitions, Uncategorized)
“HELLO! FASHION: KANSAI YAMAMOTO, 1971 – 1973″
Through May 1, 2009 at the Philadelphia Museum of Art [Philadelphia, PA] Japanese contemporary fashion founder Kansai Yamamoto will be featured. Best known for his work during the 1970s and 1980s, his avant-garde designs are inspired by the colorful Azuchi-Momoyama period [1568-1600] and traditional Kabuki theatre. The exuberant Pop-like quality of his work contrasts with
what is today associated with Japanese fashion, Zen-like simplicity and deconstructed silhouettes. Click here for details.
“FROM THE VILLAGE TO VOGUE: THE MODERNIST JEWELRY OF ART SMITH”
Through May 17 at the Brooklyn Museum [Brooklyn, NY], this exhibit displays the silver and gold creations by the Brooklyn-reared modernist jeweler Arthur Smith. Inspired by surrealism, biomorphicism, and primitivism, Art Smith’s jewelry is dynamic in its size and form. The jewelry dates from the late 1940s – 1970s and includes his most famous pieces, such as a “Patina”
necklace inspired by the mobiles of Alexander Calder. Click here for details.
This exhibition information was gathered via the Costume Society of America‘s newsletter.
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