By Tove Hermanson,
August 18th, 2009 at 10:39 am
(History of Dress, Videos)
For those of you who follow my solo blog Thread for Thought, this will be a repeat, but I couldn’t resist sharing with the Worn Through readers one of my favorite essays on mourning.
Tearing "Kriah", 1996, welded iron. By Orna Ben-Ami
This winter I had the unfortunate task of attending the funeral of my former coworker’s 20 year-old daughter who tragically died — of all unlikely things in a developed country — during childbirth. In dressing for the funeral, I selected a lovely black taffeta dress with an outer layer of sheer black tulle with long tulle sleeves. In spite of its beauty (it’s a Lilith sample my friend, a former employee of that Parisian label, gave me), I actually don’t wear it very frequently because it’s a lot of black and I think it makes a morbid statement, especially paired with my pale skin; however this quality made it ideal for my sad errand.
my funeral garb
As I was putting the finishing touches on my toilette – I accessorized with a dripping black tasseled necklace — my lover asked if I really wanted to be so fancy. “Of course,” I replied, “it’s a funeral. You’re supposed to dress up to show your respect.” Though I had to leave at that moment, we resumed the conversation later.
My Man is accustomed to Jewish traditions including the kriah (or keriah) where mourners tear a rent in their clothes which they display for the 7 days of shiva, the intense mourning period following a death. The specific placement of this tear is determined by the relationship with the deceased: for a parent, the visible rip is on or near the heart; for siblings, children and spouses, the rip is on the right and need not actually be visible. Children of the deceased are not allowed to ever mend the tears they make, even when shiva has ended, whereas all other mourners may patch the holes after shoshim, the 30 days following a death. Straight away, a hierarchy of relationships is established by the clothes. That of the parent and child is given precedence — even over spouses — in a stylized demonstration of respect and perhaps obligation more than an implied closeness of personal relationship, which I found interesting.
Kriah is traditionally ripped while standing (to show strength in a time of grief) and the following blessing is recited: Barukh atah Adonai Eloheinu melekh ha’olam dayan ha’emet. Translation: “Blessed are You, Adonai Our God, Ruler of the Universe, the True Judge.”
tearing kriah
Nowadays, a torn kriah ribbon is sometimes substituted for an actual tear in mourners’ clothes:
kriah ribbon
The Biblical roots of the kriah include when Jacob believed his son Joseph was dead and he tore his garments (Genesis 37:34). Likewise, in II Samuel 1:11 King David and all his men rent their clothes upon hearing of the death of Saul and Jonathan. Job, too, in grieving for his children, stood up and rent his clothes (Job 1:20).
The kriah is a visual representation of the tear in the hearts and lives of the bereaved, or alternately, a vent to release their feelings. It also signifies that it is only the outer garment (representing the body) that has been torn; the soul of the deceased and the love that the deceased and the mourners have for each other endures. Furthermore, vanity in times of mourning is viewed as disrespectful — the bereaved should be focused on internal, soulful emotions and not outward public appearance. To this end, bathing, changing clothes, haircuts and nail clipping are also suspended, and to avoid temptation of pride, mirrors are covered.
The final rule of self-presentation during shiva (which also applies for Yom Kippur, the Day of Atonement) is that leather shoes may not be worn. I was initially perplexed (as were several Jewish friends I asked, and many many people on the internet) as to the reasoning behind the ban on leather shoes in times of mourning. I understand that going without shoes is a powerful display of the rejection of physical comfort, but why would leather be specified? Sneakers, flip-flops or Crocs would circumvent the no-leather shoes rule but wouldn’t make sense if shunning comfort were the sole object (tee hee). Have no fear, Reader on the edge of your seat — I did find a plausible explanation.
First (and unsurprisingly), foregoing leather shoes to show deference has roots in the Torah: Moses removed his leather shoes (or sandals, as the case probably was) to approach the burning bush (Exodus 3:5), Joshua did as well when he faced the angel at the Promised Land (Joshua 5:15), and Ezekiel was commanded to remove his shoes while in mourning (Ezekiel 24:17). In these cases, the object was to show deference to God, but during shiva I imagine that that reverence is transferred to the departed. These were not demonstrations of deliberate discomfort so much as those of humility. A secondary explanation is that leather used to be far more of a luxury item than it is today (though there are clearly still traces of this high end market remaining). Leather shoes, then, fell into the category of jewelry and general adornment too ostentatious for times of ritualistic despair. The third reason for the leather shoes ban is one of sensitivity. “This is a day that we are not to practice violence and to look for compassion in life,” says Rabbi Jay Rosenbaum of the Herzl-Ner Tamid Conservative Congregation. “But to get the leather that would be used to make shoes would mean killing one of God’s creatures.”
Ultra-orthodox Jewish men pray as they gather for the mourning ritual of Tisha B'Av -- when Jews mourn the destruction of the biblical temples -- at the Western Wall in Jerusalem's Old City, August 10, 2008. Note the cloth shoes.
For Jews, distressing their appearance is a physical manifestation their distressed emotional states, which I find perfectly poignant, though it runs contrary to the Christian practices and ideologies I was familiar with before writing this post. I was brought up Episcopalian (the WASP version of Catholic, if you don’t know), and had a very different set of rituals surrounding death and mourning. A particularly complex and rigid set of rules and customs were solidified during the Victorian era, which I’ll concentrate on for no better reason than that period especially interests me.
After the death of Prince Albert in 1861, the devastated Queen Victoria decreed a 40 year mourning period that was to be observed by all in an elaborate and conspicuous manner. The dress codes relating to the royal death trickled down and were adopted by the church, to be followed for all (Christian) deaths. Dark, somber clothes were demanded by all affected by the death. Widows endured the most elaborate dress rules and for the longest period of time. They were to wear black dresses made of crepe (a dull, lusterless material) with black caps which were generally in a toned down version of the current style. Topping the costumes were long “weeping veils” which were sheer crepe or silk. All widows’ accessories were black as well, including parasols, gloves, and stockings; undergarments were exempt only because color-fast dyes had not yet been perfected and black would rub off on wearers’ bodies.
“Full mourning” lasted a year and one day for widows, after which they could graduate — slowly — to lighter, brighter colors, but only by prescribed degrees. Grays and deep purples were acceptable in “half mourning,” and after 2 years or so a normal, fashionable pallet was once again acceptable. Additionally, widows were not to participate in society — that is, balls, social gatherings, and essentially any public event except church — for 3 months, after which they could go out in public but only in full mourning garb. When a widow appeared in fashionable colors again, it was essentially an announcement to the community that she was available for courting and remarriage, which was usually a financial necessity.
Scarlett O’Hara famously flaunted this tradition in the Gone with the Wind (1939) dancing scene where she flouts propriety, not by her clothes (which she complains loudly about but wears) but by dancing publicly, an act of frivolity distinctly unbecoming of a widow.
At the ball, having accepted the inappropriate dancing invitation of Rhet Butler:
Rhet: “We’ve sort of shocked the Confederacy, Scarlet.”
Scarlett: “It’s a little bit like blockade running, isn’t it?”
Rhet: “It’s worse!”
Here is a not-very-good clip, but even muted (which I suggest), you can practically hear the gasp of the shocked ball attendees when Rhet publicly bids for a dance with supposedly grieving Scarlett — and her Aunt Pitty actually faints! Fast-forward to 1:30:
[youtube=http://www.youtube.com/watch?v=YL4McnvwZz0&hl=en&fs=1&rel=0]
Here is a properly dressed widow, accessories and all:
Maria Dennis (1842-1917) wearing "widow's weeds" headgear
Christians, like Jews, downplay personal adornment while mourning, though not as completely. Jewelry may be worn, but it must be dark and possess little or no sheen. Several unusual materials became popular during the 19th century due to their possession of these qualities.
The hair of a beloved or recently deceased was often intricately woven into “chains” and “beads” to be worn by the bereaved:
hair jewelry
Queen Victoria’s obsession with the public mourning of Prince Albert resulted in a great demand for fashionable and affordable black jewelry, and jet became a popular material for jewelry and buttons. It is an incredibly dense, dark mineraloid derived from decaying wood, appropriately enough. It has been imbued with a religious significance too, as it is a traditional material for monks’ rosaries. Queen Victoria sported and popularized Whitby jet, which initially created a boom in the industry but hampered its long term usage as people associated the stone with death. Vulcanite was another material of similar properties commonly used for mourning jewelry.
jet earrings
Compare the left shiny buttons below, suitable for everyday wear, to the matte version on the right, acceptable for mourning:
buttons
As in the Jewish custom, levels of Victorian observance were determined by relationship to the deceased, but this was marked more by length of time in mourning dress than by placement of a mourning emblem. Grieving men initially wore simple black suits and black armbands. Servants wore black armbands, as could men who were obliged to wear military uniforms. Children usually wore white with black trim in summer and gray with black trim in winter; they were to observe full mourning for 9 months and half mourning for 3 more (this was the same timeframe parents followed). Siblings observed full and half mourning for 3 months each. Unlike Jews who place the heaviest mourning obligation on surviving children, (Victorian) Christians emphasize the spousal relationship by cloaking the widow in the most elaborate costume and for the longest period of time, that is synced with her ultimate marital / sexual availability.
You can see that though the Victorians had strict rules regarding color (or lack thereof), materials, and textures / sheen, mourning clothes could still be decorative, a major departure from the Jewish tradition. Some of the differences may be related to the belief or disbelief in an afterlife. Christians, though grieving for their own losses, are supposed to rejoice that their loved ones have passed from this mortal world to the next heavenly one. Jews have no such idealistic post-death haven to temper their sorrow, so it follows that the mourning dress should be plainer. Relating to this theory is another Jewish tradition pertaining to the attire of the deceased themselves. After being washed, the body is dressed in tachrichim, hand sewn linen clothes. There are no pockets, as Jews believe we take nothing with us when we die, and everyone buried in identical robes symbolizes that all people are equal (this is reinforced by identical, plain pine caskets).
I love how costume has been utilized as a mourning tool in such different ways. I think there’s something very beautiful and appealing about both sets of rituals: they are both intended to demonstrate respect for the dead, comfort those left behind, and eventually assist the bereaved to return to normal life. Silly or excessive as either may seem, don’t we all crave those things in trying times?
************************************************************************
Since working on this post, my own uncle passed away (this is why it’s been so long since I posted last). Though I’m not religious, I did wear black for a week. This was not intended to be a signal to others (black garb is too commonplace to stand out anymore anyway) but as my own private gesture of deference and sorrow, using the language I express myself with: clothes. I dedicate this entry– as a fully inadequate demonstration of my own love and loss — to Uncle Dick.
Further reading:
2 Comments
By Lucy Collins,
August 18th, 2009 at 5:00 am
(Jobs, Uncategorized)
1.) Assistant Professor of American Studies, American University, Washington, D.C.
The American Studies Program at American University (Washington, D.C.) invites applications for a tenure-track appointment beginning in fall 2010 at the rank of Assistant or Associate Professor. We are seeking a highly dedicated scholar-teacher who is deeply committed to interdisciplinary learning, new approaches to teaching and scholarship, and the preparation of students for life in a diverse and rapidly changing global society.
Ph.D. in American Studies or related discipline required. Desired area of specialization in race and ethnicity studies, with possible secondary fields in transnationalism, visual and/or material culture, and museum studies.
The successful candidate will be able to demonstrate that she or he will be able to help provide educational leadership to American University’s Frederick Douglass Scholars Program for talented students from diverse backgrounds and strengthen American University’s growing list of partnerships with the Smithsonian Institution and other local and national institutions located in the Washington area. The appointee’s tenure home will reside in the department most closely related to her or his intellectual interests.
Send letter of application indicating relevant research and teaching experience, curriculum vitae, and three letters of recommendation (preferably by e-mail) to:
American Studies Search Committee
Department of History
American University
4400 Massachusetts Avenue, NW
Washington, D.C. 20016-8083
Email: amstusearch@american.edu.
Applications should be complete by September 15, 2009
2.) Director of Gregg Museum of Art and Design, North Carolina State University
North Carolina State University invites applications for the position of Director, Gregg Museum of Art & Design. The Director reports directly to the Associate Vice Chancellor for Arts NC State, the administrative unit for the University’s visual and performing arts programs.
The Director will provide overall leadership and management for the Museum, including care and growth of the collection; financial management; fundraising; academic collaborations with University departments and colleges; and community outreach and volunteer engagement and support, particularly in partnership with the Friends of the Gregg, the advocacy and support group for the Gregg Museum. The Director will provide creative leadership in the development of exhibitions and will develop innovative approaches to object-based education in support of University courses, research and outreach. Through these initiatives, the Director will continue to increase student appreciation and knowledge of the arts. The Director will supervise daily operations of the Museum including staff management.
Requirements:
The qualified candidate will have a minimum of seven years to ten years experience as the Director or Senior Curator at a museum (preferably university-based) or art institute; PhD in art history, American material culture, and/or an advanced degree in museum management; and recognized expertise in one or more fields of textiles, ceramics, metals, photography or self-taught art relevant to the mission of the Gregg Museum.
Preferred Education: Doctorate
Additional Salary Information: Benefits include health and dental insurance, vacation, and participation in the state retirement plan.
Apply online at http://museumcareers.aam-us.org/jobdetail.cfm?job=3165634.32j
(photo above is of a recent exhibition at the Gregg Musem of Art and Design in North Carolina.)
Comments
By Monica Sklar,
August 17th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
1.)
21st Biennial Congress of International Association of Empirical Aesthetics
Dresden (Germany), August 25-28, 2010
Organized by the Association of Architectural Aesthetics, the International
Association of Empirical Aesthetics and the Department of Architecture at the Technical University of
Dresden.
Deadline: Nov. 1, 2009
The purpose of the Congress is to provide a forum for the exchange of ideas and information relating to various topics involving empirical aesthetics.
Congress topics may include:
Psychology of Aesthetics
Perception and Art
Aesthetic Theory
Art Education
Art and Environment
Museology
Special topics include:
Aesthetics of Design
Aesthetics of Media, Computers
Aesthetics of Music
Aesthetic Education
Creativity in the Design Process
Link
2.)
The American Society for Aesthetics Graduate E-journal (ASAGE)
Fall 2009 / Winter 2010 Issue
Submissions should not normally exceed 3000 words. Authors are encouraged to provide links to
authorized online images of art works and audio or video files referred to in the paper whenever possible.
The submission deadline for this third issue is Sept 1, 2009.
Link
Comments
By Monica Sklar,
August 17th, 2009 at 12:37 am
(Uncategorized)
Tonight we went to Jax Cafe in Minneapolis to attend a party in honor of the long awaited Mad Men season 3 premiere. (By the way-we’ve eaten there before for a celebration and it’s great.)
It was a fab event, with retro furnishings, music, cocktails, and awards for best dressed. So of course, everyone came in the spirit and I had such a blast taking shots of a few of my fav looks. Unfortunately I had to cut out shortly after the show aired, but I’m sure the night is still going strong.
Applause to Vita.mn, DJ Jake Rudh, and everyone who organized this successful night and it’s of course great that the proceeds go to charity. The room was packed with gorgeous people, standing room only actually, and I lucked out that friends had saved us some prime seats in front of the big screen.
I figured WT readers would undoutably love to see what types of early 60s inspired outfits people wore. Note–when watching the dvd extras of Mad Men, the costume team and production artists are careful to point out that the aesthetics date back prior to the exact year of each season, because real people don’t buy everything the year it comes out. Thus, a home or a wardrobe in a realistic fashion is a gathering of items one has acquired over time. You keep up with contemporary trends, and you also embrace what you know and/or love. It is that type of attention to detail that makes the show that touch more tangible and less like a cartoon. Hence, I didn’t feel at all out of place in my dress that I would interpret as a few years prior to the 1963 year of this season.
So below you’ll find some shots of guests at the party. Enjoy!
Great accessories!
Fabulous jacket!
This was one of the award winning outfits
Awesome coordinated style
Loved the Beatnik look
My ensemble: this outfit was a major find for $20 at an antique mall last week. I was really shocked how pricey vintage has gotten. I shopped almost all the local stores, wasn’t that impressed with the stock, yet the prices on average were $45-$85 for similar outfits. Having been a manager of a vintage for many years (granted years ago but…) it seems the prices are out of hand. So, I was thrilled to land this versatile little number for what seems to be a steal these days.
My ensemble minus the little jacket
Harlo scooped up these rad plaid pants at an estate sale for $2! And, the sale was amazing as it was members of the Walker family of the Walker Art Center. Tons of great furniture, art, etc.
This was one of the award winning outfits
Comments
By Lucy Collins,
August 13th, 2009 at 5:00 am
(International Fashion, Uncategorized)
It could be said that all fashion is merely a footnote to Italy. Indeed, the imprint of Italian sensibility and design is almost impossible to extract from fashion itself. If the French are credited with craftsmanship and elegance, Italians treat fashion with an unswerving attention to the body.
One aspect that stands out in a cursory examination of Italian fashion is the fact that men are just as “into it” as women. Fashion has often been considered a uniquely feminine pursuit. From the dismissal of clothing as superficial and frivolous, to the claim that fashioning and accessorizing the body is a duplicitous means of seducing men, women have always been associated with the endeavor of dressing the body.
But in plenty of countries it is specifically the men who engage in sartorial concerns. (In the animal kingdom in fact, it is most often the males of the species who preen and fluff and flaunt their colors to attract the females.) So as more and more men across the globe begin to take an interest in their clothing, it seems an appropriate moment to think about some places where male fashion actually takes precedence over female fashion. Italy is a one particular country where men are famous for caring deeply about their clothing.
In many ways Italian dressing has set the standard for men all over the world. If the iconic Armani suit is any indication of the Italian influence on the fashionable male, then it is clear that men in Italy care greatly about what image they present to the world.
And that’s not even to mention all the perfectly polished handmade leather goods that come from Italy. Is it more natural for men to care about fine shoes and leather briefcases? Perhaps. But regardless, if Fendi, Gucci, Prada, Armani, Versace, and Dolce and Gabbana are names that ring a bell, then you know what an impact Italian designers have had on the world of fashion. When Armani dressed Richard Gere for the infamous film American Gigolo, it seemed that every man needed an Armani suit. And it was OK to care about the smallest details of that suit.
Armani and Valentino have certainly made themselves into demigods of fashion. As the recent film Valentino, The Last Emperor revealed, Valentino was in fact Lord of his own Empire. Indeed, fashion appeals to this desire in all of us — the hope of becoming kings and queens of our own kingdoms.
Despite the unfortunate recent collapse of men’s Vogue, the famous Sartorialist continues to snap shots of well-dressed men all over the world, inspiring even the most sartorially-challenged guy to care about the fold of a tie or the cuffs of his pants.
Just a few words about Italian women… Perhaps it’s because Italian women are blessed with extraordinary proportions (think Sophia Loren), but Italian women do have a unique penchant for showing off their curves. Their clothing is not particularly revealing of skin, but it is usually ever-so-body-conscious. Skin tight jeans and femme fatale dresses characterize women’s clothing in Italy. And everything is complimented by a pair of those fantastic Italian leather high heels.
Sophia Loren
If men’s fashion is revered in Italy, then women’s fashion is an attempt to gain male attention. Italian women want to stand out, not blend in, and they indeed want to be noticed for their sex appeal. So if Italy is a country where everyone pays attention to men’s clothing and where women are admired for being womanly, perhaps we all stand to gain from looking a little more carefully at that nice pair of cuff links. Because maybe it’s in respecting men’s clothing, after all, that everyone can come to know more fully the worth of fashion itself.
A few books on Italian fashion in general: Fashion, Italian Style
by Valerie Steele. And Maria Luisa Frisa has written a book: Italian Fashion Now
that will be released in February of 2010. On men’s fashion in particular: Men’s Style: The Thinking Man’s Guide to Dress
Russell Smith and The Men’s Fashion Reader
Peter McNeil.
1 Comment
By Heather Vaughan,
August 12th, 2009 at 5:00 am
(Uncategorized)
*
A recent article in the Christian Science Monitor discussed the new-felt need of museums to connect with their audience. Though the article is primarily an overview of how museums globally are connecting through new buildings and new exhibits, providing examples of how specific institutions are re-examining their curatorial practices: it ends with an all to brief nod to the new marketing techniques being employed by museums:
“People want a personal, relevant connection . . . whether through technology such as Twitter or Facebook or physical participation. ‘It’s all about making personal, meaningful connections with a community, now.’”
Having recently joined the twitter-sphere to explore just how museums are utilizing new social media to promote their exhibitions, collections and curators it seems that this really is the future. One can follow any number of museums, publishers, and universities to stay ‘up-to-date’ on what’s current in the curatorial, exhibition and collections world. It’s also an interesting way to track exhibition trends and popularity among visitors.
Museum professionals in the Bay Area looking to expand their knowledge of social media and its use in the cultural sector, should check out the free workshop “Free Strategic Social Media Seminar for the Cultural Sector” featuring Sebastian Chang” of the Powerhouse Museum at the SF MOMA August 28th, 2009 at 9am.
To name a few recent developments in the academic study of fashion on blogs, Facebook and Twitter, here are two of interest to WT readers:
- Drexel Historic Costume Collection on Facebook: Begun just at the end of July, this facebook site nabbed 70 friends in the first two days of its existence. Curator Clare Suaro maintains the page, and has even started discussion groups to find out what the collection’s audience wants to see in terms of exhibitions, and how they want to see objects displayed. An interesting take on both connecting to the academic community and a non-specialist audience.
- FIDM Museum Blog: Run by the staff of the Fashion Institute of Design and Merchandising Museum and Galleries staff, this blog models itself after other museum blogs (such as the Chicago History Museum‘s blog) whereby single objects from the collection are featured and discussed at length. One of the best things about this blog (so far) is the high quality photographs and detailed object examinations.
Finally, I wanted to provide a link for readers with information on who else is blogging in the Museum field. It turns out, there are a lot of them out there. Online Universities.com recently published a list of the 100 Best Curator and Museum Blogs. The list is broken down into subcategories: Resources & Advice; Curators & Staff; Art; Children & Education; History & Culture; Science; and Miscellaneous. Personally, I think that these blogs can be extremely helpful for both students, professors and practitioners to discuss new ideas, new techniques and the curatorial process.
But I put it to WT readers: What are your favorite museum/curator/fashion history blogs/Facebook pages/Twitter feeds? (ps Follow me on Twitter @FashionHistoria to see who I’m following).
*Two piece suit with tie Vivienne Westwood Autumn/Winter 1993 2004.5.61A-C Museum purchase (FIDM Museum Blog)
Comments
By Lucy Collins,
August 11th, 2009 at 5:00 am
(Jobs, Uncategorized)
1.) Part-time Grant Writer and Researcher, The Textile Museum, Washington D.C.
The Textile Museum in Washington, D.C. seeks an energetic and talented self-starter to serve as a part-time grant writer to support the development department. This opportunity would be ideal for someone with a background in the arts and grant writing.
Responsibilities:
-Researching foundation and institutional giving prospects for general operating as well as project based funding opportunities including exhibitions and special initiatives.
-Drafting letters of inquiry and preliminary grant proposals for foundation, government, and corporate grants Managing and preparing proposals, applications and reports
-Acting as member of peer review team for documents.
-Tracking grant timelines to make sure deadlines are met.
-Attending donor meetings, special events and other development-related activities as needed
Requirements:
-Bachelor’s degree
-Non-profit grant writing experience; background in arts grant writing preferred
-Exceptional research skills
-Exceptional writing and editing skills necessary to produce quality grants under tight time constraints
-Ability to prioritize, manage and meet multiple concurrent deadlines essential; must be flexible and work well under pressure
-Experience with Raiser’s Edge software helpful
-Detail oriented, with exceptional organizational skills
-Excellent oral communication skills to interact with funders by telephone
-Professional demeanor and ability to interact with all levels within the organization
-Interest in arts, foreign cultures and languages
To Apply:
Please send cover letter, resume and grant writing sample to akiss@textilemuseum.org. Applications submitted without a grant writing sample will not be reviewed.
2.) Curator of Textiles, The Minneapolis Institute of Arts
The Minneapolis Institute of Arts seeks a dynamic and experienced Curator of Textiles. The curator is responsible for building the collection through significant acquisitions, heightening the impact of the MIA, through ambitious and intellectually rigorous exhibitions, publications, and programs. The successful candidate will also be expected to cultivate relationships with donors, professional colleagues, partner organizations and the community in furtherance of the department’s and MIA’s strategic goals.
The Minneapolis Institute of Arts has a collection of approximately 10,000 textiles, spanning fifteen centuries and representing more than seventy countries. The collection is known for its European tapestries, early Italian lace, Kashmiri shawls, Turkish embroideries, urban and rural North African textiles and ikat fabrics.
The textile curator will have responsibility for the overall care of the collection, the conception of rotations for the permanent collection galleries, and the development of exhibitions for the MIA’s special exhibition galleries. The curator will also be responsible for conducting research leading to publications that significantly advance the field. The curator will work closely with collectors and prospective donors, and provide direction to the Textile Council, an auxiliary museum group dedicated to supporting the activities of the Textile curator.
Required Skills:
Master’s degree (Ph.D. strongly preferred). Minimum of 7 years curatorial experience in textiles or transferable equivalent. Strong record of research and scholarship, with proven experience organizing loan exhibitions and producing significant publications. Demonstrated skill at strategically building a collection through gift and purchases. Team player with proven ability to work effectively and positively with staff, trustees, and all other internal and external contacts. Ability to build positive and effective relationships with donors and the broader community. Proven experience providing work direction to support staff.
To apply:
Send letter of interest and curriculum vitae to:
Attn: Human Resources
The Minneapolis Institute of Arts
2400 Third Avenue South
Minneapolis, MN 55404
FAX: (612) 870-3263
EMAIL: miajobs@artsmia.org
3.) Curatorial Assistant Decorative Arts, American Painting & Sculpture, The Baltimore Museum of Art
The Baltimore Museum of Art (BMA) seeks a Curatorial Assistant for the Department of Decorative Arts, American Painting and Sculpture. S/he will join the Senior Curator for Decorative Arts, American Painting and Sculpture; the Curator of Decorative Arts for Textiles; and the Curatorial Assistant of Decorative Arts for Textiles in a multi-faceted department housing the BMA’s outstanding collections of American painting and sculpture, European and American decorative arts, and textiles.
Requirements:
The Curatorial Assistant is responsible for a wide range of duties, including assisting with management of the permanent collection numbering approximately 14,000 objects; exhibitions and loans; accessions and deaccessions; Friends of the American Wing support group; independent projects; and administrative functions of the Department. Additionally, the Department is planning for the reinstallation of the Dorothy McIlvain Scott Wing. The Curatorial Assistant will be expected to coordinate this project and all related projects in conjunction with the Senior Curator. S/he reports to the Senior Curator for Decorative Arts, American Painting and Sculpture, and may manage up to three interns, fellows, and/or volunteers.
Applicants must have a bachelor’s degree in art history, with an emphasis on American art or a related field; at least one year of professional museum experience, preferably in a curatorial or research capacity; and at least three years of office experience. Applicants with an advanced degree are preferred. We are looking for candidates who demonstrate strong abilities as follows: Excellent interpersonal and written communication skills Ability to work independently, as well as collaboratively, in a fast-paced team environment Skilled in multi-tasking, organization, project management, prioritization, and time management Possesses sound judgment and diplomacy Excellent computer skills (Microsoft Office Suite, object management database, membership management database, and basic photo editing required) Knowledge of art research resources Knowledge of a foreign language a plus
To Apply:
Please send cover letter, resume, and salary requirements via e-mail to HR@artbma.org with “Curatorial Assistant for American Art with your first and last name” in the subject line by or before September 1, 2009
Comments
By Monica Sklar,
August 10th, 2009 at 5:00 am
(Academic Research & Related, Uncategorized)
So I’m at the point in my dissertation where I need to start thinking about a software purchase to make life easier when it comes to the analysis of data. All of my previous research hasn’t necessitated qualitative coding software as I’ve done quantitative work (used SPSS and custom written software), critical literature reviews, content analysis, material culture projects, and interviews that were long however few in number.
But now I’ve got twenty 45 minute interviews with 15 minute corresponding videos. I think it’s too much to go through by hand as the sole method since the transcriptions for the interviews alone tend to be about 15 pages each before the video transcriptions. So, I’ve been asking around a bit and surfing the blogs, and many people seem to think qualitative coding software would be a great help.
NVIVO gets recommendations, but, I am a dedicated MAC person, and I don’t even want to put the Windows option onto any of my machines. So, it looks like no NVIVO.
There seems to be another product by the same company that is usable by MAC people called N4 (formerly NUD*IST) but I cannot find much helpful chatter about it pro or con.
I’ve also read about a program called TAMS but again, cannot seem to find a lot of discussion on it that is useful to me.
So, do any WT readers have thoughts on this? It appears much of this type of software helps draw out themes, develop theories, build models?, work with video (some), etc. I want something robust and useful, but not too complicated and overwhelming. And preferably, doesn’t cost a fortune.
Please drop me an email or better yet, make a comment on this post with your experiences and thoughts.
Thanx in advance!!
2 Comments
By Monica Sklar,
August 10th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
1.)
International Foundation of Fashion Technology Institutes
Theme: Fashion Sustainability and Creativity
March 23-26, 2010, Taiwan
Deadline: August 31, 2009
Topics:
Sustainable Fashion Philosophy and Policies
Sustainable Ethical Business Practices
Sustainable Fashion Creativity
Innovative Sustainable Technology
Sustainable Fashion and Textiles Education
Link
2.)
IMAGES IN TIME: Flashing forward, backward, in front and behind photography in fashion, advertising and the press
November 27-28, 2009, University of Iceland, Reykjavik
Deadline: September 20, 2009
Photography and fashion have much in common. Both are expressive visual
mediums, constructors of meanings and significations, slippery research
objects, whose theoretical approaches therefore have been subject to much
change and some irresolution. Although it is well established that the
language of photography shares many terms used in semiological discourses,
there are no definite methods for “dealing with” images, but
several models, whose elements call for renewed scrutiny and testing.
Recent tendencies towards cross-fertilization between traditional (history
and art history) and newer (fashion studies, studies of visual and
material culture) disciplines as well as the theories involved, open up
the possibility of a variety of empirical/thematic, technical and
methodological, as well as theoretical approaches.
Topics:
Practice and problems in dating, locating, attributing and identifying
images as empirical objects
Questioning the image as a constructive element and/or constituting force
Relationships between idea and reality in images/imaging
Images as forms of internal and/or external communication
Images as process, in creation, in propagation, in interpretation, at
their time of creation and with respect to their afterlife
Conflict and consensus in theoretical approaches, e.g. between semiology
and historical source criticism
Dealing with images as empirical objects: dating, locating, attributing
and identifying
Image-embedded values and assumptions and/or contradictions and dissonances
The reactive/proactive image
Aesthetics and/or ethics in image-production, e.g. manipulation of
historical images
Image (= icon) to Image (= brand)
Papers will be considered on any related theme. Abstracts (300 words maximum).
Send your questions and abstract here or here
Comments
By Monica Sklar,
August 7th, 2009 at 5:00 am
(Academic Research & Related, Uncategorized)
I’ve got about a month left until school starts at which point things will get very tight in terms of time on my hands. So, I took a trip to three local libraries to load up on some books to dive into as fast as possible. Some of which I’ve gone through before, some were recommended, some have been on my short list and have finally made it home, and others, were that happy sort of find when you’re in the aisle looking for something else, and instead this one jumps off the shelf as PERFECT!
Perhaps this isn’t the most intriguing of posts, but, below is my August self-prescribed reading list. Let’s see how many I can get through and if they have value for my dissertation and/or book-in-progress.
After Subculture: Crtitical Studies in Contemporary Youth Culture
Consumer Culture and Postmodernism 
The Way We Wore: A Life in Threads
Writing for Social Scientists: How to Start and Finish Your Thesis, Book, or Article: Second Edition
Social Theory for a Changing Society
Fashion Theory: A Reader 
The Study of Dress History
Establishing Dress History
The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism
The Post-Subcultures Reader
The Adoring Audience: Fan Culture and Popular Media
Getting It on: The Clothing of Rock ‘N’ Roll
Faking It: The Quest for Authenticity in Popular Music
So yeah, I realize it’s a long list. But I’ve read some of them before and they just need a re-read. And others I will skim for important passages and chapters. Others will get a thorough read in an effort to embrace the entire topic of the text. And some will just sit on the shelf. But honestly, that will be the minority, as I’ve found that grad school is certainly not for light readers.
Thank goodness I picked a dissertation topic I’m still not sick of. I was clued in about that long ago, and have dealt with those challenges before. Advice to the would-be doctoral student: always pick a topic you won’t bore of, because let me tell you, this list is the tip of the iceberg. This is my reading for one month…now multiply that by a four year program and you can see why I’m saying pick something you’re passionate about.
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