By Lucy Collins,
December 15th, 2009 at 5:19 am
(Jobs, Uncategorized)
Full-time Faculty, Experimental Fashion, Fiber, Maryland Institute College of Art
The Fiber Department of Maryland Institute College of Art invites applications for a full-time faculty appointment with a multi-year renewable contract in a non-tenure institution.
The College seeks an outstanding, accomplished artist who is committed to both the tradition and the exploration of current and new innovations in the Fiber field with a strong conceptual and historical understanding of the media in the fine arts context. The studio artist/ educator will teach eighteen credits per year (three courses per semester) at an art school nationally known for its dedication to teaching excellence, a rigorous liberal arts curriculum and the importance of the fine arts. The candidate will be capable of teaching all levels of the undergraduate program, be proficient in traditional techniques and a broad understanding of new approaches to the fiber medium with a specialty in the emerging area of digital fiber-related technologies and Smart Textiles and have a visionary relationship to the newly established Experimental Fashion Concentration. As faculty in a Fiber program, the candidate should have a broad understanding of the fiber practice and be knowledgeable of contemporary art issues and theory. The candidate should have the ability to integrate theoretical, material, practical and social issues into fiber studio pedagogy. Some administrative experience will be valued.
Requirements:
* MFA degree
* Minimum 3 years of full-time teaching experience beyond graduate assistantships
* Strong record of professional excellence as demonstrated by a portfolio of work and exhibition activity
* Personal commitment to teaching on a college level
* Knowledgeable about contemporary art issues and theory
* Capable of teaching all levels of the undergraduate program
* Ability to work in a collaborative environment, participating in advising, institutional and departmental committee service and scheduled departmental and student activities
* Successful Candidate will be required to complete Employment and Education Verifications
Valued but not required:
* Proficient in traditional techniques in the fiber medium
* Proficient in new technologies in the fiber medium
* Ability to coordinate the department exhibitions of student work during the school year
Apply: The College will review applications as received. Although materials received before January 11, 2010, are best assured of receiving full consideration, the position will remain open until filled. All inquiries, nominations and applications will be held in the strictest confidence.
Submit by mail: 20 images of professional work, 20 images of students’ work with a descriptive list on CD to:
Experimental Fashion Fiber Search
Maryland Institute College of Art
1300 W. Mount Royal Avenue
Baltimore, MD 21217
Please include a stamped, self-addressed envelope if you wish the materials to be returned.
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By Monica Sklar,
December 14th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
Call for papers:
Health, Embodiment, And Visual Culture: Engaging Publics And Pedagogies
Conference:
November 19-20, 2010
McMaster University
Hamilton, Ontario, Canada
Conference Co-Chairs: Sarah Brophy, Associate Professor, Department of English and Cultural Studies, McMaster University Janice Hladki, Associate Professor, School of the Arts, McMaster University
DEADLINE: January 15, 2010
Details:
This interdisciplinary conference seeks to explore how visual cultural practices image and imagine unruly bodies and, in so doing, respond to Patricia Zimmermann’s call for “radical media democracies that animate contentious public spheres” (2000, p. xx). Our aim is to explore how health, disability, and the body are theorized, materialized, and politicized in forms of visual culture including photography, video art, graphic memoir, film, body art and performance, and digital media. Accordingly, we invite proposals for individual papers and roundtables that consider how contemporary visual culture makes bodies political in ways that matter for the future of democracy. Proposals may draw on fields such as: visual culture, critical theory, disability studies, health studies, science studies, autobiography studies, indigenous studies, feminisms, queer studies, and globalization/transnationalism.
Confirmed Keynote Speakers:
*Rebecca Belmore* internationally recognized Anishinabekwe artist, Vancouver (exhibitions of her performance, video, installation, and sculpture include: Venice Biennale, Sydney Biennale, Brooklyn Museum of Art, Art Gallery of Ontario, Museum of Contemporary Native Arts); *Lisa Cartwright,* Professor of Communication and Science Studies and Affiliated Faculty in Gender Studies, Department of Communication, University of California, San Diego (/Screening the Body: Tracing Medicine’s Visual Culture/; /Moral Spectatorship: Technologies of Voice and Affect in Postwar Representations of the Child/) *Robert McRuer,* Professor and Deputy Chair, Department of English, George Washington University, Washington, DC (/Crip Theory: Cultural Signs of Queerness and Disability/; /The Queer Renaissance: Contemporary American Literature and the Reinvention of Lesbian and Gay Identities/); *Ato Quayson,* Professor of English and Director of the Centre for Diaspora and Transnational Studies, University of Toronto (/Aesthetic Nervousness: Disability and the Crisis of Representation/; /Relocating Postcolonialism/).
The conference will also feature /Scrapes: Unruly Embodiments in Video Art,/ an exhibition curated by Sarah Brophy and Janice Hladki, at the McMaster Museum of Art.
Possible Themes:
1. Technologies — medical technologies (e.g. medical imaging, drug therapies, prosthetics and other devices) and their implications for embodiment, subjectivity, community, kinship, and politics — corporeality and the senses as sites/forms of knowledge-making — biopolitics and surveillance — the relationship between “old” and “new” technologies — how technologies mediate social spaces of embodiment and interaction — interrogations of the human and posthuman in medicine, science, and art
2. Cultural Production — cultural pedagogy; the production of knowledge in sites of cultural production (e.g. galleries, festivals, classrooms, online, etc.) — counter-publics (e.g. disability culture) — indigenous modes of cultural production — diasporic/transnational issues and practices — new representational modes (e.g. digital arts, graphic memoir) — documentary practices — “doing politics in art” (Bennett)
3. Disability — medical, scientific, and cultural discourses of disability — performing and witnessing embodied difference — interrogations of impairment — genetics, reproduction, eugenics — dis-ease and disorder — “ability trouble” (McRuer) — “radical crip images” (McRuer)
4. Affect — explorations of “ugly feelings” (Ngai), “aesthetic nervousness” (Quayson), “moral spectatorship” (Cartwright), “empathic vision” (Bennett), and “seeing for” (Bal) — relationships to medicalization, regulation, and surveillance — affect as generative/productive in relation to concepts of ethical spectatorship and witnessing — relationships between corporeality and theorizations of nature as dynamic and agentic (Barad, Grosz, Haraway) — can we/should we move beyond the theories that posit /negative/ affect as a prime site for ethics? — affect and global politics: representations of global mobilities, violence, war, terrorism
Submissions:
We kindly invite submissions from scholars, artists, health professionals, community members, and activists in all areas and disciplines. Concurrent sessions will be 90 minutes in length. Proposals for the following formats will be considered: 1) Individual papers: 15 minutes in length 2) Roundtables: 4-5 participants, including a designated moderator and a plan for facilitated discussion of ideas All submissions will be peer-reviewed.
Individual paper submissions should include:
1) affiliation and contact information 2) a biographical note of up to 200 words 3) paper title and a 300-500 word abstract; the description of the paper’s content should be as specific as possible and indicate relevance to one or more of the conference thematics. 4) details of audiovisual needs (e.g. DVD, LCD projection, and/or VHS). Note that participants will need to bring their own laptops.
Roundtable submissions should include:
1) affiliation and contact information for each participant 2) a biographical note of up to 200 words for each participant 3) roundtable title and a 500 word proposal. The proposal should both indicate the relevance of the roundtable to one or more of the conference thematics and outline the organization of the proposed discussion. 4) details of audiovisual needs (e.g. DVD, LCD projection, and/or VHS). Note that participants will need to bring their own laptops.
All submissions should be sent via email attachment by January 15, 2010. Please use the subject line “proposal for Health, Embodiment, and Visual Culture.” Attachments should be in .doc or .rtf formats.
If electronic submission is not possible, please mail or fax proposals to arrive by January 15, 2010. Address: Sarah Brophy & Janice Hladki: Health, Embodiment, and Visual Culture Conference c/o Department of English & Cultural Studies Chester New Hall 321 McMaster University 1280 Main Street West Hamilton, Ontario, L8S 4L9 Fax: 905-777-8316
Post-Conference Publication:
Papers from the conference will be considered for a special issue of The Review of Education, Pedagogy, and Cultural Studies.
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By Lauren Michel,
December 11th, 2009 at 5:00 am
(Teaching)
It’s winter here in the northern hemisphere, meaning that my school is winding down for a five-week winter break. Depending on who you are, or where you are, it is also the Christmas season. “It’s the most wonderful time of the year,” as the classic Christmas song goes. Whether it is or is not, from the point of view of a teacher or a student, is debateable. I, for one, have grown accustomed to the end-of-term deluge of papers and exams to grade, and grades to tabulate; the mid-year break that I have coming up a week from now make it all worthwhile, and then some. Don’t get me wrong. I love my work. Love it. Love, love, love it. But seriously, who couldn’t enjoy a five-week break from work? Only Ebenezer Scrooge, that’s who. Not that I won’t be working. I have the upcoming term to prepare for and some traveling on the calendar, but I get to plan my own schedule, more or less, and that is always nice to do from time to time.
One of the things that is not one of my most favorite parts of my work is exams. I like them as a means of assessment: determining what students are taking away from lectures and retaining from their assignments. I like them as pedagogical tool (in theory, exams can be one way to “encourage” students to pay attention in class, do their assignments and read their textbooks and other assigned materials). What I dislike, however, is feeling like time is being wasted, either on the part of my students, or on my part. Grading the exam of a student who clearly did not prepare is a waste of my time; when students fail to read their textbooks steadily throughout the term (one or two chapters per week), and only read them in last-minute preparation for exams, they may be wasting their own time (compromising what they retain in the short term and diminishing what they retain in the long term, if anything).
Here are a few questions I have for you, dear readers:
For my fellow instructors, how do you assess your students? In my practical classes, I usually have my students prepare a portfolio throughout the term, demonstrating their acquisition of the required skills. In my academic classes, I have written assignments, research papers, and short answer and multiple-choice exams.
To those of you working in the fashion industry today, what do you recall learning in college and university fashion and/or business courses that you have used in your career? Of that information, what helped you retain it, and how, if ever, were you assessed on your learning of that information in your classes?
While we are on the subject of testing fashion students, here is a test for all readers: Test Your Fashion I.Q., a quiz from 1956, over at Couture Allure.
And moi, I’m off to put the finishing touches on my final exams for the term. Wish my students luck, everyone!
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By Lucy Collins,
December 10th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
Saturday’s morning session of the FIT Symposium opened with David Colman of the New York Times speaking on the current revival of preppy style. This paper was particularly interesting to me, not only because I’ve recently migrated to Williamsburg, Brooklyn where this style can be found in a million different manifestations, but primarily because I also see preppy style as one of most intriguing springboards for discussing issues of dress, the individual, and group membership.
Colman mentioned the unique nostalgia or longing that is at work in the desire to dress as a prep. But he wonders if most people are pining for a past they never even experienced. Which leads to the question of authenticity… Preppy style – as it’s been interpreted and re-interpreted in so many different scenarios (most recently by Japanese consumers who seem to have a insatiable interest in this style of dress) – almost inherently poses the question of authenticity. With important components of prepster style including boat shoes, hiking gear and collegiate references galore, one has to question: are all those who don this style of dress really preparing to board their yacht during spring break from their Ivy League college?
In conclusion, Colman referenced F. Scott Fitzgerald and “The Great Gatsby” as a sort of quintessential depiction of American Style. Ultimately though, Fitzgerald was really just an outsider looking into the world of the WASP-y elite. So Colman leaves us pondering if it is actually only those on the “outside” who can truly define American Style.
Next, Holly George Warren took us on a romp through the Wild West with her paper on the designer Manuel and his cowboy suits for rockers and celebrities. Concluding the morning session was Dr. Van Dyk Lewis whose paper on Hip-hop fashion touched on issues concerning “thrown-ness,” trauma, and the “body-drop.” He also reiterated how fashion is essentially a magnification of every individual’s fear of being different.
design by Claire Mccardell, American Designer par excellence
Another highlight of Saturday’s session was Eric Wilson‘s talk on “Fashion Journalism in the Digital Age.” Of course, this paper was especially relevant to Tove and me, fashion bloggers that we are…
In general, Wilson reminded us that fashion is after all a visual language rather than a narrative, and that the variety of fashion blogs available online today simply highlights this visual element in a unique way.
In addition, he thinks that it is ultimately a good thing that what was once a very insular world (the world of fashion) is now available to everyone. However, one of the downsides he mentioned is the ease with which anyone can post comments on fashion blogs and other web-based materials. The posting of comments under a veil of anonymity often leads to writing and discussion which is much less objective and much less sophisticated.
The afternoon concluded with a conversation between designer Yeohlee Teng and Dr. Susan Sidlauskas. Yoehlee is known for her structurally minimal “no waste” designs. After discussing her inspiration and design process, Yoehlee treated the audience to a video of the runway show of her latest collection.
Despite what was essentially a delightful collection of papers seeking to capture some picture of American Style, in the end I found myself puzzled concerning the actual mission of the symposium. Was it to attract people outside the fashion industry or was it to actually address real concerns of those immediately involved with fashion through their professions – whether it be designers, conservators, critics, or academics? I’m not really sure where such a symposium fits into the world of scholarly research, but as far as an outreach effort for the FIT Museum it served its purpose well.
As usual at these sort of events, most of the speakers ran past their time, throwing the conference off schedule and basically eliminating the question and answer period. I consider this a particular shame in this case, since I would really liked to have known who was in the audience, what their concerns were, and what their reactions to the papers would’ve been.
But overall, I did find the symposium to be inspiring in a variety of ways. I very much admire the work of Valerie Steele and Patricia Mears at the FIT Museum and I look forward to seeing how they continue to create a space where fashion can be taken seriously in an academic, aesthetic, and cultural sense.
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By Heather Vaughan,
December 9th, 2009 at 5:00 am
(Book Reviews, Teaching, Uncategorized)
And now, my continued look at new fashion books for your Holiday enjoyment:
The Culture of Knitting
(Berg) by Joanne Turney has been a joy to read. Turney, a professor at the Bath School of Art and Design, presents a thoughtful and insightful study on knitting in all its forms and socio-cultural impacts. The study is extremely engaging, though academic, and I easily became engrossed in its pages. The book aims to investigate “the cultural impact and meaning(s) of knitting and its development since 1970.” That’s a pretty large task, and Turney does well by covering the topic from a wide array of perspectives, including: Gender/Feminist, design history, postmodern, historical/nostalgia, political, aesthetics, psychological and social, with a view to uncovering the secret of knitting’s success (that is, the reason for its longevity).
Marianne Jørgensen: 'Pink M.24 Chaffee', 2007
For those academics who are also avid knitters (such as myself), it is something of a treat to think critically about an activity that you enjoy so much. Don’t misunderstand me, it is a deeply academic text, with few illustrations and no patterns. Turney’s intention with this book is to discuss and contemplate something that is so commonplace that it tends to be ignored. She uses case studies, and heavy doses of theory to do this. Moving beyond the ‘old-lady’ aspects of knitting, some of the most interesting parts of this book occur when the author discusses how knitting since the 1970s has become associated with art, politics, as well as with high fashion and design. My only issue with the book is it’s focus on the UK, especially with regards to popular culture. I’m sure I missed a number of very good points because her reference was so UK-specific. That said, it is still an important and valuable contribution to the study of dress, fashion and textile arts.
The Great Fashion Designers
(Berg) by Brenda Poland and Roger Tredre was released yesterday (December 8 ) just in time for the holiday season. Grouped by time period, it provides brief (3-4 page) discussions of each major designer along with a black and white photograph representative of their work. An introduction to each section provides historical context for readers encountering these designers for the first time. The end of each designer bio includes a paragraph with ‘further reading’ resources. Though the photographs are not always the best representative of the designers work, they are images not often seen in publication and the ‘newness’ is appreciated. Overall, it is a great reference for teachers, students, researchers and academics.
Finally, we have Chinese Fashion: From Mao to Now (Dress, Body, Culture)
(Berg) by Juanjuan Wu, Assistant Professor in the Department of Design, Housing, & Apparel at the University of Minnesota. Focused on post-Mao Chinese fashion (1978-Present), Wu examines “the ways fashion has both mirrored and shaped social and cultural change in modern China.” She notes that it is the first study to look at the interplay between western and Chinese fashion during this time to be published in English but from a Chinese perspective. It is organized thematically, as a series of essays covering the history from different perspectives. These in-depth essays include discussions of the interplay between the media and fashion in China, the concepts of asexual and unisex clothing; the re-appropriation of ‘traditional’ styles such as the Qipoa and Tang Jacket, the rise of the fashion industry and models in China, and the impact of Western brands. It is a comprehensive study, and includes a good deal of illustrative black and white photographs, advertisements and magazine covers. It should be useful to scholars, professors and students and would be a wonderful addition to university libraries.
Chinese super model Lv Ya during Chinese Fashion Week (2009 Spring/Summer Series) in Beijing on November 9.
As an aside, the Portland Art Museum is currently featuring China Design Now (exported from the V & A Museum) through January 17, 2010. Their blog about the exhibition can be found at www.cdnpdx.org and the conversation about the exhibition can be followed on Twitter by searching for #CDNPDX.
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By Tove Hermanson,
December 8th, 2009 at 1:52 pm
(Uncategorized)
It was with typical excitement that fellow WT contributor Lucy Collins and I attended this year’s FIT symposium, “American Style.” Last year’s on subculture and fashion had blown me away with its interdisciplinary menagerie of distinguished speakers. Though there were not as many people outside the fashion field as last year, it was a generally rewarding to be an audience member.
Valerie Steele introduced FIT Museum collaborator Patricia Mears who delivered an overview of “American Beauty” where she discussed what made a well constructed garment and why it’s impossible to pin down purely American style. She peaked my interest with a quotation of designer and critic Elizabeth Hawes who in 1937 wrote — I paraphrase — that a garment isn’t complete until it’s worn and has assumed all the social and cultural implications of a product of it’s day and age. I heartily agree, Ms. Hawes.
Delightful Caroline Rennolds Milbank spoke on “The Origin of the American Look” next where she pointed out examples of the United States’ forefathers who had been criticized for too-casual dress, including George Washington, Ben Franklin, and John Adams. This was tied in to America’s national and deliberate rejection of the regal English monarchy, and ultimately led to one common feature of American style that lingers even today: the play between glamorous and informal fashion. This dichotomy surfaced in such moments as Lafayette’s visit to New York in 1824, when America’s previous penchant for informality was matched by it’s desire to greet the French Revolution War hero with sophisticated style; Milbank pointed out that in spite of this effort, America was still about 5 years behind European fashion plates. Since then, America has struggled and played with these themes, balancing between casual / simple and elegant / ornate, like Bill Blass’ organza, crusted formal shorts and Halston’s shirtwaist dress.
Kohle Yohannan, who recently wrote books on Valentina and Claire McCardell, took the opportunity to demonstrate the likeness between these seemingly dissimilar designers. Though they were at opposite ends of the price-point spectrum, both women eschewed of-the-moment trends and constrictive undergarments; Yohannan humorously quipped that in McCardell’s lines it was “simplicity” and in Valentina’s it was “minimalism.” Both designers contributed to American fashion with their designs’ wearability and elegance.
Next, Dr. Alexandra Palmer talked about Christian Dior’s New York-specific label, and how the great French designer infiltrated the American market by addressing American needs. He did so in 1948, a year after the (French) “New Look” because, unlike Paris which was occupied during WWII, USA didn’t suffer as much financially and therefore had a better fashion market. Dior’s shirtwaist dress had been a democratic working girl’s attire; Dior’s New York label elevated it to be that of society ladies’ as well.
From Coleen Hill I learned about Mr. John, the “Mad Hatter,” who, like many designers (including previously mentioned Valentina), clouded his true upbringing to add to his mystique. I’m not an accessories person myself, but this paper confirmed my suspicion that all haberdashers are a little nutty. In a fun way, of course!
As attendees, one thing Lucy and I noted about the audience was the incredible drop in attendance, even since last year. I know conferences and symposia are struggling to attract people willing to travel and pay for registration fees, lodging, and extracurricular meals and entertainment, it was still a shock to see the significantly shrunk audience, especially since students still got in for free. I do hope conferences like FIT’s can generate enough interest to wait out this economic slump and emerge as strong as ever.
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By Lucy Collins,
December 8th, 2009 at 5:06 am
(Jobs, Uncategorized)
(1. Full-time Fashion Faculty, Mount Mary College, Milwaukee, Wisconsin
Responsibilities:
- Teach undergraduate courses in 3 or more of the following areas: textiles, textile design (Lectra Kaledo), machine knitting, fashion show coordination, retail management, buying and assortment planning, advanced patternmaking and construction (Optitex), fashion illustration, design process, portfolio development, or Adobe Photoshop and Illustrator.
- Work as a team member in developing curriculum, recruiting students, and representing the department.
- Foster industry relationships and develop cooperative projects and competition participation within the curriculum.
- Actively engage in creative scholarship in the department, at the college and in professional organizations.
- Serve on department and college committees.
- Advise and mentor undergraduate majors.
Qualifications:
- Ph.D. or master’s plus industry experience
- A passion for teaching is essential
- Record of professional involvement
- Experience in computer technology
- Excellent communication skills
- Potential to grow into leadership responsibilities
Please apply to:
Mount Mary College
Attn: Teri Cox
Human Resources
2900 N. Menomonee River Parkway
Milwaukee WI 53222-4597
Email: hrads@mtmary.edu
(2. Fashion & Textile Design Faculty, Mount Ida College
The School of Fashion Design seeks qualified candidates for a full-time faculty position in the Fashion Design Program at the Assistant/Associate Professor level beginning in the 2010-2011 academic year. A Masters degree is required in a related discipline. The candidate must also have 3 to 5 years recent experience in the apparel industry. Candidates must demonstrate excellence in teaching at the college or university level and proficiency in the following aspects of fashion design and their application to industry standards: conceptual design, spec packages, flats and story boards, garment construction, draping, pattern drafting, and industrial sewing machines. Proficiency in one or more of the following and their application to industry standards is preferred: Adobe PhotoShop and Illustrator, Gerber Technology computer system, textiles, knits and illustration.
Persons applying should be able to participate in curriculum development with the understanding that the College is committed to offering programs that provide professional preparation balanced with a liberal arts focus. Tenure track determination is dependent on terminal credentials. Positions advertised are dependent on final approval of funding.
To assure full consideration, qualified applicants are encouraged to forward a cover letter, resume, and contact information for at least three professional references by December 15, 2009 to:
Office of Human Resources Office
Mount Ida College
777 Dedham Street
Newton, MA 02459
email: jobs@mountida.edu
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By Monica Sklar,
December 7th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
The American Association of Textile Chemists and Colorists (AATCC) has launched its sixth annual design competition.
AATCC encourages creativity in textile and product design by offering cash and prizes to top student designers. In this competition developed by AATCC’s Concept 2 Consumer® (C2C) interest group, students can submit their original fabric designs, product designs, or both. Student and student teams of all levels and disciplines can win up to $1,000 from AATCC.
This year’s entries will show off “Summer Bling” with embellished fabrics, bathing suits, cover-ups, bags, and more! AATCC’s Materials interest group promotes innovative product development from a materials design perspective with its annual student competition. Students should submit designs for pool and beachwear such as swimwear, cover-ups, totes, hats, etc. incorporating 3-dimensional embellishments using a color palette from the Pantone® View Colour Planner Summer 2010 ‘magic’.
Entry deadline for designs on CD is December 15, 2009.
Five finalists in each category will be asked to submit story boards and final products for judging.
1st Place winning entries in each category will be awarded $1,000 and a complimentary copy of Pantone’s Cotton Passport.
2nd Place winning entries for each category will be awarded $500.
Winners will be announced to all participants and press on March 18, 2010.
All AATCC student members are eligible! For those that are not yet student members, it’s as simple as submitting a completed student membership application and a $35 membership fee along with an entry.
For additional information about the competition, contact Suzanne Holmes telephone 919-549-3537.
Click here for more details and the application.
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By Lauren Michel,
December 4th, 2009 at 5:00 am
(Exhibitions, Teaching)
This week we had my department’s annual field trip to San Francisco. As my campus is located approximately 120 miles from the city, the excursion has been a tradition of our Fashion and Interior Design programs for decades. Every year, we take busload of students, leaving campus at 7:30 in the morning, and returning at 5:00 in the evening.
The first stop we make depends upon what sorts of fashion and interior-design related events are on the calendar in San Francisco. Last year, we went to the de Young Museum in Golden Gate Park for the Yves Saint Laurent exhbition (fantastique). While we were there, we were also able to see the Maya Lin (the artist who designed the National Vietnam Veterans Memorial in Washington, DC) exhibition (excellent).
This year, our first stop was Tutankhamun and the Golden Age of the Pharaohs at the de Young Museum. The exhibition was nicely assembled, consisting primarily of the standard low-level-lighting-with-spot-lit-vitrines-on-podiums style of display. There were, in total, ten galleries (rooms) to the exhibition, containing artifacts from several individuals, and several rooms devoted to the artifacts found in Tut’s tomb.
If you plan to go, I will let you know now that the golden death mask which traveled in the 1970s exibition has stayed behind in Egypt (there is, however, a gilded coffin belonging to someone else), so if you were counting on seeing the mask, now you know.
As far as content, the exhibition web site (not to mention the $50 exhibit catalog) featured more material for educators to draw from than the actual exhibit itself. I would recommend that you study some New Kingdom and 18th Dynasty Egyptian history, particularly Akhenaten (Amenhotep IV, and father of Tutankhamun), the aten religion, Nefertiti (primary wife of Akhenaten), and Tutankhamun, and learn who Howard Carter was before you attend the exhibition if you really want to learn something from the experience (of course, if you want to simply take in the beauty of the objects, that is alright, as well). Knowing the history will put the artifacts into context for you, in terms of their significance in Egyptian history.
Whether you go purely for entertainment or also for education (also known as edu-tainment), know that the exhibition is part of a fundraising effort for the construction of a new antiquities museum in Egypt. The ticket prices are particularly high ($27.50, general admission on a weekday, and higher on a weekend) because a portion of the proceeds goes to finance the new museum. As I repeatedly emphasized in my classes, if you have a chance to see the King Tut exhibition, do it, otherwise your next opportunity to see those artifacts will be after the construction of the museum in Gizeh, as they will not be traveling the world after this traveling exhibition closes.
The second stop on our field trip was Union Square, the downtown shopping district in San Francisco, home to Neiman Marcus, Macy’s, Barney’s New York, Bloomingdale’s, Wilkes Bashford, Saks Fifth Avenue, the Levi’s flagship store, Tiffany’s, the six-story Westfield Center, Britex Fabrics, and the usual designer boutiques, Prada, Hermes, Chanel, Dior, et cetera. The city is now decorated for the winter holiday shopping season. The Christmas tree is up, in Union Square, along with the annual ice skating rink (yes, in California, you can ice skate in a t-shirt).
At that point in our field trip, we turned the students loose for an afternoon of lunch and shopping on their own, giving them maps of the area and the bus’s scheduled departure time and location. If you are questioning the educational value of this stop on our itinerary, let me tell you that every year I have students for whom this is their first visit to Union Square, and for some, the trip is their first visit to San Francisco. My college campus is only 120 miles from the city. Considering that it is California’s second largest apparel center, San Francisco is a must-see for any fashion student on the west coast of the United States, if not elsewhere.
At the appointed hour, everyone made it back on time and we didn’t leave anyone behind. We returned to campus promptly at 5:00. It was a good trip, all in all. If you are able to coordinate a similar tradition of taking an annual field trip with your students (or employees or co-workers), I highly recommend it.
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By Monica Sklar,
December 3rd, 2009 at 5:00 am
(Uncategorized)
On Dec 3 (today!) Christie’s will have an auction of Fashion Through the Ages that you might be interested in checking out.
Here is the link.
Christie’s site is a little in on the fritz right now so I cannot put up lots as I’m writing this, but I’m sure by the time this is published it’ll be fixed and you should give it a look as the items are nice. Christie’s have a service where you can sign up and receive email notifications of upcoming auctions that might suit you. I’m signed up for the costume, pop culture, and music related auctions and always enjoy reading though the lists. It’s surprising how reasonably priced some things can be but I’m sure that’s also a reflection of the economy.
The auction will features pieces owned by famed Italian fashion writer and lovably off-beat style innovator Anna Piaggi.
The NY Times said:
“Fashion Through the Ages” at Christie’s (christies.com) on Thursday will offer outfits that trace Ms. Piaggi’s trajectory from what she calls clothes “related to my physique,” dresses from Chanel, Lanvin and Poiret, to pieces “related to my head.”
“There was a period of irony, of provocation and rebellion,” says the Vogue Italia editor. That includes the infamous Jean Paul Gaultier cone breasts dress (as worn by Madonna) and even a dress inspired by the sculpted holes of Henry Moore and designed by Olivier Guillemin.
The catalogue is enriched by the sketches that Karl Lagerfeld made of Ms. Piaggi as a muse. Or, as she puts it: “If he liked how I looked, he would take out his pencils, if not, he said nothing.”
Click here to read the article.
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