THE MUSEUM OF ARTS AND DESIGN PRESENTS THE FIRST GLOBAL SURVEY ON THE CLOTHING PHENOMENON

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The exhibition is organized by Alexandra schwartz, New York-based art historian, curator and assistant professor at the School of Graduate Studies at SUN | Fashion institute of Technology. Schwartz remarked: “Despite the current ubiquity of clothing as a visual arts practice, it has never been examined or theorized before. aspects of subjectivity, including gender, class, race and ethnicity.

Clothes contributes to MAD’s mission to connect craft and design with the world of contemporary art, ”said Elissa Auther, Deputy Director of Curatorial Affairs and Chief Curator William and Mildred Lasdon. , creating a work that explores the essential relationship between the body and the clothes that adorn it. ”

On two floors of the Museum,Clothes is organized around five interrelated themes.

FUNCTIONALITY
One of the major challenges of clothing is the traditional divide between the fine arts and the applied arts. Garmenting offers a critique of this division by questioning what makes a garment ‘functional’ (that is, it can be worn in everyday life) as opposed to ‘art’ (that is, it can be worn in everyday life). i.e. for an exhibition or a performance).

GENRE
Clothing is intimately linked to the construction of the genre. Influenced by feminist and queer theory, many artists use clothing to take a critical look at the construction and disruption of gender identities.

ACTIVISM
Dressing as an activist gesture has long been practiced by artists, deploying the symbolism inherent in clothing, particularly with regard to gender, sexuality and cultural difference, to help advance a political agenda.

CULTURAL DIFFERENCE
Historically, dress was primarily determined by cultural identifiers such as ethnicity, region, religion, and class. Many of these markers have been eroded by industrialization and globalization. Artists in this section use sartorial vocabulary to combat threats, help preserve or reflect on racial, ethnic and cultural identities and differences.

PERFORMANCE
The rise of performance in the 1960s helped precipitate that of clothing, and the two practices have always been intimately linked.Clothesincludes a series of live performances at MAD, and a different artist will perform at the Museum each month of the exhibition’s run. These artists share concerns about how dress language affects moving bodies, often intersecting the gender, cultural difference, and activism discussed throughout the exhibition.

EXHIBITION ARTISTS
Xenobia Bailey (United States, 1955), Raphaël Barontini (France, 1984), Sanford Biggers (United States, 1970), Karina Bisch (France, 1974), Louise Bourgeois (France-United States, 1911-2010), Zoë Buckman (UK, 1986), Nick’s cave (United States, 1959), Enoch cheng (Hong Kong, 1983), Sylvie Fleury (Switzerland, 1961), Jeffrey Gibson (Mississippi Band Choctaw / Cherokee, 1972), Herring Oliver (Germany, 1964), Lexy Ho-Tai (United States, 1993), Jaamil Olawale Kosoko (United States, 1983), Annette Messager (France, 1943), Esmaa Mohamoud (Canada, 1992), Kent monkman (shout/Canada, 1965), Marc Newport (United States, 1964), Raul de Nieves (Mexico, 1983), Wanda Raimundi Ortiz (United States, 1973), Nazareth Pacheco (Brazil, 1961), Sheelasha Rajbhandari (Nepal, 1988), Hunter Reynolds (United States, 1959), Jacolby Satterwhite (United States, 1986), Tanis S’eiltin (Tlingit, 1951), Beverly semmes (United States, 1958), Devan Shimoyama (United States, 1989), Yinka Shonibare CBE (Nigeria, 1962), Marie Sibande (South Africa, 1982), Jakkai Siributr (Thailand, 1969), Vivan Sundaram (India, 1943), Franz Erhard Walther (Germany, 1939), Saya Woolfalk (Japan, 1979), A Young Yu (Korea, 1993), Andrea Zittel (United States, 1965)

# Clothing @MADmuseum

SOURCE Museum of Arts and Design


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