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Records of the Types of Dress

Joanne B. Eicher and Sandra Lee Evenson

Source: The Visible Self. Global Perspectives on Dress, Culture, and Society, 4th Edition, 2015, Fairchild Books Library

Book chapter

At the conclusion of this chapter, you will be able to:

Written Interpretations of Dress

Joanne B. Eicher and Sandra Lee Evenson

Source: The Visible Self. Global Perspectives on Dress, Culture, and Society, 4th Edition, 2015, Fairchild Books Library

Book chapter

At the conclusion of this chapter, you will be able to:

The Art of Creating Dress

Joanne B. Eicher and Sandra Lee Evenson

Source: The Visible Self. Global Perspectives on Dress, Culture, and Society, 4th Edition, 2015, Fairchild Books Library

Book chapter

At the conclusion of this chapter, you will be able to:

Ideals for Individual Appearance and the Art of Dress

Joanne B. Eicher and Sandra Lee Evenson

Source: The Visible Self. Global Perspectives on Dress, Culture, and Society, 4th Edition, 2015, Fairchild Books Library

Book chapter

At the conclusion of this chapter, you will be able to:

Introduction

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

And now the art world has become so big and stars seem to come and go as swiftly as reality television characters in Hollywood …

What is Fashionable Art?

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

the erosion of the older distinction between high culture and so-called mass or popular culture. This is perhaps the most distressing development of all from the academic standpoint, which has traditionally had a vested interest in preserving a realm of high, or elite culture against the surrounding environment of philistinism, of schlock, and kitschkitsch, of TV series and Reader’s DigestReader’s Digest culture, and in transmitting difficult and complex skills of reading, listening and seeing to

The Artist as Impresario, the Artist as Brand: from Baudelaire to Barney

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

So much of the world is advertising, and because of that, individuals feel they have to present themselves as a package.

Less is Less: Formlessness

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

formlessnessWell, concerning civility or public morality, you can now see what’s happening in art. For any art exhibition in London, for example, to be effective, it must be something disgusting: show some dead fish or the excrement of cows. At one exhibition, my god, they showed a video of a colonoscopy. Today, more and more, the cultural-economic apparatus itself has to incite stronger and more shocking effects and products. These are the recent trends in the arts. But the thing is that transgr

Come Fly With Me: Participatory Art, Interactivity And Audience Involvement

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

interactivityinteractivityparticipatory artaudience involvementrelational aestheticsRelational Aesthetics is also when a successful artist, um, who is too busy touring the globe going from biennial to biennial, and they have no time to make physical art objects any more, so the famous artist uses the attendees at the exhibition as the artwork in some way, you know what I’m saying, like to explore the social relationships between people and y’know this kind of practice is really good when you’re a

Minimalism: Donald Judd Or Ikea?

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

Minimalist artists constructed simple, monochromatic, geometric objects of formal symmetry, characterized by an absence of traditional composition. Minimalism was an extreme abstract art, not imitative but solipsistic, self-referential: it was unto itself, harking back to the idea of truth to materials whose lineage can be located in the Russian Constructivists (particularly Rodchenko, AleksandrRodchenko and El Lissitzky) through to Moore, HenryMoore, Hepworth, BarbaraHepworth, Gabo, NoamGabo, Pe

Inside-Out: Outsider Artists Go Inside

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

The term ‘Outsider Art’ was coined in 1972 (a year after the ‘birth’ of Contemporary Aboriginal, Aboriginal artAboriginal art) by the English art critic Roger Cardinal, RogerCardinal as an umbrella term to describe the art produced by those not associated with, admitted to or educated by the art scene, denoting usually the insane, but also the parochial ingenue. ‘Outsider Art’ also incorporates the ‘Art BrutArt Brut’ of French postwar artist Jean Dubuffet, JeanDubuffet, and folk art as part of it

Conclusion: Fashionable Art

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

Bibliographic guide

Sources employed for the study of dress history include documents, visual representations, and material artifacts. Documents include all manner of written records such as wills, inventories, wardrobe accounts, bills of sale, advice on dressing, as well as eyewitness accounts of how people dressed in the past. An early example would be the Roman historian Tacitus, who described the dress of the inhabitants of central Europe in Germania in 98 C.E. The visual record includes paintings, drawings, eng, Berg Fashion Library

Color Theorists

Edith Anderson Feisner and Ronald Reed

Source: Color Studies, 3rd Edition, 2014, Fairchild Books Library

Book chapter

After reading this chapter, you will be able to:

Putting Color to Use-Past, Present, and Future

Edith Anderson Feisner and Ronald Reed

Source: Color Studies, 3rd Edition, 2014, Fairchild Books Library

Book chapter

After reading this chapter, you will:

Art and Dress

Peter McNeil

Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library

Encyclopedia entry

Academic art and popular dress emerge from different structural and intellectual systems. Nonetheless, fashion in the early twenty-first century often appears to be like art and art to be like fashion. Artists are viewed as the ideal collaborators with fashion designers and the fashion industry, injecting the type of cultural capital they embody into products that have become synonymous with innovation and novelty. Artists throughout the twentieth century intervened in fashion culture, their anti

Art Patronage as a Generator of Cloth and Dress

Judith Perani and Norma H. Wolff

Source: Cloth, Dress and Art Patronage in Africa, 1999, Berg Fashion Library

Book chapter

Cloth, as a valued cultural artifact, is involved in every aspect of African life, playing an essential role in marriage, political and ritual exchanges. (see Chapter 2) As dress, cloth reaches its most culturally meaningful form. A clothed body is essential to complete human identity, setting apart the cultural self from the unclothed ‘natural’ body. Depending upon cultural precepts, minimal dress in some societies may make the body very visible, while in others the body is fully concealed and p

Art Patron Roles

Judith Perani and Norma H. Wolff

Source: Cloth, Dress and Art Patronage in Africa, 1999, Berg Fashion Library

Book chapter

Two broad categories of art patrons can be distinguished on the basis of the bond between art patron and artist: commissioning patrons and consumer patrons.The concepts of ‘commissioning patron’ and ‘consumer patron’ were first articulated in a 1978 ASA panel co-sponsored by the authors on Art Patronage in Africa and expanded upon in essays by the authors in The Dictionary of Art (Perani and Wolff 1996a, 1996b). A commissioning patron enters the artistic process during the preproduction period. P

Leadership Arts in State Societies

Judith Perani and Norma H. Wolff

Source: Cloth, Dress and Art Patronage in Africa, 1999, Berg Fashion Library

Book chapter

In both Muslim and non-Muslim West African states, secular and spiritual power interface in the personage of the king. Often, secular power is strengthened by spiritual power. In the indigenous non-Muslim West African kingdoms of Asante, Yoruba, Benin and Fon the office of divine ruler was spiritually sanctioned, and leadership regalia was imbued with sacred power. Among the Fon in the Republic of Benin, special symbols associated with the reigns of different kings had a sacred dimension. Fon div

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