![]() ![]() ![]() ![]() Ugelvig also responds to the idea that fashion is the art of modern capitalism, suggesting instead that “art and fashion have, in fact, developed in constant negotiation with-or negation of-one another.” -EMILY WELLSĭorothea Lange, A very blue eagle. These four are unique, he argues, because they took up serious work in the fashion industry while still a part of the art world, and paved the way for new forms of exchange between the two spheres. Ugelvig focuses on designers that critically engage with the labor conditions of their time, such as Bernadette Corporation, Susan Cianciolo, Bless, and DIS. The volume traces twenty-five years of hybrid fashion forms-and labor-through an impressive array of archival material, including backstage photos, notebook sketches, show invitations, and more. Cris Moorīut is it art, or fashion? In FASHION WORK 1993–2018: 25 YEARS OF ART IN FASHION (Damiani, $45), Danish-born curator and critic Jeppe Ugelvig offers a refreshing take: that this question should not be framed in terms of aesthetic categories, but, instead, by social and material systems of production-that is to say, by work. ![]() From Fashion Work 1993–2018: 25 Years of Art in Fashion. Gillian Haratani in a Bernadette Corporation look, 1996. ![]()
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