- Portfolio
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- References & Research
CV
https://open.spotify.com/episode/7zkhYi0o8ltFFUlF9UbPrn?si=4d2889977c884d8c
Spotify episode on the history of Victorian Calling card/house visiting etiquette
https://open.spotify.com/episode/7jZPLJ7wZeqseqbpCI2nJq?si=a2bb0cc9448547a0
Smuggled in the Bustle: This AMAZING podcast episode about the history of smuggling foreign goods past customs under the 19th-century silhouette
https://www.amazon.com/Subversive-Stitch-Embroidery-Making-Feminine/dp/1848852835
The Subversive Stitch by Rozsika Parker
https://fashionismymuse.blogspot.com/2009/05/book-review-seeing-through-clothes.html
Seeing Through Clothes by Anne Hollander
This book inspired most of this body of work/has the heaviest references to my work in the pieces behind Waist Management
https://www.artsy.net/artwork/valie-export-still-from-touch-cinema
The Austrian feminist artist Valie Export (often stylized VALIE EXPORT) was first recognized by her self-branded name during performances in the late 1960s, in which she provoked viewers to confront conventional codes of behavior in relation to the female body. In her acclaimed performance, TAP and TOUCH Cinema (1968), Export stood on a public street with a box resembling a curtained cinema covering her bare torso, and invited pedestrians to feel her breasts behind the curtain. Export was a contemporary of the Viennese Actionists, but her work departed from the group’s spectacular and sometimes violent performances. She later transitioned to photography, video, and installation art, and represented Austria at the 1980 Venice Biennale, during which she presented Geburtenbett (Birth Bed) (1980)—a raised platform supporting a female abdomen, with red neon light strips emanating from between its splayed legs. Continuing her interest in the relationship between the human figure and its cinematic image, Export performed the voice as performance, act and body (2007) at the 2007 Venice Biennale, projecting live video from a camera inside her throat as she read a text for 12 minutes.
text via artsy.net
https://www.moma.org/collection/works/133675
This series of screenprints relates to a performance in which EXPORT reportedly walked into an experimental art-film house in Munich wearing crotchless trousers and a tight leather jacket, with her hair teased wildly, and roamed through the rows of seated spectators, her exposed genitalia level with their faces. Challenging the public to engage with a "real woman" instead of with images on a screen, she illustrated her notion of "expanded cinema," in which the artist's body activates the live context of watching. EXPORT's defiant feminist action was memorialized in a picture taken the following year by the photographer Peter Hassmann in Vienna. EXPORT had the image, in which she holds a machine gun, screenprinted in a large edition and fly-posted it in public squares and on the street.
text via moma.org
El greco is one of my favorite examples of an artist that takes fabric, textile stuffs, and catapults it into the ethereal realm. His high drama, exuisitely colored compositions make it near difficult to know where textiles end and angel flesh begin. His love for textile is so clearly displayed in the spiritual and ephemeral qualities they take on in his work.
| The Annunciation, 1609, Spain | |
The Vision of St. John by El Greco (Metropolitan Museum of Art, New York)
For me, the paintings from the Northern Renaissance strike me as fascinating for their obsession with rendering fabric folds. Dramatisized to the point of no longer realisticly reflecting the behavior of textile, these cloths (that sweep over 2/3’s of large compositions at times) begin to take on that element of spiritual/ephameral, by completely defying the laws of gravity and the way fabric falls! I can relate to these artists, the pure indulgence in the satisfaction of rendering cloth, that take precedent over so many other moving parts of a composition- all in the name of that ephemeral stuffs known as cloth.
Jan van Eyck, Madonna with Canon van der Paele, 1436, oil on panel, 160 x 124.5 cm (Museum: Groeninge Museum Bruges)
The Merode Altarpiece, Workshop of Robert Campin, Netherlandish ca. 1427–32
Chicago based artist working in the 70s/80s, mostly acrylic on masonite paintings of bodices, torsos, lingerie, shoes, hair, corset as urns….dark femme torso and clothes-core
These were all taken at her retrospective in chicago
Smuggled in the bustle….For the first time, women were being employed (way before this was considered normal) to start searching other women at the customs border in the US, because so many goods were being snuck in under womens clothes
Some Bustles I love
Crinoline and cotton 'Tampico' bustle, mid 1880s made of 5 ruffles of crinoline (horsehair) cloth
Lobster Tail bustle
Victorian Skirt Lifter (inspired my flash photography dress)
These were hooked to the bottom of a Victorian ladies skirt, and attached to a string. When said victorian lady had to cross a shit-filled street, up her skirt would lift. Its so extra and performative and mimics puppetry and shows ankle, its a wonderful object.