I found an article about Royal Academy of Art’s GSK Contemporary ‘Aware: art fashion identity’ exhibition. It’s interesting getting a review on an exhibition close to the idea I have. One of the comments I found most important was how the exhibition, although amusing in part, was bitty and wasn't consistent. This is something to keep in mind when placing my artworks around the space I chose as this could influence the flow of the exhibition. some of the pieces I found most interesting from the exhibition were the following:
Grayson Perry
Artist's Robe, 2004'This grand and elaborate robe combines historical references to the traditional kimono and the notion of clothing as an indicator of learning. It also refers to the uniforms associated with societies, clubs or academies, while commenting on the position and perception of the artist in contemporary society. The eye connotes wisdom and the artist’s role as an interrogator of the visual world.'
Artist's Robe, 2004'This grand and elaborate robe combines historical references to the traditional kimono and the notion of clothing as an indicator of learning. It also refers to the uniforms associated with societies, clubs or academies, while commenting on the position and perception of the artist in contemporary society. The eye connotes wisdom and the artist’s role as an interrogator of the visual world.'
Gillian Wearing
Sixty Second Silence, 1996
Sixty Second Silence, 1996
'This video piece examines the authority of clothing and the dynamic of the group. People dressed in police uniforms are arranged in the ranked pose of a formal photograph. As time elapses they start to fidget and the individuality of each participant emerges, diminishing the authority of their uniform, with all its associations of state and power.'
Yohji Yamamoto
From the Yohji Yamamoto Femme Collection, Autumn/Winter 1991–92'The fashion designer Yohji Yamamoto has clearly articulated his position on the industry in which he works – he dislikes fashion and feels that his role is to regain respect for clothing and promote women’s independence. In this seminal piece, a wooden framework is moulded into the form of a dress, suggesting a human skeleton, an architectural structure and armour. While in shape it recalls the constraining corsets that women used to wear, its robust appearance also asserts the strength of the person that might wear it. In Yamamoto’s hands a prosaic material becomes an unlikely adornment.'
From the Yohji Yamamoto Femme Collection, Autumn/Winter 1991–92'The fashion designer Yohji Yamamoto has clearly articulated his position on the industry in which he works – he dislikes fashion and feels that his role is to regain respect for clothing and promote women’s independence. In this seminal piece, a wooden framework is moulded into the form of a dress, suggesting a human skeleton, an architectural structure and armour. While in shape it recalls the constraining corsets that women used to wear, its robust appearance also asserts the strength of the person that might wear it. In Yamamoto’s hands a prosaic material becomes an unlikely adornment.'
Susie MacMurray
Widow, 2009
Widow, 2009
'The elegance and feminine beauty of this dress is seductive, but on closer examination the aggression of its form becomes clear. Pins have strong associations with female craft, as well as connotations of pain. The leather replaces traditional dress fabric and represents skin, which is both sensitive and protective. Based on the human (and in this case female) reaction to grief, the work articulates the isolation that such an experience can bring about, how such extreme emotion can cause someone to repel the empathy or intimacy of others.'
I found Susie MacMurray's work the most exciting so looked at some of her other pieces. I like the use of unusual materials like pins and balloons for the material of an elegant, expensive looking dress.
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