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- Volume 7, Issue 1, 2018
Film, Fashion & Consumption - Volume 7, Issue 1, 2018
Volume 7, Issue 1, 2018
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The modern art of filmmaking: Architecture on-screen at MoMA
By Pete CollardAbstractThe 1930s saw the Museum of Modern Art (MoMA) in New York become the first museum to include film within its exhibitions of architecture. Although other institutions had offered film screenings for visitors, what set MoMA apart was the manner in which the productions were presented, shown as exhibits within its galleries and displayed alongside photographic reproductions, architectural models and drawings as part of the curatorial narrative. Commissioned in an ad hoc fashion at times and produced to limited budgets, the films brought an emerging form of architectural representation to MoMA at a time when the cultural value of the cinema was still being debated. Under the leadership of Museum Director Alfred J. Barr Jr., the commissioning, curating and collecting of such works became part of a wider movement at MoMA to label the moving image as an art form in its own right.
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Charles and Ray Eameses’ museums without walls: Films as exhibition and exhibitions as film
More LessAbstractThis article outlines the intersections between the exhibition and film work of Charles and Ray Eames and the Eames Office, and explores the ways in which film was used to create exhibition environments and vice versa. The Eameses’ desire to transmit ideas to the broadest public generated a concept of the ‘museum without walls’ that found its ultimate expression in the creation of large-scale multi-media and multi-sensory exhibition environments. Their influential practice pioneered new methods of immersive exhibition design, experimented with the use of film as inhabitable exhibit and also as a tool to capture and display cultural subjects and artefacts typically experienced in museum settings. Considering the Eameses’ projects afresh allows us to assess their role in shaping the expansive possibilities of film and the exhibition environment and the challenges of communicating ideas that continue to face museum professionals today.
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Fashion exhibition as film
More LessAbstractThis article reflects on the film project 1914 Now: Four Perspectives on Fashion Curation (2014) in which I invited internationally renowned fashion curators to present their curatorial thesis on film rather than working with dress in three dimensions within the familiar context of the gallery or museum. When I devised this experimental project, I set out to test notions of curatorial authorship as evidenced upon the final public presentation and to appraise film as a medium for curatorial interpretation. This article examines museological concepts associated with the curation of fashion and dress and assesses curatorial trajectories and interventions, scenography and the animation of objects as applied to film. What happens when a curator, used to dealing with the object, no longer has the object to install?
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A fashion exhibition as cinematic experience
By Ingrid MidaAbstractBoth the museum and cinema encourage the viewer to escape from the experience of the everyday and sequentially mobilize the gaze on a temporal itinerary that triggers personal affective responses. In this article, I will analyse the scenography of the exhibition Catwalk, a thematic display of historic dress at the Rijksmuseum in Amsterdam (20 February–22 May 2016). Designed by photographer Erwin Olaf, the exhibit made explicit connections to the catwalk even though many of the garments on display predate the origins of the catwalk or runway as a mode of presentation for fashion. The scenography negated the sensation of time and historicity and produced the affect of glamour, such that the Catwalk exhibition might be linked to Sophia Coppola’s film Marie Antoinette (Coppola, 2006) in borrowing from the third-wave feminist aesthetic.
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Introducing movement into the motionless: Fashion in the Rijksmuseum
More LessAbstractSince 2000, the Rijksmuseum has experimented with adding a certain level of movement to its costume/fashion exhibitions, aided by renowned Dutch fashion stylists, (fashion) photographers or exhibition designers, and much to the pleasure of the visitors. Some of these efforts proved to be successful and are discussed in this short article.
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