We would like to invite you to participate in our research projecton access to fashion research collections. Our survey is designed to elicitinformation about access for outside researchers and visitors at top fashionresearch collections.
Participation in this survey is completely voluntary and shouldtake no more than 8-10 minutes.
Althoughour results may refer to particular libraries by name, no personallyidentifying information about individuals will be collected in this survey. Wehope that your participation and the overall results will benefit the widerfashion research community by allowing us to better understand the currentlandscape of access to fashion research materials by researchers who are notaffiliated with institutions holding these collections.
The survey is available at this link: http://fitnyc.libsurveys.com/loader.php?id=7b624e11633df6b86b342a3a17564af4
Only one response is necessary per institution, but please feelfree to share this survey with colleagues working at other fashion researchcollections. The survey will be open through November 4, 2019.
If you have any questions or concerns, please contact Carli Spina (firstname.lastname@example.org) or Lana Bittman (email@example.com).
Members of the Fashion, Textiles, and Costume SIG and ARLIS New York are invited to join us for happy hour on Friday, November 1st at The Wheeltapper in New York City following the Fashion: Now & Then conference. Members of FTC, ARLIS New York, ARLIS/NA, and their guests are welcome. Registration is encouraged.
Last month I got to see the exhibition Phenomenal Nature: Mrinalini Mukherjee at The Met Breuer. Mukherjee worked in fiber, mostly hemp and cotton rope, before exploring ceramic and bronze at the end of her career. This was the first retrospective of the Indian sculptor, a collection of works that left New York Times art critic asking, “How on earth did someone even think to do this, never mind to do it?”
above: Nag Devta (Serpent Diety), 1979: “Abounding with fecundity and vitality, the piece comingles male and female sexual attributed into a single form” (from the exhibition guide)
below: Apsara (Celestial Nymph), 1985
in foreground: Pushp (Flower), 1993 – these works are inspired by the magnolia flower but clearly suggest female genitalia and erotic passion
In the late 1990s, Mukherjee started to transition away from fiber, namely because the work was physically demanding and the locally sourced rope she used had changed fiber content and she could not dye the material to these gorgeous colors. Yet her ceramics have the same softness of movement as her fiber work, as seen below in Night Bloom I, 1999-2000.
Her bronzes are cast from plant fragments and still allude to genitalia and possess a femininity not often seen in metalwork. Here are Palmscapes I and II from 2013.