Large-scale diffusion processes such as those affecting fashionable clothing are difficult to study systematically. This article assesses the relevance of top-down as compared to bottom-up models of diffusion for fashion. Changes in the relationships between fashion organizations and their publics have affected what is diffused, how it is diffused, and to whom. Originally, fashion design was centered in Paris; designers created clothes for local clients, but styles were diffused to many other countries. This highly centralized system has been replaced by a system in which fashion designers in several countries create designs for small publics in global markets, but their organizations make their profits from luxury products other than clothing. Trends are set by fashion forecasters, fashion editors, and department store buyers. Industrial manufacturers are consumer driven, and market trends originate in many types of social groups, including adolescent urban subcultures. Consequently, fashion emanates from many sources and diffuses in various ways to different publics.
Criteria of Negro Art
Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP’s annual conference and was held in June 1926.
Art and Labour
From the canonical texts of the Arts and Crafts Movement to the radical thinking of today’s “DIY” movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from renowned practitioners, from feminist histories of textiles to descriptions of the innovation born of necessity in Soviet factories and African auto-repair shops, The Craft Reader presents the first comprehensive anthology of writings on modern craft. Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth — from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context. Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design.
Beyoncé and Jay-Z’s Tiffany Advert Criticized by Friends of Basquiat
Close friends of artist Jean-Michel Basquiat have spoken out against the advert from jewellers Tiffany which features Beyoncé and Jay-Z posing in front of one of his paintings saying it was “not really what he was about”. Basquiat’s 1982 work Equals Pi sits behind the couple in the campaign as Beyoncé wears a 128.54-carat yellow diamond, the first black woman to have done so.
Art on My Mind: Visual Politics
In Art on My Mind, bell hooks, a leading cultural critic, responds to the ongoing dialogues about producing, exhibiting, and criticizing art and aesthetics in an art world increasingly concerned with identity politics. Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.
A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography
How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.
High Art, Low Art, and the Status of Aesthetics
In this blogpost, King introduces the distinction between high art/highbrow and low art/lowbrow things both in terms of historical and social underpinnings. However King suggests that the distinction need not be cashed out simply in terms of what kinds of objects we choose to experience (e.g. fine wines vs. beer), but should also be understood in terms of the mode of appreciation or engagement we choose or endorse when experiencing certain objects. For instance, we can have a higbrow mode of appreciation towards an object usually considered lowbrow (and vice versa).
Chicana Art: The Politics of Spiritual and Aesthetic Altarities
This book examines the work of Chicana artists, feminist Mexican-Americans who aim at interrogating their identity through art. In this chapter, Pérez examines what she regards as “the general intellectual vindication of Indigenous epistemologies that characterized much of the thought and art of the Chicana/o movement”. She argues that, in opposition to the male Chicano perspective that characterized the early movement, Chicana artists embrace their Indigenousness in a way that aims not simply at antagonizing Eurocentric culture, but that aims at “a genuinely more decolonizing struggle at the epistemological level”. The chapter focuses on writers Gloria Anzaldúa, Cherríe Moraga, Ana Castillo, and Sandra Cisneros, and on artists Frances Salomé España, Yreina Cervántez, and Esther Hernández.
Toward an Aesthetics of Race: Bridging the Writings of Gloria Anzaldúa and José Vasconcelos
This paper examines the relationship between the aesthetic frameworks of José Vasconcelos and Gloria Anzaldúa. Contemporary readers of Anzaldúa have described her work as developing an “aesthetics of the shadow,” wherein the Aztec conception of Nepantilism—i.e. to be “torn between ways”—provides a potential avenue to transform traditional associations between darkness and evil, and lightness and good. On this reading, Anzaldúa offers a revaluation of darkness and shadows to build strategies for resistance and coalitional politics for communities of color in the U.S. To those familiar with the work of Vasconcelos, Anzaldúa’s aesthetics appears to contrast sharply with his conceptions of aesthetic monism and mestizaje. I propose, however, that if we read both authors as supplementing one another’s work, we can see that their theoretical points of contrast and similarity help frame contemporary philosophical discussions of racial perception.
The Latin American Identity and the African Diaspora: Ethnogenesis in Context
Olliz Boyd’s essay examines Blackness in the Latin American literary practices with the aim of showing its centrality to Latin American cultures. He argues that the African heritage of Latin America has been erased as a result of Eurocentric mestizaje. Olliz Boyd first examines this erased heritage in the understanding of race in Latin America and its peculiar processes of racialization, before moving on to centring the analysis on aesthetic practices and literature in particular. Olliz Boyd’s essay examines the erasure of Afro-Latininidad from a perspective that differs from Hooks’ analysis of the erasure of self-identified Afro-Latin communities. He argues that mestizos in general have mixed-race roots that include not just European and Indigenous ancestry, but African as well. The erasure of Afro-Latininidad is, thus, more radical as it involves the negation of an Afro-Latin reality at the heart of mestizaje.