1920s JAZZ AGE Fashion & Photographs

The 1920s JAZZ AGE exhibition presents a glittering display of haute couture and ready-to-wear fashion from 1919 to 1929. Women’s clothing in the 1920s reflected dizzying social change on an unprecedented scale. From Paris and London to New York and Hollywood, the decade following the Great War offered the modern woman a completely new style of dressing. With over 150 garments, this stunning selection of sportswear, printed day dresses, fringed flapper dresses, beaded evening wear, velvet capes, and silk pyjamas reveals the glamour, excess, frivolity and modernity of the decade. Colourful illustrations by Gordon Conway from the Illustrated London News Archive at Mary Evans and photographs by Abbe, Beaton, Man Ray, and Baron de Meyer highlight the role of photographs and magazines in promoting the 1920s look.




J. Morgan Puett: A Practice of Be(e)ing

J. Morgan Puett: A Practice of Be(e)ing from Roderick Angle on Vimeo.

Frida Baranek

Frida Baranek (born 1961 Rio de Janeiro) is a Brazilian sculptor.
She graduated from Universidade Santa Úrsula, with a Bachelor's degree in Architecture, and from Parsons School of Design with a master’s degree in 1985. Her works are held by the São Paulo Museum of Modern Art, Museum of Contemporary Art, University of São Paulo, the Kemper Art Museum, and the National Museum of Women in the Arts. She creates organic forms and subjects using inorganic materials e.g., “Untitled”, (1985) stone, wood boxes, bulbs and electric wire, and "Como vai você, Geração 80? [How are you, Generation 80?]”, (1984), Steel. “Como vai você, Geração 80?” is incorporated into and organic material (water) and it flows throughout the water seamlessly. Sculptures such as “Dormindo em Veneza [Sleeping in Venice]”, (1990), “Bolo [Cake]”, (1990), and Não classificado [Unclassified], (1992) incorporate puffs of steel wool and sheets of steel that shimmer like constellations.
Others take the form of fences and screens to evoke mass and space e.g. Untitled, (1988) iron flexible, plates and stones and Untitled, (1991) steel rods and wire. Latent references to women’s work are also incorporated in her sculptures. The artist also knits and weaves thin thread into womb and bag-like forms like in her sculpture “Swirls Bege", (2008). Baranek’s overwhelming tangles and whiskered sacs refer to the sexual symbol of women’s hair; this is not only a symbol of inclination, but of danger as well. Other materials used in her sculptures are stones, springs, bars, glass, air chambers, tires, rubber balls, water, sand, etc.
In 1984, in a selected group exhibition called "Como vai você, Geração 80?” at the Escola de Artes Visuais in Rio de Janeiro Brazil, Baranek created a stained plastic buoy floating in Rodrigo de Freitas Lake. The buoy is similar to the shape of the Dois Irmãos Mountain, that is close to the exhibition and is 0.9 meters wide and 30. meters long. The buoy is surrounded by water. The sculpture’s satin surface that is silver reflects light bouncing off the water. Baranek’s sculptures reflect a skewed reality, strangeness, and unexpected poetical relationships.

Her works are held by the São Paulo Museum of Modern Art, Museum of Contemporary Art, University of São Paulo, the Kemper Art Museum, and the National Museum of Women in the Arts.





Debra Weier


Debra Weier is an artist working in artists’ books, painting, and installation. For her Studio Residency, Debra came to WSW from Princeton, NJ to work in our letterpress studio on A Merz Sonata, an homage to Kurt Scwitters based on text by Jerome Rothenberg. Debra holds an MA and MFA from the University of Wisconsin-Madison and has taught at Princeton University, Brown University and Rutgers University. She has exhibited internationally, and her work is held in over 40 collections across the US.




Soo Ja Kim

Born 1957, Daegu, Korea
Lives and works in New York, Paris and Seoul
Education and Residencies

2014
Artist in residence at Cornell University, Ithaca, New York, USA
2008
Artist in residence at Musée d'art contemporain du Val-de-Marne, Vitry-sur-Seine, France
1998 - 1999
Artist in residence for the World Views Program at the World Trade Center, New York, USA
1992 - 1993
Artist in Residence, MoMA P.S.1 Contemporary Art Center, New York, USA
1984
Lithography studio at Ecole Nationale Supérieure des Beaux-Arts, Paris, France
(French Government Scholarship)
1984
MFA, Painting Dept., Hong-IK University, Seoul, South Korea
1980
BFA, Painting Dept., Hong-IK University, Seoul, South Korea



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Ziva Kronzon

Ziva born in Kiryat Haim, Israel in 1939. Between the years 1955-59 she studies at new Bezalel, Jerusalem, and in 1958 wins an acquisition prize. In 1972 Ziva moves to New York and In 1975, wins a scholarship for excellence from the Art Students League of New York.




London Fashion Week






http://www.londonfashionweek.co.uk/

Vintage decoration: Strawser & Smith



designsponge.com

Someone like you, Adele

The beautiful art of Nakshi Kantha



In the rural areas of Bangladesh, as it has been for centuries, the communities are much poorer with fewer opportunities than those living in the cities. And it is through the struggles and hardships that the woman of these communities have learnt and passed down through the generations the art of Nakshi Kantha. It is a form of quilting that has taken various shapes, and has not only helped to recycle old cloth and saris but has become a popular traditional commodity found in every home across Bangladesh.

The most common Nakshi Kantha products are quilts. Its thickness depends on whether a summer or winter wrap is required, and old discarded saris and cloth are layered accordingly. The women then use various forms of a running stitch to embroider the borders and to decorate the quilt with different designs. Oftentimes the women reuse the cotton pulled from the saris and are able to create colorful and vibrant quilts.

Each Nakshi Kantha item is unique in design and color. By manipulating the stitches, the women are able to create various ripple effects, creating different textures and looks. Most Nakshi Kantha makers follow a basic pattern for embroidery, using a lotus as a centre piece with vines, representing the tree of life, running from each corner towards the lotus motif. In between the spaces of the vines, decorative motifs are embroidered and can range in various forms. Some of the most popular motifs are elephants, peacocks, horses, kitchen items, boats and tigers. Sometimes the quilts tell the stories of myths and legends through their pictures, with dancing, hunting and other everyday tasks being depicted.

It is also said that the Nakshi Kantha items are blessed with protective powers, able to keep harmful spirits at bay. They can also ensure happiness, happy marriages, fertility and fulfillment, as the creator is believed to be able to stitch her wishes into the fabric. Over the years, as the need for various items has evolved, the Nakshi Kantha art has expanded, offering a variety of specialized items such as ceremonial and ritual items, cloths for wrapping toiletry items, mats, pillowcases, bedspreads, placemats, wall hangings, spreads for seating, prayer rugs, mirror covers and handkerchiefs.

The art of Nakshi Kantha has survived from ancient times into the modern day, still inspiring needle workers to create new designs and remaining a sought after item in every home. Visitors often purchase these items as souvenirs and gifts for loved ones back home. It is a part of the tradition and culture in Bangladesh that has helped many communities to survive, and brings joy and color to those who own them.

Large make up bags




GiftShopBrooklyn

To live in 1920

Audrey

Tomorrow Always Comes (1941)


Delightful purses