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West 86th-A Journal of Decorative Arts Design History and Material Culture最新文献

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A Cultural History of Objects 物体的文化史
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725988
C. van Eck
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引用次数: 0
:Artifacts: How We Think and Write about Found Objects ：文物：我们如何思考和书写发现的物品
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725994
Abigail Baker
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引用次数: 0
:Die Schatzjäger des Kaisers: Deutsche Archäologen auf Beutezug im Orient ：皇帝的宝藏猎人：德国考古学家在东方的战利品上
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725995
Suzanne L. Marchand
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引用次数: 0
:Gothic: An Illustrated History ：哥特式：图解历史
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725991
Matthew Reeve
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引用次数: 0
:Time’s Witness: History in the Age of Romanticism ：时间的见证：浪漫主义时代的历史
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725989
W. Stenhouse
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引用次数: 0
Shocking! Les mondes surréalistes d’Elsa Schiaparelli 震惊！Elsa Schiaparelli的超现实世界
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725998
Lacey Minot
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引用次数: 0
The Historical Museum 历史博物馆
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.17077/0003-4827.6121
J. Huizinga, M. Gosselink, Alice Tetley-Paul
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引用次数: 0
Mimicking the Mode: The Fashionable Dress of Working-Class San Franciscans, 1880–95 模仿模式：工人阶级圣方济各会的时尚服饰，1880-95
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725986
Laura L. Camerlengo
{"title":"Mimicking the Mode: The Fashionable Dress of Working-Class San Franciscans, 1880–95","authors":"Laura L. Camerlengo","doi":"10.1086/725986","DOIUrl":"https://doi.org/10.1086/725986","url":null,"abstract":"In the late nineteenth century, the fashionable garments of women in the United States drew inspiration from the abundance of contemporary sources available to them, ranging from fashion plates in women’s periodicals to sewing patterns and ready-to-wear clothing. As Joan Severa details in her seminal book Dressed for the Photographer: Ordinary Americans and Fashion, 1840–1900 (1995), studio photographs from the time demonstrate precisely how high fashion was reinterpreted by working-class Americans in terms of materials, fit, and wear to suit their particular needs and lifestyles. One portrait album recently discovered at an estate sale illustrates Severa’s thesis, and this article offers a close examination of the album in tandem with contemporary fashion coverage in newspapers and elsewhere, social history, and demographics specific to working-class San Francisco. A focused regional case study, it offers insight into dress codes at a particular place and time that have to date been little studied by fashion scholars.","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":"29 1","pages":"256 - 275"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46878122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Defaced! Money, Conflict, Protest 损毁了!金钱，冲突，抗议
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725996
Charles Parley
{"title":"Defaced! Money, Conflict, Protest","authors":"Charles Parley","doi":"10.1086/725996","DOIUrl":"https://doi.org/10.1086/725996","url":null,"abstract":"Dosh, dough, readies, greenbacks, loot, bread, moolah, lolly, brass, spondulicks, the folding stuff . . . the list could go on, because there are few items of everyday use that are more freighted with meaning, excitement, and desire than money. At the same time, there are few items that we handle so readily that bear the symbolic insignia of the state, the establishment, in all of its many forms; we are, in one sense or another, reaffirming the authority of the state with every transaction. So far, so obvious, but I, for one, was unaware of the ways that money has been used to undermine the state, to deface its symbols, to ridicule its institutions, and to communicate illicit slogans of radical political views, transmitted as the monetary objects themselves are transferred from hand to hand. This onslaught on the material culture of money is the subject of a fascinating exhibition at the Fitzwilliam Museum in Cambridge, later to be shown at the Art Gallery of Ontario, Toronto, in the summer of 2023. As the museum’s information states, this is the first exhibition of its kind to examine “the interplay between money, power and dissent over the last 200 years,” with a key strand of the show exploring the role of the individual in protesting for rights and representation. It is not a new phenomenon. The practice of defacing coins for political reasons has a long history. In the Roman Empire, damnatio memoriae (condemnation of memory) was an officially sanctioned means of removing the portraits and named inscriptions of a deceased “bad” emperor from public display, including his image on coins.","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":"29 1","pages":"321 - 323"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46632717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
UNDERFOOT: Elizabeth Price UNDERFOOT:Elizabeth Price
West 86th-A Journal of Decorative Arts Design History and Material Culture Pub Date : 2022-09-01 DOI: 10.1086/725997
Alexander Watt
{"title":"UNDERFOOT: Elizabeth Price","authors":"Alexander Watt","doi":"10.1086/725997","DOIUrl":"https://doi.org/10.1086/725997","url":null,"abstract":"On the cover of my copy of The Blue Guide to Victorian Architecture, a book I try to carry with me, despite its bulk, whenever I am back in Britain, is a photograph of a full-size variant of the Doge’s Palace in Venice. Built using a combination of polychrome brick and vitreous enamel tiles with terracotta detailing, it is an extraordinary expression of the parallels that John Ruskin drew between the merchant princes of the Renaissance and the modern industrial magnates who drove the Victorian economy. This building was Templeton’s Carpet Factory, designed by William Leiper in 1889, and it still stands overlooking Glasgow Green, although the manufacture of floor coverings has long since moved elsewhere. James Templeton, the founder of the business, was himself a classic example of the Victorian entrepreneur. Born in 1802 in a remote farming community on the west coast of Scotland, he moved to Glasgow and then on to Liverpool to learn the drapery trade, before making a small fortune in Mexico, which enabled him to set up his own business in his homeland. After some initial success as a shawl manufacturer in Paisley, he spotted the potential of a new chenille processing technique that could be better applied to carpets. In essence, this involved weaving together tufts of colored wool and treating the material with heated rollers to produce a soft, “frizzy” surface, which could retain intricate, colorful patterns. The method was both cheaper than that of the handtufted Axminster carpets and more adaptable for producing complete seamless carpets to cover any floor area. Templeton initially used the process to","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":"29 1","pages":"324 - 327"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42496124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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