Art, Fashion and La Parisienne

Exhibition poster designed by Ingrid Mida 2012

I've been quiet on the blog front of late, because I've been deep into my research for my thesis, which I hope might one day become a book. I created these two posters to illustrate my project which is entitled Art, Fashion and La Parisienne. 

My work was inspired by a painting called La Demoiselle de Magasin (The Shopgirl) by James Tissot which is in the collection of the Art Gallery of Ontario. I soon discovered that this painting was one of fifteen large scale works in a series called La Femme à Paris painted by Tissot in 1883-85. Tissot made plans to issue series of etchings of the paintings, which were to be accompanied by short stories by leading authors of the period, including Émile Zola, Paul Bourget, Charles Gounod, and Alphonse Daudet. Despite Tissot’s earlier success as a painter, this series of highly polished paintings was not well received in either Paris or London. Tissot abandoned his plans to create prints of the paintings and the accompanying short stories.

La Femme à Paris  is a provocative series of narrative works showcasing the modern Parisian woman during a period of rapid change in the nineteenth century.  The series illustrates women from a range of income levels and occupations, rendered in precise detail using high key colours.

During the latter part of the nineteenth century, fashion and art were closely linked in Parisian society. Fashion was a subject of study and inspiration for artists, playwrights and poets. Descriptions of outfits worn by society women to the theatre, the opera and other social gatherings were routinely reported in the press. Many artists in France were influenced by the writings of Charles Baudelaire on fashion and modernity, especially his essay “The Painter of Modern Life” which was published in instalments in 1863 in the newspaper Le Figaro. In this essay, Baudelaire identified fashion as a way that artists could capture the processes of modernity in their work.

Using James Tissot’s series La Femme à Paris from 1883-85 as inspiration, my research will encompass an analysis of a selection of artworks, fashion plates and gowns from 1874-1886 to illuminate the intersection of art, fashion and modernity in the theme of la Parisienne.

I'm heavily immersed into my research, and I find the work utterly captivating. I now understand the origins of the modern icon of la chic Parisienne, images of which regularly grace the pages of blogs like French Essence, Fashion, Art and Other Fancies, Style in the City and of course, The Sartorialist.  

Although my blog posts might be a little less frequent, you can also find me on Pinterest, Facebook or Twitter.

What's on the Fashion Calendar for December

In a month filled with holiday parties and festivities (not to mention a raft of deadlines), I find the reflective nature of art to be a balm to the soul. Here are some of the exhibitions I hope to visit this month:

Cecil Beaton 1948

The Museum of the City of New York presents the work of British-born photographer and designer Cecil Beaton (1904-80). The exhibition Cecil Beaton: The New York Years brings together extraordinary photographs, drawings, and costumes by Beaton to chronicle his impact on the city’s cultural life.

Museum of the City of New York, 1220 Fifth Avenue, New York

Daphne Guiness

Tom Ford once said: “Daphne is one of – if not the – most stylish women living." In an exhibition at the Museum at FIT, curator Valerie Steele collaborated with this fashion icon to present a selection of Daphne Guiness' collection of couture. Divided into six sections, the garments are organized into six themes including Dandyism, Armor, Chic, Evening Chic, Exoticism and Sparkle. 

Museum at FIT, 7th Avenue at 27th, New York 

In the exhibition Stieglitz and his artists: Matisse to O'Keeffe, the Metropolitan Museum of Art presents over 200 paintings, sculptures, drawings, and prints from Alfred Stieglitz's collection. These artworks were acquired by the Metropolitan in 1949 from Georgia O'Keefe. After reading the book "How Georgia Became O'Keeffe" by Karen Karbo and learning about their stormy relationship, I'm keen to see this exhibition, especially since many of the works were acquired by Stieglitz when the artists were relatively unknown.

Metropolitan Museum of Art, 1000 Fifth Avenue (at 82nd Street), New York

Blue Circus by Marc Chagall

The Art Gallery of Ontario presents Chagall and the Russian Avant-Garde: Masterpieces from the Collection of the Centre Pompidou, Paris, and features the work of Marc Chagall alongside his contemporaries of Russian modernism, including Wassily Kandinsky and Sonia Delaunay.
The exhibition of 118 works comes from the Centre Pompidou and features 32 works by Chagall and eight works by Kandinsky.

Art Gallery of Ontario, 317 Dundas Street West, Toronto

A Conversation with Jeanne Beker about Fashion and Art

Jeanne Beker: AGO Collector's Series 2011

Jeanne Beker's personal art collection is whimsical, eclectic, and captivating - descriptors that can also be used for the woman herself. In a one-on-one interview with this fashion powerhouse, Jeanne and I had a lively conservation about fashion and art and she also gave me a tour of her favourite artworks now on display as part of the Art Gallery of Ontario's 2nd Annual Collector's Series Exhibition.

The Birthday Party by Marion Perlet

For Jeanne, each work of art in her collection evokes a memory. She said "They really serve as a kind of visual diary for me of my travels, certain stages I was going through in my life, of certain changing aesthetics I've had over the years." One of her favourites is an oil painting by Marion Perlet called "The Birthday Party" in which the artist painted her memories of her birthday party as a child. Jeanne said "This was a cherry pie but my girls always thought it looked like a pepperoni pizza. It sat right over our table in the kitchen of our old house and now it hangs in my dining room and it just makes me feel good. And yet, there is something about the look in their eyes, some of them look a little dysfunctional, or that they have their grudges or own stories to tell or their own feelings about themselves, their particular plight - they are your typical dysfunctional family I think."

Toller Cranston gave Jeanne her first artwork and encouraged her to start her collection. He told her to buy Canadian art and "just chose one artist that you really like and go with it." Jeanne followed that advice and has several pieces from Marion Perlet. She offers advice to other collectors and said "Just buy what you love. Don't buy as an investment."

Yves Saint Laurent by Andre Rau

Jeanne's collection also includes several exquisite photographs by David LaChapelle, Paul Alexander and Andre Rau that capture the intersection of the fashion and art worlds. Jeanne was surprised when I told her about my interviews with Valerie Steele, Chief Curator of The Museum at FIT and Matthew Teitelbaum, Director/CEO of the Art Gallery of Ontario on the relationship between fashion and art. She said "I just think it is old fashioned to not see fashion as art. Of course, I'm talking about a particular kind of fashion. Fashion with a capital F, not fashion put out there for mass consumption." 

Jeanne and I agreed that fashion and art have a complex relationship. She put it this way: "There are a precious handful of designers [that would quality as artists]. I'm certainly not intimating that all of fashion  is art, not by a long shot. But I do think that there are some fashion creators who are, without question artists, in terms of the techniques that they have learned, in terms of the statements that they want to communicate or in what they are saying in their impact of their creations on humanity. I don't know what the definition of art is, if it is not that."

In closing my interview, I asked Jeanne if there was anything left on her list of things she wanted to do given her long list of accomplishments to date as television journalist, as well as author and editor. She answered "I'd like to return to the places I've been to for work that I didn't get a chance to explore on my own, but really what I look forward to doing in this next chapter is to continue doing a lot of things that I have done, but just do them better. I want to continue to make great television - but better; I want to write more books - but better." When I told her that she must have a wicked perfectionist streak because so many people look up to her and admire her that I cannot imagine her having to do anything better, she said "Sometimes I feel like I've barely scratched the surface in terms of my potential. I am turning 60 next year and that only gives me another 20-30 years to go, but who knows. Diana Vreeland didn't start editing Vogue until she was 60".  I left utterly enchanted by Jeanne and her zest for life. 

The AGO's 2nd Annual Collector's Series
AGO Art Rental + Sales Gallery
481 University Avenue
Toronto, Ontario
November 30, 2011 to December 19, 2011

For more information, see the AGO website link here.

P.S. Jeanne Beker's interview of Harold Koda as part of the Bata Shoe Museum's Founder Series Lecture was published yesterday in the Toronto Star. The link is here.

What to Wear to Interview Jeanne Beker

Jeanne Beker (Source: CP24 News)

Although I have an enormous stack of work on my desk, I am obsessing what I should wear to interview Jeanne Beker today. The Art Gallery of Ontario Annual Collector's Series highlights the personal art collection of notable Canadians and Jeanne Beker is the curator of this year's exhibition which opens to the public on November 30th.

Even though I've interviewed people like fashion scholar Valerie Steele, rock star curator Harold Koda, and Director/CEO of the AGO Matthew Teitelbaum, there is something about meeting Jeanne Beker that makes me nervous.  On days like today, I really wish I had an assistant.

I have prepared my questions carefully and now I'm staring into my closet..... I'm leaning towards my black Prada suit or maybe a Balenciaga jacket -- something that feels like fashion armour....

I'll be posting my interview with Jeanne Beker on Fashion is my Muse! Stay tuned.

The AGO's 2nd Annual Collector's Series
AGO Art Rental + Sales Gallery
481 University Avenue
Toronto, Ontario
November 30, 2011 to December 19, 2011

For more information, see the AGO website link here.

Costumes as Performance and Activism

It's official. I've signed my contract to be the keynote speaker for the Costume Society of America - Midwest Region Conference - which will be held on Friday, October 14 and Saturday, October 15, 2011 at the University of Northern Iowa in Cedar Falls, Iowa. More details about the event are available on the CSA site here.

The selection committee was drawn to my work as an artist who uses costume in my work (All is Vanity series) and the themes of feminism and social activism that I have explored in my series Revolutionary Fashion and 1966 (Paper Dresses). They also liked my mesh dress sculptures (which are a work in progress) titled Women in Armour. I will also draw on my experiences as a writer and researcher in reviewing the relationship between fashion and art, particularly in recent exhibitions like McQueen at the Met and Gaultier at the MMFA. Let's hope I can live up to their expectations!

A Conversation with Matthew Teitelbaum of the Art Gallery of Ontario about Art and Fashion

Matthew Teitelbaum, Director and CEO of the Art Gallery of Ontario

Recently I sat down with Matthew Teitelbaum, the Michael and Sonja Koerner Director and CEO of the Art Gallery of Ontario,  to talk about his views on fashion and art. I was looking for a contrary viewpoint to that of Nathalie Bondil, the Director and Chief Curator of the Montreal Museum of Fine Arts, who during our interview at the Gaultier press preview clearly defined fashion as art. Whether fashion is or is not art is definitely a topic worthy of discussion....  An extract of my conversation with Matthew was published on Fashion Projects here.

Now if only I could get Harold Koda or Anna Wintour to have a chat with me....

How do you define success?

My show "All is Vanity"at Loop Gallery has come down and the month long roller coaster ride is coming to an end.

Opening reception All is Vanity 2011

People have asked "was the show a success?" and I don't know how to answer that.  Is success measured in sales? accolades? media coverage?  I sat down and wrote out my wildest art show fantasies:

1. The director of the Art Gallery of Ontario, Matthew Teitelbaum, would come to the opening.
2. My work would attract the attention of the critics and be published in the national newspaper declaring my work "Best of".
3. I would have a tv interview.
4. At least one piece of my work would be purchased by a corporate collection.
5. The show would sell out.

Opening reception All is Vanity, 2011

While it seems to be a list of impossibilities, all of these things have actually happened to me at one point or another during my art career. And while I recognize the improbability of such events recurring, how do I then define whether or not the show was a success?

Oscar Wilde once said "When bankers get together for dinner, they discuss Art. When artists get together for dinner, they discuss money." But, defining one's success as an artist in terms of money is a losing proposition, especially during a recession.  And so this week, I reread the book Art Fear, Observations on the Perils (and Rewards) of Artmaking. While the authors offer no easy answers, they do point out "that courting approval, even that of peers, puts a dangerous amount of power in the hands of the audience. Worse yet, the audience is seldom in a position to grant (or withhold) approval on the one issue that really counts - namely, whether or not you're making progress in your work. They're in a good position to comment on how they've moved (or challenged or entertained) by the finished product, but have little knowledge or interest in your process. Audience comes later. The only pure communication is between you and your work." (pg 47)

Having a gallery show is akin to standing naked in a room of strangers, friends and family. I survived that, did the Artsync tv interview, was asked to speak at the American Costume Society conference about art and fashion, and I made progress in my work by producing hauntingly beautiful images that conveyed a narrative. What comes next, I'm not really sure. But there are times that I don't care what the definition of success is and just want to be a ski bunny.

Snowmass Mountain 2011

Drama and Desire at the Art Gallery of Ontario

Edgar Degas, L'orchestre de l'opera 

Oil on Canvas 1870

Musee d'Orsay, Paris

A list of my favourite things would have to include art, music, ballet and opera but rarely am I able to combine them into one experience. And yet, the Art Gallery of Ontario has done exactly that in their current exhibition Drama and Desire.  

This exhibition includes over 100 paintings, drawings and theatrical maquettes by artists such as Degas,  Delacroix,  David,  Ingres,  Toulouse-Lautrec, and Vuillard. The works were borrowed from the collections of the Louvre, the Metropolitan Museum of Art, the Musée d'Orsay, the British Museum, and the Victoria & Albert Museum. 

Gerard Gauci, set designer for Opera Atelier, was the guest designer for this exhibition. With recreations of eighteenth and early twentieth century stage sets, sound and light effects, theatrical props and on-site performances, the art is dramatically brought to life. 

Visitors enter the exhibition by walking ‘onstage' through a life-size 18th-century set and a full-scale re-creation of an early 20th-century theatre maquette marks the finale of the exhibition. 

“Visitors to Drama and Desire will experience the exhibition as audience members, actors and even stage hands,” says Gauci. “Designing this exhibition has been like designing an opera with an overture, a series of distinct acts, special effects and a grand finale.”

Although the exhibition is open during regular gallery hours, you will be treated to an extra special experience if you are able to attend at one of the times listed below:

Sun. July 4: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 10: CanadianStage (between 1:30 pm and 3:00 pm)

Sun. July 11: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 17: CanadianStage (between 1:30 pm and 3:00 pm)

Sun. July 18: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 24: Single-Thread Theatre Company (between 1:30 pm and 3:00 pm)

Sun. July 25: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 31: CanadianStage (between 1:30 pm and 3:00 pm) 

Performances will include actors from Canadian Stage Company performing excerpts from High Park’s version of Romeo and Juliet. Opera Atelier will feature ballet demonstrations in their production ‘Degas and his Dancers’.  Single Thread Theatre Company will highlight key moments in Shakespeare’s dramas.

Drama and Desire runs until September 26, 2010.

Art Gallery of Ontario

317 Dundas Street West

Toronto, Ontario

M5T 1G4

416-979-6648

1-877-225-4246

In High Fashion: Edward Steichen at the AGO

Catalogue Cover, Photograph of Actress Mary Heberden 1935 by Edward Steichen

The AGO is the one of the last stops of the exhibition "Edward Steichen: In High Fashion" which presents a collection of his black and white photographs from the Conde Nast archives 1923-1937. As the chief photographer for Vanity Fair and Vogue during these years, Edward Steichen was instrumental in defining fashion photography and celebrity portraiture. Using light and shadow to delineate his subjects in striking backdrops, Steichen drew on his training as a painter to create arresting compositions of his subjects and is considered the "first truly modern fashion photographer".

I was entranced by the 200 Steichen photographs on display. Exquisite in their execution, the collection leaves no doubt as to Steichen's talent and sophisticated range. Although Steichen also made colour photographs, only black and white images are on display, giving the exhibition a clarity and elegance.

Given my own recent confusion as to the next steps in my artistic path, I found it interesting to learn that Steichen had been a painter before taking up photography. In spite of his successful shows at prestigious galleries as a painter, he had "serious misgivings about his talents with the brush" and was aware of "not having kept pace with the modern styles of painting." Walking away from a medium that he was comfortable with into the relatively new world of photography must have been a challenge to say the least.

The exhibition runs until January 3, 2010. Keep your AGO ticket and show it at the ROM to save 20% off general admission for the Vanity Fair Portraits exhibition.

Art Gallery of Ontario

317 Dundas Street West

www.ago.net

Alexander Calder: The Paris Years 1926-1933

John Sloan, a teacher at the Art Students League once advised Alexander Calder to not be afraid to borrow - "The great men, the most original borrowed from everybody....Little men just borrow from one person" and to "treat as irrelevant the question "What am I doing, is it art?"

This struck a chord with me when I visited the Alexander Calder exhibit at the Art Gallery of Ontario (co-created by the Whitney Museum of American Art and Centre Pompidou Paris). I've been playing with wire in my studio, not knowing what I'm doing, not sure if what I'm making is art. And low and behold, someone else has already done it!

When I think of Alexander Calder, I associate his name with his abstract mobile works, modern and spare in their beauty. But what came before that - the Circus works and the wire sculptures - mesmerized me with their whimsy and sense of play. Wire forms created from the elemental lines that delineate all things (just the way I draw) create shadows and come to life. I was humbled and yet, at the same time, energized.

Of course, I had to buy the catalogue so that I could study Calder's work at my leisure. Created from humble materials, like wire, cork, fabric, thread and paint, Calder created a miniature circus that he animated himself during performances. It was utter magic!



I will have to go back to see this delightful exhibition again! I was simply blown away! Don't miss it!

Alexander Calder: The Paris Years 1926-1933
Art Gallery of Ontario
October 3, 2009 - January 10, 2010

More Schiaparelli!!!!

I just found out that the Art Gallery of Ontario has decided to extend the run of the Surreal Things show until September 13th, which means that there are a few more weeks to get my fill of Schiaparelli and all things surreal.

The more I read about Elsa Schiaparelli, the more intrigued I am. Not only did she incorporate new developments in technology like the zipper into her designs, she used art as her muse and created garments that have an element of wit and whimsy. This is something I greatly admire!

In the September 2009 issue of Harper's Bazaar, there is an article called "Schiaparelli: The Shocking Truth" by David Vincent. While I did not discover any shocking truths about this talented designer, I did learn a few curious facts including:
- Actress Marisa Berenson is the granddaughter of Schiaparelli
- The Schiaparelli brand was purchased by Diego Della Valle and will be relaunched in 2011 at the earliest.
- Aviator Amelia Earhart wore head to toe Schiaparelli.
If you are enchanted by Schiaparelli, you might want to pick up a copy of Harper's Bazaar and read more.

Schiaparelli and Surreal Things

If you are like me and swoon when you hear the name Schiaparelli, you must find you way to Toronto's Art Gallery of Ontario and see the Surreal Things show before August 30, 2009.

This exhibition, which was curated by Ghislaine Wood of the Victoria and Albert Museum, surveys the contribution of surrealists to fashion, design, photography, advertising, architecture, and theatre.

From the moment I walked into the gallery and took in the display of the fantastical ballet costumes designed for Les Ballet Russes by Giorgio de Chirico in 1929, I was grinning from ear to ear. Why had no one mentioned that fashion, costumes and jewelery were an integral part of this world class exhibit? I'm sorry that I did not go sooner.

I was blown away to stand in front of the bird cage and wooden mannequin from Schiaparelli's Paris storefront as well as twelve of her couture designs, including the infamous Skeleton Dress which features padded quilting to emphasize the ribs and spine. I almost fainted when I noticed the delicate sketches by Salvador Dali for his collaboration with Schiaparelli for the Skeleton Dress and the Dress with Drawers.

Other highlights in the exhibition included the Horst photo called Girl with Mainbocher Corset (1939), and the Man Ray photo called Model in a Dominguez Wheelbarrow (1937) where the model wears a Vionnet evening gown.

There was no doubt in my mind after seeing this exhibition that the surrealists were well acquainted with glamour and fashion. I bought the book Surreal Things (cover shown below) and intend to read it carefully before going back for another look-see. There is also a video clip on the ago website with an introduction by the curator.

Join me if you can. You won't be disappointed! By the way, this exhibition originated at the Victoria and Albert Museum in 2007 before travelling to the Museum Boijmans Van Reuningen in Rotterdam and the Guggenheim Museum in Bibao in 2008. Toronto is its final stop!


Art Gallery of Ontario
317 Dundas Street West, Toronto, Ontario
1-877-225-4246 or 416-979-6648