Eres photographs by fashionartedit
Eres. Wooster Street, New York.
Showing posts with label Vanessa Beecroft. Show all posts
Showing posts with label Vanessa Beecroft. Show all posts
Tuesday, November 11, 2008
Wednesday, June 4, 2008
Florence Muller
Built to last. Interview with Florence Muller by Leah Sandals. Canada.com. 06.04.08.
excerpted text:
"A YSL was one of the first to open this connection in the '60s. But I think it was through the '90s that the idea that art and fashion really became connected. Artists like Vanessa Beecroft had a fascination for this world of luxury together with a critical point of view on it. And on the other side, people involved in these luxury brands were very interested by art and started to support exhibition events. So in recent years this connection has been perceived as completely evident. But this wasn't always so. It was once revolutionary to argue this connection. I can say that I've lived this revolution because when I started to work on the idea of the Museum of Fashion in the Louvre during the '80s, it was very difficult to say that fashion is also a form of art. But now everybody understands it." (Florence Muller)
"A Very often these people don't know how fashion functions; critics might say, "Oh they are just stealing this [idea] from a painter." But if you don't know haute couture, you don't know how complicated it is to translate a bird from Braque into a sculpture around the neck of the model that also holds the drapery of a dress. There is huge work on finding a way of doing something that is not a painting anymore, which starts to be more sculpture, in fact a sculpture alive on the body of the model."(Florence Muller)
"It is also helpful to understand that a designer can be free in front of the white page like an artist in front of a painting. Both have a feeling of freeness in terms of creation. I think Yves said that he was naturally very involved in artistic field because he was a drawer and a painter before he was a designer." (Florence Muller)
excerpted text:
"A YSL was one of the first to open this connection in the '60s. But I think it was through the '90s that the idea that art and fashion really became connected. Artists like Vanessa Beecroft had a fascination for this world of luxury together with a critical point of view on it. And on the other side, people involved in these luxury brands were very interested by art and started to support exhibition events. So in recent years this connection has been perceived as completely evident. But this wasn't always so. It was once revolutionary to argue this connection. I can say that I've lived this revolution because when I started to work on the idea of the Museum of Fashion in the Louvre during the '80s, it was very difficult to say that fashion is also a form of art. But now everybody understands it." (Florence Muller)
"A Very often these people don't know how fashion functions; critics might say, "Oh they are just stealing this [idea] from a painter." But if you don't know haute couture, you don't know how complicated it is to translate a bird from Braque into a sculpture around the neck of the model that also holds the drapery of a dress. There is huge work on finding a way of doing something that is not a painting anymore, which starts to be more sculpture, in fact a sculpture alive on the body of the model."(Florence Muller)
"It is also helpful to understand that a designer can be free in front of the white page like an artist in front of a painting. Both have a feeling of freeness in terms of creation. I think Yves said that he was naturally very involved in artistic field because he was a drawer and a painter before he was a designer." (Florence Muller)
Friday, May 30, 2008
Alessandro Dell'Acqua / Vanessa Beecroft
Malo Names Dell'Acqua Creative Director. By Godfrey Deeny. Fashion Wire Daily. 05.29.08.
excerpted text:
Monday, May 26, 2008
1 2 3 4, art is at your Gap store
1 2 3 4, art is at your Gap store. The Star. By Stephen Marche, 05.24.08.
excerpted text:
"The Gap's new campaign is only a mainstream version of what Louis Vuitton has been doing for years, using artists as marketing devices. In 2005, LV hired Vanessa Beecroft to stage a performance art piece at the opening of a store on the Champs Elys̩e Рshe placed nude models on the shelves. The great Icelandic artist Olafur Eliasson has designed window displays for them. The most startling room in the new Takashi Murakami show in Brooklyn is the Louis Vuitton boutique right in the middle of the museum. It sells handbags he designed, drawing no distinction between his artworks and commercial products."
"This is all cheeky and wonderful from the point of view of the corporation, but in what position does it leave the artist? It's not just that art has become suffused with money – a practice market for those who love markets so much they want to spend their recreation hours buying and selling. Art has always had to deal with commerce. The difference is that artists are now aspiring to be the CEOs of their work, as conceptualizers, organizers, synthesists, and packagers of other people's labour. Cai Guo-Qiang, the great Chinese gunpowder artist specializes in works that are so large they require teams to construct or perform. Damien Hirst conceived of a skull covered in diamonds, so he hired Bond St. jewellers to make one. Hirst gave the piece its name, For the Love of God, he set the price ($100 million) and he sold it on to a consortium. Conceiving and naming and selling are his jobs, not the business of fabrication. Beauty, like everything else, has been outsourced."
"In the realms of both luxury goods and art, the whole notion of the hand-made has become quaint, an old-fashioned notion like dressing for dinner or saving yourself for marriage. Murakami has argued that the idea of authenticity in art, and the lines it draws between art and design, original and fake, are Western constructs, destined to lose place in an increasingly globalized art world. That may well be true, but there are Western processes at work, as well, notably the triumph of consumer capitalism and the reduction of all things to cash value."
"There's a nearly perfect analogue to the current condition of art and commerce in one of the West's oldest myths, the story of Erisichthon from Ovid's Metamorphoses. As punishment for destroying a sacred grove of trees, Erisichthon is cursed by the gods with a terrible affliction: Famine is put in his belly. The more he eats the more he wants to eat. He begins to sell off all his possessions for food, including his daughter. Neptune has granted her the ability to change shapes at will. So Erisichthon sells her as a bull or a beautiful deer and she transforms back into herself and returns to her father to be sold again. She finds herself conjured into beauties in order to feed an insatiable hunger. Just so: The artist in his or her many varied transformations feeds the endless consumption which no glut can sate. No amount of diamond skulls or cherry-blossom handbags or Gap T-shirts will fill our inner, endless hunger for things and more things. Erisichthon can't save himself from his hunger, no matter how often he sells his daughter. In the end he eats his own guts. The myth doesn't say what happens to his daughter."
excerpted text:
"The Gap's new campaign is only a mainstream version of what Louis Vuitton has been doing for years, using artists as marketing devices. In 2005, LV hired Vanessa Beecroft to stage a performance art piece at the opening of a store on the Champs Elys̩e Рshe placed nude models on the shelves. The great Icelandic artist Olafur Eliasson has designed window displays for them. The most startling room in the new Takashi Murakami show in Brooklyn is the Louis Vuitton boutique right in the middle of the museum. It sells handbags he designed, drawing no distinction between his artworks and commercial products."
"This is all cheeky and wonderful from the point of view of the corporation, but in what position does it leave the artist? It's not just that art has become suffused with money – a practice market for those who love markets so much they want to spend their recreation hours buying and selling. Art has always had to deal with commerce. The difference is that artists are now aspiring to be the CEOs of their work, as conceptualizers, organizers, synthesists, and packagers of other people's labour. Cai Guo-Qiang, the great Chinese gunpowder artist specializes in works that are so large they require teams to construct or perform. Damien Hirst conceived of a skull covered in diamonds, so he hired Bond St. jewellers to make one. Hirst gave the piece its name, For the Love of God, he set the price ($100 million) and he sold it on to a consortium. Conceiving and naming and selling are his jobs, not the business of fabrication. Beauty, like everything else, has been outsourced."
"In the realms of both luxury goods and art, the whole notion of the hand-made has become quaint, an old-fashioned notion like dressing for dinner or saving yourself for marriage. Murakami has argued that the idea of authenticity in art, and the lines it draws between art and design, original and fake, are Western constructs, destined to lose place in an increasingly globalized art world. That may well be true, but there are Western processes at work, as well, notably the triumph of consumer capitalism and the reduction of all things to cash value."
"There's a nearly perfect analogue to the current condition of art and commerce in one of the West's oldest myths, the story of Erisichthon from Ovid's Metamorphoses. As punishment for destroying a sacred grove of trees, Erisichthon is cursed by the gods with a terrible affliction: Famine is put in his belly. The more he eats the more he wants to eat. He begins to sell off all his possessions for food, including his daughter. Neptune has granted her the ability to change shapes at will. So Erisichthon sells her as a bull or a beautiful deer and she transforms back into herself and returns to her father to be sold again. She finds herself conjured into beauties in order to feed an insatiable hunger. Just so: The artist in his or her many varied transformations feeds the endless consumption which no glut can sate. No amount of diamond skulls or cherry-blossom handbags or Gap T-shirts will fill our inner, endless hunger for things and more things. Erisichthon can't save himself from his hunger, no matter how often he sells his daughter. In the end he eats his own guts. The myth doesn't say what happens to his daughter."
Tuesday, April 1, 2008
Vanessa Beecroft VB60
Monday, March 31, 2008
Artist Relations
"Artist Relations". Wallpaper. By Glenn Waldron. March 2008.
excerpted quotes:
"And there have been relatively few artists whose work can fit into the restraints and demands of the fashion industry. In that way, Murakami is breaking new ground, and I don't know of anyone comparable". (Jeremy Strick, MOCA Director)
"One of the most radical aspects of Murakami's wok is his willingness both to embrace exploit the idea of his brand, to mingle his identity with a corporate identity and play with that. He realised from the beginning that if you don't address the commercial aspect of the work, it's somehow like the elephant in the room". (Paul Shimmel, MOCA Chief Curator)
"But one reason I admire Marc very much is that he doesn't care about trends. Marc has his won vision, and for him, using artists has always been a way to add more weight to that". (Yves Carcelle, President of LVMH Fashion)
"Bourgeoisie like to use intellectuals to clean up their soul. They think progressive, cutting-edge work is good for their image. So did they use me? Sure, and fairly cheaply. They didn't pay that much, just like a museum. But in some ways, I like to be used. I felt threatened in the store. It;s too much, too many shoes, too many bags, too much with the art. But I like to be threatened; it's like being in a war zone". (Vanessa Beecroft)
"Of course I was concerned with the idea that art is being used, and whether the context pf the work would be disruptive to the quality of the work. But in the end I decided it was OK. Besides, I'm being accused of things all the time, and selling out is just one of them".
"There are no autonomous non-political spaces left". (Olafur Eliasson)
"You work with an artist and you have to give them complete freedom. That is the price you have to pay".
"It took Marc five years to find another artist to work with and it isn't the kind of thing we want to do every season or even every spring. Maybe we won't do anything for another ten years - the last thing we would like everybody to think is that every year there will be new artists". (Yves Carcelle, President of LVMH Fashion)
"I had in mind that artists were closer to God in the creative hierarchy, more divinely inspired. I was just a designer and I felt I didn't have the right to think about art". (Marc Jacobs)
"We wanted to choose artists whose work already shows an affinity with the icons of Chanel. The company is like a modern-day Medici; it wants art expressed in the brand". (Peter Marino)
"As a company, Calvin Klein wants to be associated with what's new, what's current. We want energy".
"Of Course, the "art thing" is very fashionable right now, which can be a bit sickening - it seems very easy. But we're pleased by what we've done to support art over the years and hope we can do more, not just financially, but bring awareness to the customers we cater to". (Francisco Costa)
"With our field becoming the object of so much attention, it;s inevitable that artists are seen as kind of celebrities now".
"If art becomes the next Hollywood, well, I don't think we can stop that". (Francesco Vezzoli)
"Within the art world , there are certain suspicions of the artist's intentions, and what the benefits could be. And the assumption is that it's always the fashion industry making the approach".
"The obvious danger is indicated in the name: fashion. Fashion is temporal and transitory - as well it should be - but then for artists there's a danger that their work will be perceived in the same way, too. I also think there's a real problem treating the persona of the artist as the artwork".
"It depends entirely on whether it fits with in a particular artist's creative practice. And with someone like Murakami, it fits perfectly". (Jessica Morgan, Tate Modern)
It's about how we think now. We don't want to compartmentalise our lives - whether it's art, fashion, architecture, whatever. The limits just aren't clear anymore". (Yves Carcelle, President of LVMH Fashion).
Subscribe to:
Posts (Atom)