#added the link to the LACMA project

[badassindistress]

Guys guys guys!!! A fantastic colleague gave me this beautiful fabric to make something with. She said she got it in China ten years ago with the intention to learn to sew and she still hasn't learned so I could have it 😭

I immediately started drawing a pattern for the 1750s waistcoat from the LACMA pattern project, as I'm planning to drag some friends to a costumed picknick party.

Have you seen the hidden mermen and sea monsters??

[vinceaddams]

Hello! I love your blog and I’ve decided to finally try to start making historical clothing! I’ve got a degree in textiles and made modern clothing so I’ve got a fair bit of experience with sewing and patterns etc. But I’ve never drafted my own properly, which seems to be the way to go for decent clothing of the era I like (mid 18thc ish). I want to make some breeches and I’ve seen you’ve made quite a few! I would love any resources you have for breeches, advice etc. please!

Wonderful! I’m always happy to see more people starting historical sewing!! I have a big post of 18th century menswear resources, and it mentions a few places to find pattern diagrams. LACMA Pattern Project and The Cut of Men’s Clothes are free, but Costume Close Up has the most construction information. My most thorough post on breeches construction so far is the one about my 1730′s ones. I haven’t got a good post on later breeches from start to finish (and due to camera troubles I didn’t photograph the earlier steps of the pair I’m making now) but aside from the front closure the construction is pretty much the same. The 1730′s ones close with a button fly, but I have a tutorial on how to machine sew fall fronts. 

In the middle of the 18th century they changed from fly fronts to fall fronts (because waistcoats gradually got shorter and the fall front made the visible bit smoother and nicer looking) so if you’re doing mid 18th century it could go either way. Here’s my pinterest board of extant breeches if that’s any help. Some of the source links are no good but some have good detail shots.

When I scale up/draft patterns I just sort of measure myself and draw up the patterns according to the measurements, which I should perhaps try filming sometime. I trace the pattern piece diagrams onto a small sheet of paper, I stand in front of a mirror and measure where those pattern pieces would be on me and how big various parts of them would be, and I mark those measurements down on the little diagram and then draw them up full size. I don’t expect this method would work for everyone, but I find it works very well for me, and I never have to make very big alterations to my mockups.

Breeches are weird, and they don’t fit like modern pants. It took me an awful long time to realize my first patterns were too long and too loose, and I only just drafted a well fitting pattern last year. (Don’t look at any of my breeches posts from before 2019, they are badly made.)

I hate putting a lot of effort into mockups, but for breeches it’s unfortunately necessary because the fit is so particular that you really can’t tell if your pattern is right unless you’ve added all the closures and properly tried them on. 

Buckles! I got my breeches buckles from Burley & Trowbridge for a very affordable $15, and since they simply hook through a buttonhole on one end of the kneeband and have prongs that poke through the other end, they aren’t actually part of the breeches so you really only need one pair of buckles no matter how many pairs of breeches you make! (I have some photos of how this works in my 1730′s breeches post.) Wm. Booth Draper also sells them, and the Sign of The Grey Horse has some too.

Good luck with your breeches!

[ladystylestores]

Etro to Support Italy’s WWF on Animal Conservation – WWD

https://pmcwwd.files.wordpress.com/2020/07/wwf-italia_ph.-giancarlo-mancori-2.jpg?w=640&h=415&crop=1

ETRO’S OPERATION WOLF: With the winged Pegasus stallion of Greek mythology as the brand’s symbol since 1968, it comes as no surprise that Etro is going to the rescue of endangered animal species and showing its commitment to combat the changes in nature and biodiversity.

To this end, the Italian luxury company is joining forces with the country’s WWF, donating funds for a number of wildlife conservation initiatives.

The first of such projects is aimed at safeguarding wolves and protecting the environments where the animal lives, as well as other species sharing the same lands. The wolf bears a historical meaning in Italy as it is linked with the legend of the founding of Rome by mythical twins Romulus and Remus.

“Today, more than ever, we are aware of how much the Earth is a unique and precious mother for us all, to be preserved and protected. In the past months, we observed, from our homes, many animals freely repopulating areas from which they had long been absent,” noted Kean Etro, men’s creative director of the house.

During lockdown, local newscasts showed images of animals taking over areas traditionally flooded with people, including a swan serenely swimming in a Venice canal.

“It is necessary to seek a harmonious balance and coexistence with the animal kingdom, remembering that as human beings we are part of it as well. The partnership with WWF Italy expresses our desire for an additional commitment towards nature,” added Veronica Etro, creative director of the women’s collections at the family-owned company.

WWF Italy has been actively protecting wolves since 1971 with the “Operation St. Francis” which prevented extinction, as recalled by Benedetta Flammini, the organization’s marketing and communication director. “WWF Italy is committed to defending an extraordinary animal that continues, even today, to be in danger. Thanks to Etro’s donation we will be able to continue and strengthen our work to defend one of our country’s symbolic species,” Flammini explained.

The initiative falls within Etro’s broader sustainability approach, which the two creative siblings have started tackling long before the subject was seriously taken into consideration by the international fashion system.

For instance, in his fall 2001 men’s collection for the house, Kean employed biological fabrics with a reduced environmental impact, while in 2015 he took part to the “Reigning Men: Fashion in Menswear 1715-2015” exhibition at the LACMA, presenting a selection of pieces where fur was printed on fabrics highlighting the importance of eliminating animals from the fashion production chain. Marking last year’s World Ocean Day in June, the designer created a special down jacket crafted from the New Life Yarn, a made in Italy polyester thread obtained from recycled plastic bottles.

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from World Wide News https://ift.tt/32P8CBL

[micaramel]

Artist: Bas Jan Ader

Venue: Meliksetian | Briggs, Los Angeles

Exhibition Title: Water’s Edge

Date: June 8 – July 27, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of Meliksetian | Briggs, Los Angeles

Press Release:

Anna Meliksetian and Michael Briggs are pleased to present Water’s Edge, the second exhibition in the gallery of the work of Bas Jan Ader.

From Bas Jan Ader’s childhood in Holland learning to sail on the Eems-Dollard Esturary, playing truant from school to go out on the sea with the local prawn fisherman as a teen, wearing only clothing of a particular shade of ocean blue, through his many seminal and highly influential art works to his final fateful ocean voyage at the age of 33, water has been a leitmotif throughout his life. Water’s Edge explores how this is manifest literally and metaphorically in art works Ader made in the period between 1970 and 1972.

Ader’s overarching and most significant concern during this period was the notion of the Fall where, as Ader has stated, “gravity made itself master over me.” While the embodiment of these philosophical ideas in the art works runs through nearly the entire exhibition, it is notable that the actions are situated alongside bodies of water, from the Pacific coast in Los Angeles, to the canals and rivers of Amsterdam, to the oceanside of Sweden. The Fall, for Ader the philosophical problem of free will and determinism, whether it is the literal physical fall of body to earth or the metaphorical fall of mankind (Ader’s parents were pastors) is made apparent throughout these works, but the notion of falling also asserts itself in the element of water, the waterfall, the falling of tears on the artist’s face and his disappearance into the water after falling into the canal as seen at the end of Fall 2, Amsterdam. These works are juxtaposed in the exhibition with works evoking the 19th century tradition of the sublime, the contemplative and philosophical Romantic artist gazing out to sea and to the vastness of nature in the various Study for Farewell to faraway friends, 1971 photos and then again in front of the crashing sea and rocky landscape in The elements, 1971.

In the performance work The boy who fell over Niagara Falls, 1972, the artist reads a text from the March 1972 issue of the then popular magazine Reader’s Digest recounting the true story of a young boy’s accidental plunge over the edge of the 175 foot high roaring waterfall and his miraculous survival. As Ader reads the text in a flat, affectless voice, he slowly and methodically sips from a glass of water and the performance concludes when the glass is empty. The work was performed by Ader three times publicly at Cal Arts, Valencia, California, at art & project, Amsterdam, and at Kabinett für Aktuelle Kunst, Bremehaven as well as privately at the home of artist William Leavitt, as in the video work shown.

The vintage photos exhibited alongside the video are from the final performance of the work at the Kabinett in Germany, which was notable as Ader added for the first and only time a final element, whereby upon finishing the glass of water after the word “death” in the text, thus ending the performance, he left the room crying with tears falling down his face. A counter point prefiguring this action are the photos hung opposite in the gallery, two works from the small photographic series entitled Study for I’m too sad to tell you, 1971 made alongside the seminal film work in the year prior showing the artist in tears. The Kabinett photos are also notable as they are the last work Ader made that reveal his face, despite the artist himself being a protagonist in subsequent works. The Niagara Falls story itself, the survival of the young boy in overwhelming and dire circumstances, what could be considered a miracle, hopeful and inspiring, cheating fate and overcoming destiny, foreshadows Ader’s trans-Atlantic sailing voyage at its beginning, part of what ultimately became his final art work in 1975, the uncompleted grand trilogy In search of the miraculous.

The work of Bas Jan Ader (1942 – missing at sea 1975) has been featured in many institutional solo exhibitions including the Stedelijk Museum, Amsterdam, the Kunsthalle Basel, the Camden Art Center, London, the Centro Galego de Arte Contemporánea / CGAC, Santiago Compostela, Spain and the Museo d’Arte Moderna di Bologna / MAMBO, Italy as well as the Venice and Sao Paolo Biennials in 2017 and 2012 respectively. Recent group exhibitions include shows at Los Angeles County Museum of Art / LACMA, National Gallery of Australia, Canberra, Kunsthalle Wien, Vienna, Museu Serralves, Porto, Portugal, Castello di Rivoli Museo d’Arte, Turin and the Musée d’art Moderne de la Ville de Paris, Paris, among many others.

In summer 2019, Ader’s work can be seen in the major three person exhibition Disappearing – California c. 1970: Bas Jan Ader, Chris Burden and Jack Goldstein curated by Philipp Kaiser, at the Modern Art Museum of Fort Worth. A catalog by Prestel is available.

Other current exhibitions Summer 2019 include Poetics of Emotion, La Caixa Forum, Zaragoza Spain, After Leaving | Before Arriving, Kaunas Biennial, Kaunas, Lithuania, Durch die Blume | Florale Metamorphosen, Kunstverein Heilbronn, Heilbronn, Germany, and A Vision for Painting, Fondation Louis Vuitton, Paris, France among others.

The artist’s work is included in important public collections such as the Los Angeles County Museum of Art, Museum of Modern Art, New York, the Whitney Museum of American Art, New York, the National Gallery of Art, Washington, D.C., the Art Institute of Chicago, and the Berkeley Museum of Art, Berkeley, California among others, as well as foundations like the Museo Jumex, Mexico City, the Fondation Louis Vuitton, Paris and the Collezione La Gaia, Piedmont, Italy.

Link: Bas Jan Ader at Meliksetian | Briggs

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2k1Ue5c

[moodyresearch]

hey guys! My shop is Gemini G.E.L. (Graphic Editions Limited), located in Los Angeles, California.

https://www.geminigel.com/page/history/

Gemini was founded in 1966 and was initially a small shop owned by Kenneth Tyler, a master printer who had recently finished his studies at the Tamarind Lithography Workshop. Upon visiting the shop his friends and fraternity brothers Sidney B. Felsen and Stanley Grinstein “discovered Tyler’s shop and saw that it had the potential to become a unique fine art workshop and publishing house.” They decided then that they would open Gemini only to invited artists, and that the artists would work directly with the master printers to stay on the cutting edge of (what was at the time) contemporary print. Kenneth Tyler left Gemini in 1974 to found another print shop and Felsen and Grinstein stayed to manage the business.

Why the name Gemini? Sidney B Felsen (now 92 and looking great) explains in an interview with vice

But the real star behind Gemini G.E.L. is the spry, immaculately dressed, 92-year-old Sidney B. Felsen, who originally co-founded the workshop with Stanley Grinstein and Kenneth Tyler. It's Felsen who unravels the mystery behind the printmaker's zodiacal name. "In 1965, the Gemini space capsule was launched, and it was just about the time that the shop began," Felsen explains, adding somewhat ironically: "Gemini was formed by two Sagittariuses and a Virgo. I think the only artist that worked with us who was a Gemini is Ellsworth Kelly. I'm a Virgo. In fact, a lot of printers at Gemini are Virgos. You have to be very orderly."

http://thecreatorsproject.vice.com/blog/la-printmaking-gemini-gel-cots (Links to an external site.)

The shop was small at first, consisting of "a small artist's studio and a lithography shop. Etching, woodcut, and screenprinting were rarely called for, and many aspects of sculpture projects were handled by outside contractors in the Los Angeles area."

http://www.nga.gov/gemini/essay.htm (Links to an external site.)

The initial goal of the shop was to work with only "mature masters", and they gained the attention of Josef Albers (who was 80 at the time) for their first project; his piece White Line Squares comprised of 17 lithographs that "called for precise color mixing as well as stringent registration techniques (proper alignment for each color printed on the sheet). The success of the project established Gemini's reputation as a workshop capable of meeting artists' technical challenges."

http://www.nga.gov/gemini/essay2.htm (Links to an external site.)

Once Gemini had gained some notoriety from working with Albers their vision shifted and they began to work with younger artists such as Robert Rauschenberg. Rauschenberg's piece Booster (72 inches long and the largest attempted print at that time) was a huge success that continued to gain them acclaim. Gemini was "never afraid of scale. When they printed Rauschenberg’s Booster in 1967, it was the largest hand-pulled lithograph made.” The image, based on a head-to-toe x-ray of the artist, was nearly six feet tall."- http://theartnewspaper.com/news/museums/lacma-celebrates-50-years-of-gemini-gel/ (Links to an external site.)

http://www.rauschenbergfoundation.org/art/artwork/booster (Links to an external site.)

Gemini actually has a show on that is ending today called The Serial Impulse at Gemini GEL, and Felsen was interviewed for it and he explains the explosion of activity just after Geminis founding in the 1960s, along with the attitude taken that would encourage artists to return and work in series'.

https://www.youtube.com/watch?v=ZArwFwIaanQ (Links to an external site.)

Gemini became known for producing artist series - due in part because they only sell originals and do not make multiples in other mediums (no digital printing of originally lithographic prints for example)

"Each art work would be conceived exclusively for the publishing and editions would be strictly limited, with each image signed and numbered by the artist and identified by the Gemini chop, signifying the authenticity of each original print or multiple produced. In other words, the shop would publish multiple originals, never works that replicate or reproduce art in other media."

https://www.geminigel.com/page/history/ (Links to an external site.)

Felsen talks here about how they wanted to emulate the freedom of the artists personal studio

“stay as long as you want and do whatever you want to do” and out of that came the idea of artists working in series. It's mentioned in tons of the articles i've gone through that Gemini has a "west coast vibe" because of the lengths they would go to to encourage and excite the artists they worked with.

The Serial Impulse at Gemini included series' by

Robert Rauschenberg

Roy Lichenstein

Frank Stella

Richard Serra

Vija Celmins

Jasper Johns

Julie Mehretu

David Hockney

Bruce Nauman

Susan Rothenberg

John Baldessari

Ed Ruscha

Claes Oldenburg

Ellsworth Kelly

Josef Albers

Michael Heizer

https://www.youtube.com/watch?v=qpD_HfNKpn8 (Links to an external site.)

Here is the Gallery talk at its opening complete with images of the pieces he's talking about- he explains conceptually formally and historically how these pieces came to be at Gemini GEL.

Some stand outs are the points he makes about series' in general, how one "strict principal governs" Roy Lichenstein's cow series, and how many of the artists didnt initially feel the pieces needed to stay together, but upon completing the series changed their minds and display them more as a single piece with multiple panels than separate prints.