| Field |
Value |
Language |
|
dc.contributor.author |
Titmarsh, M
https://orcid.org/0000-0002-1033-3867
|
en_US |
|
dc.contributor.editor |
Strike, N |
en_US |
|
dc.contributor.editor |
Borowski, M |
en_US |
|
dc.date |
2013-03-09 |
en_US |
|
dc.date.issued |
2013-03-09 |
en_US |
|
dc.identifier.citation |
Vortex Wearable Art Prize, 2013, 2013 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/33233
|
|
|
dc.identifier.uri |
http://hdl.handle.net/10453/34033
|
|
|
dc.description.abstract |
1. Bespoke Painting (pink), 2011, acrylic on linen dress 2. Bespoke Painting (blue), 2011, acrylic on linen dress 3. Public Fitting, 2011, dvd, 18 mins |
en_US |
|
dc.format |
Dresses painted during performance, and video of performance |
en_US |
|
dc.publisher |
Stonevilla Studio Gallery |
en_US |
|
dc.relation.ispartof |
Vortex Wearable Art Prize, 2013 |
en_US |
|
dc.title |
Titmarsh 3 Bespoke Painting (pink), Bespoke Painting (blue), Public Fitting (video) |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Stonevilla, 19 Railway Rd, Sydenham, Sydney |
en_US |
|
utslib.location.activity |
http://visual.artshub.com.au/news-article/news/visual-arts/vortex-wearable-art-prize-194171
|
en_US |
|
utslib.for |
1905 Visual Arts and Crafts |
en_US |
|
dc.location.activity |
http://visual.artshub.com.au/news-article/news/visual-arts/vortex-wearable-art-prize-194171
|
|
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
open_access |
|
|
pubs.consider-herdc |
false |
en_US |
|
pubs.finish-date |
2013-03-09 |
en_US |
|
pubs.place-of-publication |
Stonevilla, 19 Railway Rd, Sydenham, Sydney |
en_US |
|
pubs.start-date |
2013-03-09 |
en_US |
|
pubs.rights-statement |
Public Fitting is located in a cross disciplinary field between art and design, more specifically painting and fashion. The work questions the nature of rigid boundaries between modes of practice showing instead that a convergence of disciplines and conceptual strategies is essential in an age of integrated media. Consequently outcomes in this work were seen to reach across painting, fashion, performance, installation, video and theory. The aesthetic premise of this work is that the artist and designer can work together to produce a collaborative live performance that combines aspect of the catwalk and the artisanal studio. The work so produced carries aspects of public display and private creativity, pre-prepared choreographic events and chance happenings of the moment. This collaborative work references a significant example of performative making by fashion designer Alexander McQueen, Spring/Summer 1999. In this work the designer presented a white dress which was painted by two robotic arms, normally used in automotive production. While this precedent draws heavily on productive technology in a performative context, Public Fitting embraced a dialogical and participatory approach where discrete practices become entangled in a productive mode of collaborative making. The catalogue essay from the original exhibition at MOP was reprinted as ‘Public Fitting: Wet and Wild Discussions’, in The Australasian Journal of Popular Culture, Vol 1, No 3, 2012, pp.383-388. The work was re-presented at SEAM 2011 and the lively discussion after the performance between the two artists and the audience is documented on the official SEAM DVD of the conference. |
en_US |
