Rosemarie Trockel

Rosemarie Trockel: Schico-Pullower © Rosemarie Trockel / BONO 2013
Rosemarie Trockel: Schico-Pullower
© Rosemarie Trockel / BONO 2013
I received this notice from the Office for Contemporary Art Norway quite a few weeks ago about the lecture by Art Historian and Curator Anne Wagner* on "Feminism, Trockel Fashion."

"Wagner argues that the relationship between fashion and feminism has always been ambivalent, not least because both are so intimately bound up with women and their social roles. No wonder then that in the early years of her career, Rosemarie Trockel focused so closely on their relationship. What might feminist fashion achieve? The artist’s 1980s works not only address this question, but suggest answers that this lecture will aim to reassess."

After holding a four hour long studio visit with three smart students at RMCAD (ahem Sidney Connell, Stephen Harper and Lucas McMahon) about differences between between the picture and image and common pitfalls to be avoided when working from appropriated photography or materials- I thought again about Rosemarie Trockel's work and wished we had a museum survey of her work here in Denver. Check out a link to her work here- (note: ANY ARTIST WHO IS TRADING IN IMAGES HAD BETTER GET VERSED IN MEANINGS HELD WITHIN. JOHN BERGER'S WAYS OF SEEING SHOULD BE REQUIRED READING FOR ALL ARTISTS AND LAY PEOPLE. IT'S A 101 OR WAYS OF SEEING FOR DUMMIES HANDBOOK. AMBER COBB WILL ONE DAY RULE THE WORLD. The Office for Contemporary Art Norway also invited Art Historian and Curator Jorunn Veiteberg to lecture on the "Division of Labour: Textile as a Gendered Medium in Norwegian Art in the 1970s." I'm pretty intrigued by the work and lectures on offer. The Office of Contemporary Art Norway seems to be coming at textiles from a personal, geographic and political position thus distinctly handling a textile survey much differently than the Denver Art Museum's museum wide exhibition, Spun from this last summer. from the press release-

With a closer look at the practices of artists like Brit Fuglevaag, Elisabeth Haarr and Sidsel Paaske, among others, this lecture will examine why and how artists in the 1960s and 70s 'used textile materials and techniques as a basis for discussing both political and personal issues'. Veiteberg will argue 'how the choice of textiles, with their strong connotations to both the industry and the domestic sphere, also turned out to be a highly charged material in the field of art'.

ABOUT THE SPEAKER Jorunn Veiteberg holds a Ph.D. in Art History from the University in Bergen, Norway. She lives in Copenhagen, Denmark, and including her work as a freelance writer she is Professor II in Curatorial Studies at the Bergen Academy of Art and Design and visiting professor in Theory of Arts and Craft at HDK Gothenburg University, Sweden. She has worked as a critic, curator, researcher and editor at The Norwegian Broadcasting Corporation (NRK), and from 1997 until 2007 she was the editor of the journal Kunsthåndverk. She has received numerous awards for her writing, Torsten och Wanja Söderberg's Nordic design Prize in 1999, The Foundation for Design and Architecture in Norway’s Honours Award in 2010 and The Norwegian Association for Arts and Crafts’ Honorary Award in 2013. She wrote her master thesis in Art history on art and the women's movement in the 1970s (1982) and her most recent publications include Kvasbø Between the Possible and the Impossible (2013) and Leonard Rickhard Paintings (ed. 2012).

*an excerpt from the press release about Anne Wagner-

ABOUT THE SPEAKER Anne Wagner is an art historian and author who is currently Visiting Professor at the Courtauld Institute of Art, London, UK. For many years, Wagner worked as a professor at the Art History Department at the University of California, Berkeley, USA, where she remains the Class of 1936 Chair Emerita. Her work has appeared in journals such as Artforum, Representations, October, and The Threepenny Review. Her publications include, Mother Stone: The Vitality of Modern British Sculpture (Yale University Press, 2005), Three Artists (Three Women): Modernism and the Art of Hesse, Krasner and O’Keeffe (University of California Press, 1996); Jean-Baptiste Carpeaux: Sculptor of the Second Empire (Yale University Press, 1986). A book of her essays, A House Divided: On Recent American Art, was published in 2012. Behaving Globally is currently in progress, having been commissioned by Princeton University Press for a new series called 'Essays on the Arts'. Most recently, Wagner curated the major exhibition, 'Lowry and the Painting of Modern Life' for Tate Britain (2013).

ABOUT THE PROGRAMME The lecture by Anne Wagner is part of the programme 'Fashion: the Fall of an Industry’, a series of lectures analyzing the period of the 1970s in Norway, which saw a decline of employment in the textile industry. Through the interplay of garments, textile-production techniques and weaving processes, artists such as Brit Fuglevaag, Elisabeth Haarr and Sidsel Paaske found expression in a worldwide wave of labour militancy, developing techniques and practices fueled by a strong sense of political entitlement.


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