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The displays, silences, and aestheti...

Gutierrez Lopez, Daniela Alejandra.

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The displays, silences, and aesthetic possibilities of museum fashion's gendered geopolitics.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The displays, silences, and aesthetic possibilities of museum fashion's gendered geopolitics./
作者:	Gutierrez Lopez, Daniela Alejandra.
面頁冊數:	119 p.
附註:	Source: Masters Abstracts International, Volume: 53-05.
Contained By:	Masters Abstracts International53-05(E).
標題:	Gender studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1568256
ISBN:	9781321305906

The displays, silences, and aesthetic possibilities of museum fashion's gendered geopolitics.
Gutierrez Lopez, Daniela Alejandra.

The displays, silences, and aesthetic possibilities of museum fashion's gendered geopolitics. - 119 p.

Source: Masters Abstracts International, Volume: 53-05.

Thesis (M.A.)--Rutgers The State University of New Jersey - New Brunswick, 2014.

This item must not be sold to any third party vendors.

This thesis studies how the "museumification" of fashion --the collection and display of decommodified objects--- may affectively (re)produce normative gender, class, ethnic, and geopolitical hierarchies narrated and embodied in the garments and exhibitions. Re-locating "personal" fashion items within institutional walls molds the (art) museum as a site for social control ---surveillance, inclusion, exclusion--- of subaltern groups, specifically of women, subcultures and ethnic minorities: respectively, the Metropolitan Museum of Art's Impressionism, Fashion and Modernity and Punk: Chaos to Couture ; and the Museum of Chinese in America's Shanghai Glamour: New Women 1910s-40s and Front Row: Chinese American Designers serve as case studies.

ISBN: 9781321305906Subjects--Topical Terms:

2122708
Gender studies.

The displays, silences, and aesthetic possibilities of museum fashion's gendered geopolitics.
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520 $a This thesis studies how the "museumification" of fashion --the collection and display of decommodified objects--- may affectively (re)produce normative gender, class, ethnic, and geopolitical hierarchies narrated and embodied in the garments and exhibitions. Re-locating "personal" fashion items within institutional walls molds the (art) museum as a site for social control ---surveillance, inclusion, exclusion--- of subaltern groups, specifically of women, subcultures and ethnic minorities: respectively, the Metropolitan Museum of Art's Impressionism, Fashion and Modernity and Punk: Chaos to Couture ; and the Museum of Chinese in America's Shanghai Glamour: New Women 1910s-40s and Front Row: Chinese American Designers serve as case studies.
520 $a This argument is developed through a contrastive study of the exhibits, which deploys a multi-method approach. In order to contextualize museum practices and the fashion exhibitions, and address geopolitical relationships among those exhibited, I consider historical investigations and previous museum studies scholarship. Moreover, feminist fashion, affect, and post-colonial theories help navigate some of the different but complementary standpoints that shape the museum fashion experience. Informed by repeated visits to the exhibitions, I perform discourse analysis of the spatial (visual and physical) organization of the artworks in the displays; and of the visual and written texts provided at the museum ---the descriptions of the galleries and the captions that accompany the garments, accessories, photographs, videos, music or paintings. Finally, throughout I analyze a contemporary prosthetic to the museum's social body that aids the proliferation of the hegemonic discourses circulating within the museum: mass media related to the exhibits ---television, press articles, and the museums' websites.
520 $a However, by focusing on the artificiality and construction of these discourses, the thesis ultimately considers the possibilities for destabilizing and subverting the aforementioned hierarchies. Rethinking collective aesthetic experiences and practices ---such that audiences might consciously engage with and perform the meaning-making processes that art and fashion both allow--- could alter museum publics' degrees of participation with the fashion spectacles and within society at large.
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