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How are the histories of art and fashion connected in the global context of world's fairs? The contributors to this volume analyze the changing roles assumed by the arts, visual media, handicrafts, and artifacts and investigate the unifying conceptions of the 'Gesamtkunstwerk' in the framework of national representations at world's fairs. They reflect the ambivalent status of Latin American re-/presentations and the artistic and curatorial strategies employed by representatives of (post)colonial or 'peripheral' states. By focusing on transcultural style migrations and aesthetic discourses in a globalized art world, the volume provides a re-vision of international exhibitions and world's fairs from the perspective of a critical art history.
Über den Autor / die Autorin
Alexandra Karentzos (Prof. Dr.) is an art historian and professor of fashion and aesthetics at Technische Universität Darmstadt. Her research focuses in particular on fashion, art, and globalization from a postcolonial, transcultural perspective. Miriam Oesterreich (Prof. Dr.) is an art historian and professor of design theory at Universität der Künste Berlin. Her research focuses on Latin American art history from the 19th century to the present, critical heritage studies, exhibition histories, and transculturation processes in design, fashion, and art. Elena Nustrini (M.A.) is an art historian and doctoral candidate at Universität der
>Lizzy Rys (M.A.) is an art and fashion historian and a doctoral candidate at the Technische Universität Darmstadt and Ghent University. Her research explores late-nineteenth- and early-twentieth-century fashion in Belgium, examining how gender, decolonial practices, and class relations intersect within the field of fashion history.
Zusammenfassung
How are the histories of art and fashion connected in the global context of world’s fairs? The contributors to this volume analyze the changing roles assumed by the arts, visual media, handicrafts, and artifacts and investigate the unifying conceptions of the ›Gesamtkunstwerk‹ in the framework of national representations at world’s fairs. They reflect the ambivalent status of Latin American re-/presentations and the artistic and curatorial strategies employed by representatives of (post)colonial or ›peripheral‹ states. By focusing on transcultural style migrations and aesthetic discourses in a globalized art world, the volume provides a re-vision of international exhibitions and world’s fairs from the perspective of a critical art history.
