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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.
About the author
Alexandra Karentzos (Prof. Dr.) ist Kunst- und Kulturwissenschaftlerin und Professorin für Mode und Ästhetik an der Technischen Universität Darmstadt. In Forschung und Lehre befasst sie sich insbesondere mit Mode, Kunst und Globalisierung in einer postkolonialen, transkulturellen Perspektive.Miriam Oesterreich (Dr.) ist promovierte Kunsthistorikerin und Professorin für Designtheorie an der Universität der Künste Berlin. Ihre Forschungsschwerpunkte sind Lateinamerikanische Kunstgeschichte, Indigenismus und Modernekonzeptionen, transkulturelle Transferprozesse künstlerischer Praktiken, Kunst im 19. Jahrhundert sowie Verflechtungen von Kunst und Populärkultur.Elena Nustrini (M.A.) is an art historian and PhD candidate at Universität der Künste Berlin.Lizzy Rys (M.A.) is an art and fashion historian and PhD candidate at Technische Universität Darmstadt and the Ghent University.
Summary
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.
