Communications about Arts Events - Essay Example

Communications about Arts events Name Institution Communications about Arts Events This paper present two written pieces in response to exhibition titled “Future Beauty: 30 Years of Japanese Fashion” which took place at Gallery of Modern Art (GOMA). The first part will be a review of general audience while the second part will be a program or catalogue or gallery guide entry. Review in response to Future Beauty: 30 Years of Japanese Fashion at the Gallery of Modern Art in Queensland Future Beauty: 30 Years of Japanese Fashion was a major work and organized by one of the most respected global artist, whose comprehensive decorations and authenticity made it one of the many innovative events in the modern art (McDonald, 2012). According to Jenna (2010) the event followers will tell you that this event was not the first one to present Japanese fashion in Australia. There has been “The Cutting Edge”, a fashion exhibition at Powerhouse Museum in 2005 which also covered similar ground, but showed a low profile compared to “Future Beauty: 30 Years of Japanese Fashion”. The Powerhouse started just as a Museum of Applied Sciences and Arts, and seemed a reasonable setting for the fashion shows, however, GOMA has enjoyed a unique cultural cachet (Fukai, 2010). Getting inspiration from exhibitions in Paris and Las Vegas, the exhibition which took place between 1 November 2014 and 15 February 2015 was a high-profile couture event which portrayed fashion as wholesome branch of visual arts. Queensland Art Gallery (2014) contended that the art exhibition was organized by renowned fashion historian of Japanese origin Akiko Fukai, who is also the Director of Kyoto Costume Institute. The exhibition explored some unique deep feeling of the Japanese design, depicting some sense of splendor personified in clothing. The 'Future Beauty' event explored the fabulous innovation since 1980s with more than one hundred clothing from classic to elegant. According to Bel (2015), the exhibition had five key crowd-attraction installations which also happened to be the themes, and they included Flatness, In Praise of Shadows, Cool Japan, Designer Focus and Tradition and Innovation. Black is applied inside the Long Gallery, showing a cultural feeling adjusted to the light and shade, and strength of black which is normally widespread within modern Japanese fashion (Sowin, 2008, p.46). Softness on such shadow is vital to the experience of design experience ‘In Praise of Shadows’, which is the first segment of the exhibition. The tactile scenery of fibre curtains finely discloses the space in the fabric drop that induces a cathedral-related experience. The Mannequins are delineated within groups between contrasting fabric panels, contributing to the coated tones of the shadows. Sowin (2008, p. 52) claimed that rectilinear base design matches with some sense of theatre of catwalk display, and drama. The end of the segment showed a big-screen projection runway where the renowned Japanese designers Yohji Yamamoto and Rei Kawakubo and first launched these fashion ideas to world. In a deeper sense, In Praise of Shadows is comparisons of the light and darkness and is applied to distinguish Asian and Western cultures (Sowin, 2008, p.47). The Western world is aspiring for the progress and is shown as constantly looking for light, whilst the subdued and subtle types of literature and oriental art symbolize an approval of shadow, closely representing the traditional concept within Japanese fashion called sabi. The practice shows an object communication which audience exhibition. Object communication is power form of non-verbal communication which needs the audience analyze things critically before deducing their true meaning. Figure 1: installation of “In praise of the shadows” On the other hand, Fukai et al (2010) stated that Flatness installation explored the uncomplicated geometries and interaction of the volume and flat planes, especially in the art work of Comme des Garçons and Issey Miyake. In this segment, designers referenced Kimono to be holding a distinct sense of the space. The application of balanced concrete fibre curtain is meant to offer more visual distinctiveness between the Flatness and the Tradition and Innovation. The audience we also entertained and treated to the lower galleries which focused on spectacle called the ‘Cool Japan’. Queensland Art Gallery (2014) held that this segment depicts a design strategy which leans towards outrageous as opposed to being discreet. The partitions layout helps define this distinctive and humorous collection of the clothing, along with a selection of movies created in Japan. The wall was painted black and plinth to present a powerful contrast as the background for the colorful clothing. The clothing are placed within a section where audience walk through and closely observe the garments, derive some meaning, interact with designers and ask various questions (Queensland Art Gallery, 2014). The message is communicated both in visual and verbal form. The cloths design provided visual communication while the designers were there to provide verbal communication. In that way, the exhibition has been made simple for audiences of every age to grasp. Figure 2: showing Flatness installation The forth segment of audience engagement focused on every of the principle designers participating in the exhibition. Audience on that day a key in this segment which was replication of the three forms of fabric patterns applied as the wallpaper blanket. The wallpaper was then displayed on the display plinth and adjacent wall, highlighting every major fashion collections of the exhibition (Hulsbosch, 2014, p.7). The general room where the fashion designs were displayed was decorated to match the themes and depict contrast between cultures. Located inside River Room, nearby exhibition, was a convention-designed seating stage for the Up Late, with a kaleidoscopic background closely attached to ‘Cool Japan’ theme. Queensland Art Gallery (2014) opined that the general graphic technique of the stage had some influence from model and J-pop star Kyary Pamyu’s videos. The general effect was overwhelming colour and cuteness though a touch of dark twist. Bel (2015) asserted that to make audience part of the exhibition, they were asked to take photo in the stage and send the image to the live feed so as to be embedded within the backdrop of stage. Figure 3: Cool Japan installation Figure 4: designer focus image done by Rei Kawakubo Figure 5: designer focus image done by Issey Miyake A program/catalogue/gallery Adult fashion exhibition entry Fashion taste for every adult Australian Expert Group in Industries Studies (2005) posited that adult Japanese fashion in exhibition has often beeen strongly acknowledged by Gallery of Modern Art (GOMA). Since 2005, GOMA has tried to create an array of unique fashion exhibitions to influence and engage fashion lovers with both classical and contemporary clothing which displays culture and visual arts from Japan. This holiday, GOMA in collaboration with origin Akiko Fukai will initiate a new fashion exhibition to inspire other people from different cultural background as well as Japanese living in Australia with a three dimension art adventure surrounding the user. It will be the second time Australia art center will be hosting A Japanese fashion exhibition in a decade after “The Cutting Edge” which took place in 2005 at Powerhouse Museum on adult fashion. However, Future Beauty: 30 Years of Japanese Fashion will of its kind as complete overview of the Japanese ultramodern fashion of previous 30 years will be presented in Australia (Queensland Art Gallery, 2014). Akiko Fukai and adult’s Fashion Growing with interest in arts and particularly in fashion back in Japan, Akiko Fukai has hugely influenced fashion and arts industry in the 21st century by creating various unique Japanese fabrics (Barnet, 2011, p.27). Akiko Fukai career in fashion art was influenced by Italian and French Design which made her to start doing Japanese fashion designs. She has used Japanese designs to show and contrast cultures. Jenna (2010) claimed that lately, she is involved in fashion consultancy with his work as director of Kyoto Costume Institute. Through his consultancy, Akiko Fukai is deeply committed to promoting fashion art projects with his modern art exhibitions in different countries of the world. Some of the Akiko Fukai organized exhibitions include Revolution in The Fashion 1715–181 in Kyoto in 1988, Japonisme et Mode in 1996 in Paris, 1996, Japonism in Fashion in Los Angeles in 1998, Fashion in Colors in 2005–2006 in New York City, Luxury in Fashion Reconsidered, in 2009-2010 in Tokyo and now Future Beauty: 30 Years of Japanese Fashion (Bel, 2015). In one of the interviews, Akiko Fukai argued that Japanese Fashion depicts Japanese culture to world and its uniqueness. He went ahead to state that despite showing some culture, Japanese culture has faced a lot of change influenced by the global fashion. In this Akiko Fukai new fashion exhibition, Future Beauty: 30 Years of Japanese Fashion, she will create the hand-on experience to create opportunities for established and new designers of adult clothing to showcase their internal art capabilities to inspire other interested people to get into artistic and curator roles (Hoppenfeld, 2005). Figure 6: the installation shows a happy audience depicting adults The Director, Chris Saines’ view The Gallery of Modern Art (GOMA) involvement in art and in this case fashion exhibition is a true reflection of what that institution stands for (Queensland Art Gallery, 2014). GOMA acceptance to host Future Beauty: 30 Years of Japanese Fashion portrays its ambitious mission of becoming the number one museum for modern art with Australia and within Asian-Pacific. Hulsbosch (2014) asserted that by showing Japanese fashion in Australia, it means that we want to increase opportunities within the exhibition and fashion programs in order to grow regional repute entailing a diverse audience. Queensland Art Gallery (2014) claimed that in a period between November 2014 and 15 February we will honored to present the fashion exhibition ‘Future Beauty: 30 Years of Japanese Fashion’ from one of the internationally renowned fashion artist, Akiko Fukai, who has been recognized of designing installations and engaging in fashion works. Gallery of Modern Art has had long-standing collaboration with Akiko Fukai particularly through her company Kyoto Costume Institute and about her organized exhibitions in Kyoto, New York and Los Angeles. Fashion-influenced adult’s designs have been one of the GOMA’s focuses. The exhibition will have some renowned designers like Yohji Yamamoto, Rei Kawakubo and Issey Miyake who have made a massive influence on the fashion industry from the late 20th century, and challenging more established fashion industries of the world (Hulsbosch, 2014). Illustrated with several installations, sketches and photographs and, Future Beauty exhibition will be stylish and have authoritative and expressive world fashion. The organizer Akiko Fuka has assured me that the exhibition will be platforms of shadows and forms which are poetic and adopts Japanese origami. Future Beauty exhibition has a stylish understanding of adult’s artistic motivation and leaned towards inspiring the adults on how to dress the part in different occasions. Barnet (2011, p.67) argued that the plan is formulated to give audiences freedoms to involve themselves in the fashion exhibition and different Japanese designers’ works. There will many other activities in stock for adults and general audiences to inspire them spend not only in Japanese designs but fashion in general. Note from Arts Queensland As a state government, we recognize the opportunistic process of creating fashion for adults and general families and believe the program will be exiting to the audience. Future Beauty: 30 Years of Japanese Fashion curated by Akiko Fuka had consulted the state government department of Arts on this noble course and we are glad to let you know the we granted permission make the exhibition go on. We found that program fronted by this fashion exhibition matches our own mission of letting people to showcase their diversity in a positive way through arts. Our state aims to promote creativity in any artists and in this case fashion. Therefore, our team will provide some materials for aspiring fashion designers to create their version of installations which depict of compliment the themes of the day. The freedom of allowing everyone to make artistic item aspires them to come out the current exhibition displays and create something dissimilar through communication and learning from their peers (Hoppenfeld, 2005). Offering materials to audience who wants to participate in the exhibition means we create opportunities for upcoming artists to show and curate their works in touring exhibitions. Barnet (2011) affirmed that with such engaging art programs, the initiative will create a closer connection between audience and designers in an interactive and experiential way. The state government thanks the sponsors Audi Australia and Gardens for giving designers to show their talents, prowess and diversity in terms of art. Synopsis of exhibition In partnership with the Gallery of Modern Art, Audi Australia and Gardens we invite all adults and families to be part of our exhibition, Future Beauty: 30 Years of Japanese Fashion, to learn their own experience on fashion. Over 1 November 2014 and 15 February 2015, Gallery of Modern Art (GOMA) will present an array of activities to fashion enthusiasts with the free admission (Queensland Art Gallery, 2014). Adult organized Exhibition Adults from the age of 25 can walk through the segments watching different installations and galleries to understand the theme of the exhibition. However, Even though clothing design displayed at exhibition are mainly for adults, it the organizer does not restrict people based on age, and audience can come with their families. The adult audiences will be given opportunity to create their own installations and showcase it to fellow audiences to make the exhibition more involving. Workshops The exhibition will a number of talks and workshops by the curators and Japanese designers during the art event targeting young adults and students and provide the teachings about the modern fashion (Jenna, 2010). This program will take place behind-the-scenes. Learning Materials Tutors’ worksheets and notes will be disseminated to the attending students and general audiences. According to Hulsbosch (2014) Audiences are urged take part in the forum by giving feedback and writing reviews to GOMA as the practice will create informative material which can be used for future references. References Australian Expert Group in Industries Studies. (2005). Stage Two Report, Social impacts of participation in the arts and cultural activities: Evidence, issues and recommendations. Commonwealth of Australia Barnet, S. (2011). A short guide to writing about art. Upper Saddle River: Pearson/Prentice Hall. Bel, K. (2015). Designing Future Beauty. Retrieved 21st March 2016 from http://blog.qagoma.qld.gov.au/designing-future-beauty/ Fukai, A., Vinken, B., Frankel, S., Kurino, H., & Nie, R. (2010). Future Beauty: 30 Years of Japanese Fashion. Merrell Publishers Hoppenfeld, S. (2005). Families and Art Galleries: How Values and Philosophies Shape Spaces’ presented at the J. Paul Getty Museum Symposium. ‘From Content to Play: Family-Oriented Interactive Spaces in Art and History Museum. Retrieved 21st March 2016 from https://www.getty.edu/education/symposium/Hoppenfeld.pdf Hulsbosch, M. (2014). TAASA Review: Celebrating 20 Years of Textile Study. The Journal of the Asian Arts Society of Australia 23(3), 2-25 Jenna. (2010). Future Beauty: 30 Years of Japanese Fashion: Exhibition Notebook Part 1. Retrieved 21st March 2016 from http://www.wornthrough.com/2010/11/future-beauty-30-years-of-japanese-fashion-exhibition-notebook-part-1/ McDonald, J. (2012). Future Beauty: 30 Years of Japanese Fashion chronicles couture visionaries. The Sydney Morning Herald Queensland Art Gallery. (2014). Three Decades of Japanese Fashion Celebrated at GOMA. Retrieved 21st March 2016 from http://blog.qagoma.qld.gov.au/three-decades-of-japanese-fashion-celebrated-at-goma/ Sowin, J. (2008). In Praise of Shadows: A Meditation. Fire and Knowledge Read More

Object communication is power form of non-verbal communication which needs the audience analyze things critically before deducing their true meaning. Figure 1: installation of “In praise of the shadows” On the other hand, Fukai et al (2010) stated that Flatness installation explored the uncomplicated geometries and interaction of the volume and flat planes, especially in the art work of Comme des Garçons and Issey Miyake. In this segment, designers referenced Kimono to be holding a distinct sense of the space.

The application of balanced concrete fibre curtain is meant to offer more visual distinctiveness between the Flatness and the Tradition and Innovation. The audience we also entertained and treated to the lower galleries which focused on spectacle called the ‘Cool Japan’. Queensland Art Gallery (2014) held that this segment depicts a design strategy which leans towards outrageous as opposed to being discreet. The partitions layout helps define this distinctive and humorous collection of the clothing, along with a selection of movies created in Japan.

The wall was painted black and plinth to present a powerful contrast as the background for the colorful clothing. The clothing are placed within a section where audience walk through and closely observe the garments, derive some meaning, interact with designers and ask various questions (Queensland Art Gallery, 2014). The message is communicated both in visual and verbal form. The cloths design provided visual communication while the designers were there to provide verbal communication. In that way, the exhibition has been made simple for audiences of every age to grasp.

Figure 2: showing Flatness installation The forth segment of audience engagement focused on every of the principle designers participating in the exhibition. Audience on that day a key in this segment which was replication of the three forms of fabric patterns applied as the wallpaper blanket. The wallpaper was then displayed on the display plinth and adjacent wall, highlighting every major fashion collections of the exhibition (Hulsbosch, 2014, p.7). The general room where the fashion designs were displayed was decorated to match the themes and depict contrast between cultures.

Located inside River Room, nearby exhibition, was a convention-designed seating stage for the Up Late, with a kaleidoscopic background closely attached to ‘Cool Japan’ theme. Queensland Art Gallery (2014) opined that the general graphic technique of the stage had some influence from model and J-pop star Kyary Pamyu’s videos. The general effect was overwhelming colour and cuteness though a touch of dark twist. Bel (2015) asserted that to make audience part of the exhibition, they were asked to take photo in the stage and send the image to the live feed so as to be embedded within the backdrop of stage.

Figure 3: Cool Japan installation Figure 4: designer focus image done by Rei Kawakubo Figure 5: designer focus image done by Issey Miyake A program/catalogue/gallery Adult fashion exhibition entry Fashion taste for every adult Australian Expert Group in Industries Studies (2005) posited that adult Japanese fashion in exhibition has often beeen strongly acknowledged by Gallery of Modern Art (GOMA). Since 2005, GOMA has tried to create an array of unique fashion exhibitions to influence and engage fashion lovers with both classical and contemporary clothing which displays culture and visual arts from Japan.

This holiday, GOMA in collaboration with origin Akiko Fukai will initiate a new fashion exhibition to inspire other people from different cultural background as well as Japanese living in Australia with a three dimension art adventure surrounding the user. It will be the second time Australia art center will be hosting A Japanese fashion exhibition in a decade after “The Cutting Edge” which took place in 2005 at Powerhouse Museum on adult fashion. However, Future Beauty: 30 Years of Japanese Fashion will of its kind as complete overview of the Japanese ultramodern fashion of previous 30 years will be presented in Australia (Queensland Art Gallery, 2014).

Read More