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How Does a Girl Like You Get to be a Girl Like You?
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How Does a Girl Like You Get to be a Girl Like You?
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Description
Larger Image
Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at:
http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-10.jpg
Title
How
Does
a
Girl
Like
You
Get
to be a
Girl
Like
You
?
Creator
Shonibare, Yinka (British painter, sculptor, and installation artist, born 1962)
Date
1995 or 1997?
Cultural Context
British
English
European
African
Nigerian
Theme
Textiles
Costume (mode of fashion)
Installations (visual works)
Culture
Cultural heritage
Cultural diffusion
Multiculturalism
Pluralism
Ethnicity
Ethnic groups
Ethnic art
Ethnic studies
Dress (culture-related concept)
Decorum
Victorian
Women
Petticoats (underskirts)
Bustles
Dresses (garments)
Patterns (design elements)
Mannequins (costume equipment)
Three-quarter views
Oblique views
Front views
Back views
Subject
Textiles
Clothing & dress
Pluralism (Social sciences)
Ethnic groups
Imperialism
Cultural relations
Acculturation
Dresses
Women
Patterns (Design elements)
Mannequins
Backs (Anatomy)
Description
Installation
of
three
costumes
of
wax-print
cotton
textiles
tailored
by
Sian
Lewis
; "This
work
by
Shonibare
consists
of
three
clothed
mannequins
standing
on a
low
platform
. Their
stiff
postures
and
high
Victorian
dresses
,
complete
with
petticoats
and
bustles
,
evoke
British
decorum
in the
Age
of
Empire
.
However
, the
busy
patterns
and
bright
colors
of the
cloth
produce
contradictory
cultural
associations
.
Notions
of
dress
,
ethnic
status
,
museum
display
, and
artistic
value
are
brought
into
collision
.
Shonibare
builds
on
discourses
eroding
distinctions
between
the
fine
and
applied
arts
but
inserts
a
dimension
of
cultural
difference.
"
(Caption
,
p.242)
; "
[…]
many
younger
artists
of the
1990s
reflected
new
conditions
of
cultural
hybridization
and
global
cross-fertilization
. The
British
artist
Yinka
Shonibare
,
who
was
born
in
England
but
brought
up
by
Nigerian
parents
in
Lagos
,
sought
to
contest
the
'authentic'
ethnic
origins
that had
preoccupied
many
culturally
displaced
artists
of the
1980s
.
Working
with
patterned
fabrics
which
connoted
'Africa'
but had
actually
begun
life
in their
raw
state
in
England
or
Holland
, he
produced
dresses
which
bore
witness
to the
cultural
hybridities
stemming
from
colonialism.
"
(Excerpt
,
p.242)
Material
Wax-print cotton textiles
Cotton (textile)
Cloth
Textiles
Mannequins (costume equipment)
Measurements
Approx. height: 168 cm
Technique
Sewing (process)
Work Type
Textiles
Clothing & dress
Installations (visual works)
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.242, fig.128)
Rights
Photograph reproduced in Hopkins courtesy: Stephen Friedman Gallery.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
826-10.jpg
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