Judith Clark - Academia.edu (original) (raw)

Papers by Judith Clark

Frieze: Contemporary Art and Culture, 2019

A monograph on the visionary fashion designer. Judith Clark's contribution takes the form of ... more A monograph on the visionary fashion designer. Judith Clark's contribution takes the form of individual short essays to accompany every theme chosen by Hussein Chalayan to be explored within the publication into which to organise his collections. The publication coincides with the opening of his retrospective exhibition at the Musee des Arts Decoratifs in Paris (6/7/2011 - 13/11/2011)

Architectural Design, Mar 1, 2010

Is the exuberant confined to architecture? Judith Clark, curator and lecturer in the history and ... more Is the exuberant confined to architecture? Judith Clark, curator and lecturer in the history and theory of fashion, looks into the sartorial equivalent of digital exuberance. She describes how exuberance in fashion is largely performance‐based expressed on the catwalk, as epitomised by Hussein Chalayan's dramatic staging of his shows. Copyright © 2010 John Wiley & Sons, Ltd.

Frieze: Contemporary Art and Culture, 2017

Fashion Theory, Mar 1, 2006

Routledge eBooks, Dec 15, 2020

Fashion Theory, Feb 1, 2001

The exhibition 'Malign Muses: When Fashion Turns Back' was commissioned by ModeMuseum, An... more The exhibition 'Malign Muses: When Fashion Turns Back' was commissioned by ModeMuseum, Antwerp, a museum which opened to showcase the region’s historic collection and reflect the experimental fashion associated with the Antwerp Academy. The brief for the exhibition was two-fold: to reflect the influence of the past on recent dress (a homage to the museum); and to create an exhibition that would question the practice of fashion curation and its collaborative process. The exploration of theory through practice was echoed in the use of theoretical writing in this exhibition. It was about the visualization of history: the genealogy of dress. By taking arguments from academic texts, e.g. Evans, Caroline, Fashion at the Edge and developing them in three-dimensional form, it aimed to draw attention to how critical curation and theory can intersect. The exhibition created the opportunity to commission work by jeweller Naomi Filmer who created mannequin prosthetics, illustrator Ruben Toledo, the two-dimensional graphics, and Yuri Avvakumov, a leading Russian architect to design the final section ‘The Garden of the Forking Paths’, using his neo -constructivist vision to create this illusion of an infinite genealogy. The catalogue unusually showed the research stage, including notes from Caroline Evans’s manuscript, original drawings by Filmer, Avvakumov and Toledo and my working sketches. It suggested what a catalogue could become - documentation of the curatorial and exhibition design processes, rather than finished object.

Take a brand new look at the world of high fashion and all that goes into it by diving into this ... more Take a brand new look at the world of high fashion and all that goes into it by diving into this spectacular exhibit, staged in a 1960s swimming pool, which blurs the lines between inside and out. The examination of craftsmanship as fashion's muse is at the heart of "Fashion Inside and Out". by thinking about craftsmanship, we open a window to be able to look again at the processes by which fashion emerges. By changing the rules of craftsmanship, by evolving its implicit skills, we can move the conceptual framework within which we work and see ourselves.

In 2018, the Cristobal Balenciaga Museum began this curatorial series in order to explore, by mea... more In 2018, the Cristobal Balenciaga Museum began this curatorial series in order to explore, by means of a chronological and evolutionary discourse of the work by the couturier from Getaria, the process due to which what was in its day a simple item of clothing is today part of a Museum collection. Contexts, in this new instalment, prompts us to seek out the common places between history and fashion, the spaces behind the curtain, where everything’s done, the hows before the whys, and the formal parallelisms between the then of haute couture and the now of the museum work. The exhibition discourse and the selection of pieces that accompany it, as well as the spatial conceptualisation and its design, are the result of collaboration between the Museum team and eminent fashion curator Judith Clark, continuing the work carried out in 2018 with the start of this series.

The new installation of the museum galleries comes from an invitation from the Cristobal Balencia... more The new installation of the museum galleries comes from an invitation from the Cristobal Balenciaga Museum to respond to the new curatorial route through the archive. The exhibition, Cristobal Balenciaga Fashion and Heritage, collects together moments in the history of the houses Balenciaga established in Spain and in Paris. The exhibition format allows the build up of associations and conversations across collections, each adding a new perspective.

Bloomsbury Publishing eBooks, Dec 27, 2017

This chapter explores the use of props in exhibition making

Judith Clark designed an exhibition of Frida Kahlo’s wardrobe at Frida Kahlo: Appearances may be ... more Judith Clark designed an exhibition of Frida Kahlo’s wardrobe at Frida Kahlo: Appearances may be Deceiving, Museo Frida Kahlo. The exhibition was designed in 2012 with over 1.2 million visitors, making it the most visited dress exhibition in history. The exhibition will tour to the V&A in 2018, although Judith Clark will not be part of this leg of the tour, it will then be re-designed and expanded at ModeMuseum Provincie Antwerpen (MoMu) in 2019, in which Judith's role as exhibition designer will resume.

Bal Harbour Shops is a luxury retail destination in Miami, Florida. At the heart of the shopping ... more Bal Harbour Shops is a luxury retail destination in Miami, Florida. At the heart of the shopping destination is the Fashion Project – an experimental space that approaches fashion and the culture surrounding it through a multidisciplinary lens. The Fashion Project (FP) was a commission for a series of 4 small exhibitions with essays on the practice of fashion curation. Clark, J., 2015, FP01: The Exhibition, [Curated], Fashion Project, Bal Harbour, Florida, USA. April 09 2015 Clark, J., 2015, FP02: Morphing. [Curated], Fashion Project, Bal Harbour, Florida, USA, 28 May – 10 August 2015 Clark, J., 2015, FP03: The Past. 1915-1965. [Curated], Fashion Project, Bal Harbour, Florida, USA, 8 October – 5 November 2015 Clark, J., 2015, FP04: The Anniversary 1965-2015. [Curated], Fashion Project, Bal Harbour, Florida, USA, 12 November 2015 - 20 January 2016

Frieze: Contemporary Art and Culture, 2019

A monograph on the visionary fashion designer. Judith Clark's contribution takes the form of ... more A monograph on the visionary fashion designer. Judith Clark's contribution takes the form of individual short essays to accompany every theme chosen by Hussein Chalayan to be explored within the publication into which to organise his collections. The publication coincides with the opening of his retrospective exhibition at the Musee des Arts Decoratifs in Paris (6/7/2011 - 13/11/2011)

Architectural Design, Mar 1, 2010

Is the exuberant confined to architecture? Judith Clark, curator and lecturer in the history and ... more Is the exuberant confined to architecture? Judith Clark, curator and lecturer in the history and theory of fashion, looks into the sartorial equivalent of digital exuberance. She describes how exuberance in fashion is largely performance‐based expressed on the catwalk, as epitomised by Hussein Chalayan's dramatic staging of his shows. Copyright © 2010 John Wiley & Sons, Ltd.

Frieze: Contemporary Art and Culture, 2017

Fashion Theory, Mar 1, 2006

Routledge eBooks, Dec 15, 2020

Fashion Theory, Feb 1, 2001

The exhibition 'Malign Muses: When Fashion Turns Back' was commissioned by ModeMuseum, An... more The exhibition 'Malign Muses: When Fashion Turns Back' was commissioned by ModeMuseum, Antwerp, a museum which opened to showcase the region’s historic collection and reflect the experimental fashion associated with the Antwerp Academy. The brief for the exhibition was two-fold: to reflect the influence of the past on recent dress (a homage to the museum); and to create an exhibition that would question the practice of fashion curation and its collaborative process. The exploration of theory through practice was echoed in the use of theoretical writing in this exhibition. It was about the visualization of history: the genealogy of dress. By taking arguments from academic texts, e.g. Evans, Caroline, Fashion at the Edge and developing them in three-dimensional form, it aimed to draw attention to how critical curation and theory can intersect. The exhibition created the opportunity to commission work by jeweller Naomi Filmer who created mannequin prosthetics, illustrator Ruben Toledo, the two-dimensional graphics, and Yuri Avvakumov, a leading Russian architect to design the final section ‘The Garden of the Forking Paths’, using his neo -constructivist vision to create this illusion of an infinite genealogy. The catalogue unusually showed the research stage, including notes from Caroline Evans’s manuscript, original drawings by Filmer, Avvakumov and Toledo and my working sketches. It suggested what a catalogue could become - documentation of the curatorial and exhibition design processes, rather than finished object.

Take a brand new look at the world of high fashion and all that goes into it by diving into this ... more Take a brand new look at the world of high fashion and all that goes into it by diving into this spectacular exhibit, staged in a 1960s swimming pool, which blurs the lines between inside and out. The examination of craftsmanship as fashion's muse is at the heart of "Fashion Inside and Out". by thinking about craftsmanship, we open a window to be able to look again at the processes by which fashion emerges. By changing the rules of craftsmanship, by evolving its implicit skills, we can move the conceptual framework within which we work and see ourselves.

In 2018, the Cristobal Balenciaga Museum began this curatorial series in order to explore, by mea... more In 2018, the Cristobal Balenciaga Museum began this curatorial series in order to explore, by means of a chronological and evolutionary discourse of the work by the couturier from Getaria, the process due to which what was in its day a simple item of clothing is today part of a Museum collection. Contexts, in this new instalment, prompts us to seek out the common places between history and fashion, the spaces behind the curtain, where everything’s done, the hows before the whys, and the formal parallelisms between the then of haute couture and the now of the museum work. The exhibition discourse and the selection of pieces that accompany it, as well as the spatial conceptualisation and its design, are the result of collaboration between the Museum team and eminent fashion curator Judith Clark, continuing the work carried out in 2018 with the start of this series.

The new installation of the museum galleries comes from an invitation from the Cristobal Balencia... more The new installation of the museum galleries comes from an invitation from the Cristobal Balenciaga Museum to respond to the new curatorial route through the archive. The exhibition, Cristobal Balenciaga Fashion and Heritage, collects together moments in the history of the houses Balenciaga established in Spain and in Paris. The exhibition format allows the build up of associations and conversations across collections, each adding a new perspective.

Bloomsbury Publishing eBooks, Dec 27, 2017

This chapter explores the use of props in exhibition making

Judith Clark designed an exhibition of Frida Kahlo’s wardrobe at Frida Kahlo: Appearances may be ... more Judith Clark designed an exhibition of Frida Kahlo’s wardrobe at Frida Kahlo: Appearances may be Deceiving, Museo Frida Kahlo. The exhibition was designed in 2012 with over 1.2 million visitors, making it the most visited dress exhibition in history. The exhibition will tour to the V&A in 2018, although Judith Clark will not be part of this leg of the tour, it will then be re-designed and expanded at ModeMuseum Provincie Antwerpen (MoMu) in 2019, in which Judith's role as exhibition designer will resume.

Bal Harbour Shops is a luxury retail destination in Miami, Florida. At the heart of the shopping ... more Bal Harbour Shops is a luxury retail destination in Miami, Florida. At the heart of the shopping destination is the Fashion Project – an experimental space that approaches fashion and the culture surrounding it through a multidisciplinary lens. The Fashion Project (FP) was a commission for a series of 4 small exhibitions with essays on the practice of fashion curation. Clark, J., 2015, FP01: The Exhibition, [Curated], Fashion Project, Bal Harbour, Florida, USA. April 09 2015 Clark, J., 2015, FP02: Morphing. [Curated], Fashion Project, Bal Harbour, Florida, USA, 28 May – 10 August 2015 Clark, J., 2015, FP03: The Past. 1915-1965. [Curated], Fashion Project, Bal Harbour, Florida, USA, 8 October – 5 November 2015 Clark, J., 2015, FP04: The Anniversary 1965-2015. [Curated], Fashion Project, Bal Harbour, Florida, USA, 12 November 2015 - 20 January 2016