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Papers by Julia Petrov
Cambridge University Press eBooks, Aug 17, 2023
List of illustrations List of contributors Preface Sandra Dudley 1. Introduction: museums and thi... more List of illustrations List of contributors Preface Sandra Dudley 1. Introduction: museums and things Sandra Dudley Part I: Objects and their creation in the museum Introduction Jennifer Walklate 2. Romancing the Stones: earth science objects as material culture Hannah-Lee Chalk 3. What do we know about what we know? The museum 'register' as museum object Geoffrey N. Swinney 4. Emblematic museum objects of national significance: in search of their multiple meanings and values Marlen Mouliou and Despina Kalessopoulou 5. Musealization processes in the realm of art Maria Lucia de Niemeyer Matheus Loureiro 6. Photography - museum: on posing, imageness, and the punctum Klaus Wehner Part II Visitors' engagements with museum objects Introduction Jennifer Binnie 7. Things and theories: the unstable presence of exhibited objects Chris Dorsett 8. Inexperienced museum visitors and how they negotiate contemporary art. A comparative study of two visitor-driven visual art presentations Marijke Van Eeckhaut 9. Illuminating narratives: period rooms and tableaux vivants Michael Katzberg 10. Magic objects/modern objects: heroes' house museums Linda Young 11. 'Do not touch' - a discussion on the problems of a limited sensory experience with objects in a gallery or museum context Helen Saunderson 12. Living objects: a theory of museological objecthood Wing Yan Vivian Ting 13. The poetic triangle of objects, people and writing creatively: using museum collections to inspire linguistic creativity and poetic understanding Nikki Clayton and Mark Goodwin 14. Location and intervention: visual practice enabling a synchronic view of artefacts and sites Shirley Chubb Part III The uses of objects in museum representations Introduction Amy Jane Barnes 15. Spectacle and archive in two contemporary art museums in Spain Roger Sansi 16. Playing dress-up: inhabiting imagined spaces through museum objects Julia Petrov 17. Material object and immaterial collector: is there room for the donor-collector discourse in the museal space? Caroline Bergeron 18. Exhibiting absence in the museum Helen Rees Leahy 19. Arctic 'relics': the construction of history, memory and narratives at the National Maritime Museum Claire Warrior Part IV Objects and difficult subjects Introduction Julia Petrov 20. Challenged pasts and the museum: the case of Ghanaian kente Malika Kraamer 21. Standardizing difference: the materiality of ethnic minorities in the museums of the Peoples' Republic of China Marzia Varutti 22. Displaying the Communist Other: perspectives on the exhibition and interpretation of Communist visual culture Amy Jane Barnes 23. Reconsidering images: using the farm security administration photographs as objects in history exhibitions Meighen Katz 24. (Im)material practices in museums Alice Semedo 25. Heritage as pharmakon and the muses as deconstruction: - problematising curative museologies and heritage healing Beverley Butler Afterword: A conversation with Sue Pearce Amy Jane Barnes and Jennifer Walklate
Fashion Photography Archive, 2015
Fashion Photography Archive, 2015
Seller assumes all responsibility for this listing. Last updated on 18 Nov, 2018 19:47:10 GMT Vie... more Seller assumes all responsibility for this listing. Last updated on 18 Nov, 2018 19:47:10 GMT View all revisions Item specifics Condition: New: A brand-new, unused, unopened and undamaged item. See the seller's listing for full details. See all condition definitions Surname Initial: D Options: Retired Players Country/Region of Manufacture: United Kingdom Sub-Type: Royalty Certification: Uncertified Object: Signed Coin Type: Historical
Fashion and Museums, 2014
Although a wardrobe is a gender-non-specific piece of furniture, the public wardrobe of a museum ... more Although a wardrobe is a gender-non-specific piece of furniture, the public wardrobe of a museum has overwhelmingly been gendered female. Thus, if the public in “public wardrobes” is seen as a representative audience, then museum collections of fashion cannot be public as such. Although many early collections were established and managed by men, the largest proportion of these collections was devoted to the clothing and accessories of women, and was noted to appeal primarily to female audiences. In addition, although the explicitly-stated purpose of many early collections in England and North America was to inspire and reflect contemporary industrial production, the material contained within instead reflected and inspired the consumption of leisured women. This chapter traces the gendered and socioeconomic contradictions inherent in English and North American museum collections of clothing from their beginnings until today. While it is often said that displayed dress is engaging for the public because of the fact that the act of wearing clothing is common to everyone, this chapter challenges this notion by documenting the elite forms of production and consumption displayed in fashion history exhibitions. While the contemporary situation seems to favor fashion exhibitions at all kinds of cultural institutions, this chapter draws on archival sources to investigate whether the gendered history of fashion exhibitions in museums limits its present development.
Clothing Cultures, 2021
The international wave of Women’s Marches in 2017 (and subsequent years) was fuelled by anger abo... more The international wave of Women’s Marches in 2017 (and subsequent years) was fuelled by anger about the misogynist tone of the American election (aimed at contender Hillary Clinton) and a sense that the rights of women and sexual minorities were being threatened. In particular, protests were triggered by the newly elected president’s unearthed comments about female genitalia: ‘grab ‘em by the pussy’. Following the instigation of craftivists in California, women around the world donned pink knitted hats with points resembling cat ears, which became known as ‘pussy hats’. This chapter uses examples collected as rapid response collecting after the marches in Edmonton and Calgary (Alberta, Canada) for the Royal Alberta Museum to argue that the pussy hat is an example of anti-fashion in its embrace of anti-consumption, and its role to promote political accountability. The pussy hat, in effect, is the uniform of a feminist political ethics.
Fashion Theory, 2015
Abstract This paper offers new perspectives on the reception of the women’s dress reform movement... more Abstract This paper offers new perspectives on the reception of the women’s dress reform movement in Britain and North America. Focusing on a central case study of a satirical letter and accompanying illustration parodying Bloomerism, which was published on both sides of the Atlantic, periodical editorials are analyzed in light of contemporary social and political attitudes. In contrast to commonly held assumptions about Bloomerism having failed because of deeply entrenched gender norms, it is instead asserted that the eventual backlash against the Bloomer fashion was a result of the British association with America’s poor showing at the Great Exhibition in London in 1851, and not necessarily because of inherent objections to its sartorial aesthetics.
Narrating Objects, Collecting Stories, 2012
Journal of the History of Collections, 2008
... to raise funds by subscription, but time constraints prevented this course of action.] At the... more ... to raise funds by subscription, but time constraints prevented this course of action.] At the last moment, however, it occurred to me that what could be done in America might equally be done in London, and I approached Mr Burbidge (Mssrs. ... 19 Archie Nathan, Costumes by ...
Curator: The Museum Journal, 2012
Popular Communication: The international Journal of Media and Culture, 2020
The USA-based television program What Not To Wear (WNTW) was a staple of popular fashion media, i... more The USA-based television program What Not To Wear (WNTW) was a staple of popular fashion media, informing audiences about acceptable modes of dress and appearance. We consider how aspects of this show and its accompanying book encompass features of traditional fashion reportage – particularly advice literature – and also approaches to fashion communication that overlap with the style and concerns of “New Journalism” (those modes of reporting – sometimes called “Gonzo” – that emphasize informality, emotional engagement, and an interest in “real” people and “real” lives). By examining the text, images, and talk deployed by the book and the TV show, we indicate how WNTW perceives, constructs, and conveys the fashioned subject in ways that link makeover media to broader contexts of cultural commentary.
Dress The Journal of the Costume Society of America, 2019
The exhibition concentrated on the classical period of the couture house from 1947 to 1957 when C... more The exhibition concentrated on the classical period of the couture house from 1947 to 1957 when Christian Dior himself was at the helm. Most of the material on display was drawn from the impressive collections of the Royal Ontario Museum, whose gowns had belonged to local socialites. The modest scale—only two galleries—may have been missing the color-coordinated walls of couture at the Denver Art Museum (Dior: From Paris to the World, Denver Art Museum, November 19, 2018–March 17, 2019) or the celebrity appeal of Princess Margaret’s twenty-first-birthday dress (Christian Dior: Designer of Dreams, Victoria and Albert Museum, February 2–September 1, 2019), but this exhibit enabled visitors to have a more intimate encounter with these iconic dresses.
Dress, 2019
While not explicitly about fashion, two recent immersive exhibitions on travelers in the eighteen... more While not explicitly about fashion, two recent immersive exhibitions on travelers in the eighteenth century-one in New York, one in Boston-examined the power of appearances during the period. Together, they demonstrated the varying ways fashion can be used in museum galleries to tell broader social histories.
Cambridge University Press eBooks, Aug 17, 2023
List of illustrations List of contributors Preface Sandra Dudley 1. Introduction: museums and thi... more List of illustrations List of contributors Preface Sandra Dudley 1. Introduction: museums and things Sandra Dudley Part I: Objects and their creation in the museum Introduction Jennifer Walklate 2. Romancing the Stones: earth science objects as material culture Hannah-Lee Chalk 3. What do we know about what we know? The museum 'register' as museum object Geoffrey N. Swinney 4. Emblematic museum objects of national significance: in search of their multiple meanings and values Marlen Mouliou and Despina Kalessopoulou 5. Musealization processes in the realm of art Maria Lucia de Niemeyer Matheus Loureiro 6. Photography - museum: on posing, imageness, and the punctum Klaus Wehner Part II Visitors' engagements with museum objects Introduction Jennifer Binnie 7. Things and theories: the unstable presence of exhibited objects Chris Dorsett 8. Inexperienced museum visitors and how they negotiate contemporary art. A comparative study of two visitor-driven visual art presentations Marijke Van Eeckhaut 9. Illuminating narratives: period rooms and tableaux vivants Michael Katzberg 10. Magic objects/modern objects: heroes' house museums Linda Young 11. 'Do not touch' - a discussion on the problems of a limited sensory experience with objects in a gallery or museum context Helen Saunderson 12. Living objects: a theory of museological objecthood Wing Yan Vivian Ting 13. The poetic triangle of objects, people and writing creatively: using museum collections to inspire linguistic creativity and poetic understanding Nikki Clayton and Mark Goodwin 14. Location and intervention: visual practice enabling a synchronic view of artefacts and sites Shirley Chubb Part III The uses of objects in museum representations Introduction Amy Jane Barnes 15. Spectacle and archive in two contemporary art museums in Spain Roger Sansi 16. Playing dress-up: inhabiting imagined spaces through museum objects Julia Petrov 17. Material object and immaterial collector: is there room for the donor-collector discourse in the museal space? Caroline Bergeron 18. Exhibiting absence in the museum Helen Rees Leahy 19. Arctic 'relics': the construction of history, memory and narratives at the National Maritime Museum Claire Warrior Part IV Objects and difficult subjects Introduction Julia Petrov 20. Challenged pasts and the museum: the case of Ghanaian kente Malika Kraamer 21. Standardizing difference: the materiality of ethnic minorities in the museums of the Peoples' Republic of China Marzia Varutti 22. Displaying the Communist Other: perspectives on the exhibition and interpretation of Communist visual culture Amy Jane Barnes 23. Reconsidering images: using the farm security administration photographs as objects in history exhibitions Meighen Katz 24. (Im)material practices in museums Alice Semedo 25. Heritage as pharmakon and the muses as deconstruction: - problematising curative museologies and heritage healing Beverley Butler Afterword: A conversation with Sue Pearce Amy Jane Barnes and Jennifer Walklate
Fashion Photography Archive, 2015
Fashion Photography Archive, 2015
Seller assumes all responsibility for this listing. Last updated on 18 Nov, 2018 19:47:10 GMT Vie... more Seller assumes all responsibility for this listing. Last updated on 18 Nov, 2018 19:47:10 GMT View all revisions Item specifics Condition: New: A brand-new, unused, unopened and undamaged item. See the seller's listing for full details. See all condition definitions Surname Initial: D Options: Retired Players Country/Region of Manufacture: United Kingdom Sub-Type: Royalty Certification: Uncertified Object: Signed Coin Type: Historical
Fashion and Museums, 2014
Although a wardrobe is a gender-non-specific piece of furniture, the public wardrobe of a museum ... more Although a wardrobe is a gender-non-specific piece of furniture, the public wardrobe of a museum has overwhelmingly been gendered female. Thus, if the public in “public wardrobes” is seen as a representative audience, then museum collections of fashion cannot be public as such. Although many early collections were established and managed by men, the largest proportion of these collections was devoted to the clothing and accessories of women, and was noted to appeal primarily to female audiences. In addition, although the explicitly-stated purpose of many early collections in England and North America was to inspire and reflect contemporary industrial production, the material contained within instead reflected and inspired the consumption of leisured women. This chapter traces the gendered and socioeconomic contradictions inherent in English and North American museum collections of clothing from their beginnings until today. While it is often said that displayed dress is engaging for the public because of the fact that the act of wearing clothing is common to everyone, this chapter challenges this notion by documenting the elite forms of production and consumption displayed in fashion history exhibitions. While the contemporary situation seems to favor fashion exhibitions at all kinds of cultural institutions, this chapter draws on archival sources to investigate whether the gendered history of fashion exhibitions in museums limits its present development.
Clothing Cultures, 2021
The international wave of Women’s Marches in 2017 (and subsequent years) was fuelled by anger abo... more The international wave of Women’s Marches in 2017 (and subsequent years) was fuelled by anger about the misogynist tone of the American election (aimed at contender Hillary Clinton) and a sense that the rights of women and sexual minorities were being threatened. In particular, protests were triggered by the newly elected president’s unearthed comments about female genitalia: ‘grab ‘em by the pussy’. Following the instigation of craftivists in California, women around the world donned pink knitted hats with points resembling cat ears, which became known as ‘pussy hats’. This chapter uses examples collected as rapid response collecting after the marches in Edmonton and Calgary (Alberta, Canada) for the Royal Alberta Museum to argue that the pussy hat is an example of anti-fashion in its embrace of anti-consumption, and its role to promote political accountability. The pussy hat, in effect, is the uniform of a feminist political ethics.
Fashion Theory, 2015
Abstract This paper offers new perspectives on the reception of the women’s dress reform movement... more Abstract This paper offers new perspectives on the reception of the women’s dress reform movement in Britain and North America. Focusing on a central case study of a satirical letter and accompanying illustration parodying Bloomerism, which was published on both sides of the Atlantic, periodical editorials are analyzed in light of contemporary social and political attitudes. In contrast to commonly held assumptions about Bloomerism having failed because of deeply entrenched gender norms, it is instead asserted that the eventual backlash against the Bloomer fashion was a result of the British association with America’s poor showing at the Great Exhibition in London in 1851, and not necessarily because of inherent objections to its sartorial aesthetics.
Narrating Objects, Collecting Stories, 2012
Journal of the History of Collections, 2008
... to raise funds by subscription, but time constraints prevented this course of action.] At the... more ... to raise funds by subscription, but time constraints prevented this course of action.] At the last moment, however, it occurred to me that what could be done in America might equally be done in London, and I approached Mr Burbidge (Mssrs. ... 19 Archie Nathan, Costumes by ...
Curator: The Museum Journal, 2012
Popular Communication: The international Journal of Media and Culture, 2020
The USA-based television program What Not To Wear (WNTW) was a staple of popular fashion media, i... more The USA-based television program What Not To Wear (WNTW) was a staple of popular fashion media, informing audiences about acceptable modes of dress and appearance. We consider how aspects of this show and its accompanying book encompass features of traditional fashion reportage – particularly advice literature – and also approaches to fashion communication that overlap with the style and concerns of “New Journalism” (those modes of reporting – sometimes called “Gonzo” – that emphasize informality, emotional engagement, and an interest in “real” people and “real” lives). By examining the text, images, and talk deployed by the book and the TV show, we indicate how WNTW perceives, constructs, and conveys the fashioned subject in ways that link makeover media to broader contexts of cultural commentary.
Dress The Journal of the Costume Society of America, 2019
The exhibition concentrated on the classical period of the couture house from 1947 to 1957 when C... more The exhibition concentrated on the classical period of the couture house from 1947 to 1957 when Christian Dior himself was at the helm. Most of the material on display was drawn from the impressive collections of the Royal Ontario Museum, whose gowns had belonged to local socialites. The modest scale—only two galleries—may have been missing the color-coordinated walls of couture at the Denver Art Museum (Dior: From Paris to the World, Denver Art Museum, November 19, 2018–March 17, 2019) or the celebrity appeal of Princess Margaret’s twenty-first-birthday dress (Christian Dior: Designer of Dreams, Victoria and Albert Museum, February 2–September 1, 2019), but this exhibit enabled visitors to have a more intimate encounter with these iconic dresses.
Dress, 2019
While not explicitly about fashion, two recent immersive exhibitions on travelers in the eighteen... more While not explicitly about fashion, two recent immersive exhibitions on travelers in the eighteenth century-one in New York, one in Boston-examined the power of appearances during the period. Together, they demonstrated the varying ways fashion can be used in museum galleries to tell broader social histories.
From Jack the Ripper to Frankenstein, Halloween customs to Alexander McQueen collections, Fashion... more From Jack the Ripper to Frankenstein, Halloween customs to Alexander McQueen collections, Fashioning Horror examines how terror is fashioned visually, symbolically, and materially through fashion and costume, in literature, film, and real life.
With a series of case studies that range from sensationalist cinema and Slasher films to true crime and nineteenth-century literature, the volume investigates the central importance of clothing to the horror genre, and broadens our understanding of both material and popular culture. Arguing that dress is fundamental to our understanding of character and setting within horror, the chapters also reveal how the grotesque and horrific is at the center of fashion itself, with its potential for instability, disguise, and carnivalesque subversion.
Packed with original research, and bringing together a range of international scholars, the book is the first to thoroughly examine the aesthetics of terror and the role of fashion in the construction of horror.
Narrating Objects, Collecting Stories is a wide-ranging collection of essays exploring the storie... more Narrating Objects, Collecting Stories is a wide-ranging collection of essays exploring the stories that can be told by and about objects and those who choose to collect them. Examining objects and collecting in different historical, social and institutional contexts, an international, interdisciplinary group of authors consider the meanings and values with which objects are imputed and the processes and implications of collecting. This includes considering the entanglement of objects and collectors in webs of social relations, value and change, object biographies and the sometimes conflicting stories that things come to represent, and the strategies used to reconstruct and retell the narratives of objects. The book includes considerations of individual and groups of objects, such as domestic interiors, novelty tea-pots, Scottish stone monuments, African ironworking, a postcolonial painting and memorials to those killed on the roads in Australia. It also contains chapters dealing with particular collectors – including Charles Bell and Beatrix Potter – and representational techniques.
Bloomsbury, 2019
The last decade has seen the growing popularity and visibility of fashion as a cultural product, ... more The last decade has seen the growing popularity and visibility of fashion as a cultural product, including its growing presence in museum exhibitions. This book explores the history of fashion displays, highlighting the continuity of past and present curatorial practices. Comparing and contrasting exhibitions from different museums and decades-from the Paris Exposition Universelle of 1900 to the Alexander McQueen Savage Beauty show at the Metropolitan Museum of Art in 2011, and beyond-it makes connections between museum fashion and the wider fashion industry.
By critically analyzing trends in fashion exhibition practice over the 20th and early 21st centuries, Julia Petrov defines and describes the varied representations of historical fashion within British and North American museum exhibitions. Rooted in extensive archival research on exhibitions by global leaders in the field-from the Victoria and Albert and the Bath Fashion Museum to the Brooklyn and the Royal Ontario Museums-the work reveals how fashion exhibitions have been shaped by the values and anxieties associated with fashion more generally.
Supplemented by parallel critical approaches, including museological theory, historiography, body theory, material culture, and visual studies, Fashion History in the Museum demonstrates that in an increasingly corporate and mass-mediated world, fashion exhibitions must be analysed in a comparative and global context. Richly illustrated with 70 images, this book is essential reading for students and scholars of fashion history and museology, as well as curators, conservators, and exhibition designers.
Bloomsbury, 2018
From Jack the Ripper to Frankenstein, Halloween customs to Alexander McQueen collections, Fashion... more From Jack the Ripper to Frankenstein, Halloween customs to Alexander McQueen collections, Fashioning Horror examines how terror is fashioned visually, symbolically, and materially through fashion and costume, in literature, film, and real life.
With a series of case studies that range from sensationalist cinema and Slasher films to true crime and nineteenth-century literature, the volume investigates the central importance of clothing to the horror genre, and broadens our understanding of both material and popular culture. Arguing that dress is fundamental to our understanding of character and setting within horror, the chapters also reveal how the grotesque and horrific is at the center of fashion itself, with its potential for instability, disguise, and carnivalesque subversion.
Packed with original research, and bringing together a range of international scholars, the book is the first to thoroughly examine the aesthetics of terror and the role of fashion in the construction of horror.