Research output: Contribution to conference - Without ISBN/ISSN › Conference paper › peer-review
Research output: Contribution to conference - Without ISBN/ISSN › Conference paper › peer-review
}
TY - CONF
T1 - Drawing the Dress Collection An Artist's Perspective
AU - Casey, Sarah Marie
PY - 2017/11/9
Y1 - 2017/11/9
N2 - “It is tantalizing that it is generally impossible to do more than touch the surface andwonder what is underneath it”Dorothy K. Burnham, Cut My Cote, 1973This paper presents my perspective as an artist who has used ‘close looking’ to drawdress artifacts and reinterpret those drawings into installation works. As such itbuilds upon Burnham’s legacy of drawing at the Royal Ontario Museum and offersinsight into the use of drawing for researching artifacts. The paper is structuredaround case studies of projects undertaken with dress collections at KensingtonPalace (2009-2013), The Bowes Museum (2013-2015), and most recently atRyerson University Fashion Research Collection (2016). Examining these projectshighlights issues around drawing’s capacity to record and communicate the feel,sense or emotional impact of seeing the garments, and the usefulness of drawing asa tool for capturing other sensory information alongside the visual. For instance,drawing is acknowledged as form of touching (Marden 1979, Derrida 1993, Godfrey1992), able to synthesise multi- sensory experiences as well as information derivedfrom textual research and imagination. In doing so the ‘slow approach to seeing’ isextended to encompass other senses. By considering drawing as an “archaeology ofacts of touching” (Godfrey, 1992) or as means for “burrowing beneath the surface”(Berger 1992), a fresh approach to how we might think about getting beneath thesurface of a garment, literally and metaphorically, is explored.
AB - “It is tantalizing that it is generally impossible to do more than touch the surface andwonder what is underneath it”Dorothy K. Burnham, Cut My Cote, 1973This paper presents my perspective as an artist who has used ‘close looking’ to drawdress artifacts and reinterpret those drawings into installation works. As such itbuilds upon Burnham’s legacy of drawing at the Royal Ontario Museum and offersinsight into the use of drawing for researching artifacts. The paper is structuredaround case studies of projects undertaken with dress collections at KensingtonPalace (2009-2013), The Bowes Museum (2013-2015), and most recently atRyerson University Fashion Research Collection (2016). Examining these projectshighlights issues around drawing’s capacity to record and communicate the feel,sense or emotional impact of seeing the garments, and the usefulness of drawing asa tool for capturing other sensory information alongside the visual. For instance,drawing is acknowledged as form of touching (Marden 1979, Derrida 1993, Godfrey1992), able to synthesise multi- sensory experiences as well as information derivedfrom textual research and imagination. In doing so the ‘slow approach to seeing’ isextended to encompass other senses. By considering drawing as an “archaeology ofacts of touching” (Godfrey, 1992) or as means for “burrowing beneath the surface”(Berger 1992), a fresh approach to how we might think about getting beneath thesurface of a garment, literally and metaphorically, is explored.
M3 - Conference paper
T2 - Cloth Cultures
Y2 - 9 November 2017 through 11 November 2017
ER -