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Drawing the Dress Collection An Artist's Perspective

Research output: Contribution to conference - Without ISBN/ISSN Conference paperpeer-review

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Drawing the Dress Collection An Artist's Perspective. / Casey, Sarah Marie.

2017. Paper presented at Cloth Cultures , Toronto, Canada.

Research output: Contribution to conference - Without ISBN/ISSN Conference paperpeer-review

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Casey SM. Drawing the Dress Collection An Artist's Perspective. 2017. Paper presented at Cloth Cultures , Toronto, Canada.

Author

Casey, Sarah Marie. / Drawing the Dress Collection An Artist's Perspective. Paper presented at Cloth Cultures , Toronto, Canada.

Bibtex

@conference{ba5f4735b80c4495a26888bcf1fff5c3,
title = "Drawing the Dress Collection An Artist's Perspective",
abstract = "“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 {\textquoteleft}close looking{\textquoteright} to drawdress artifacts and reinterpret those drawings into installation works. As such itbuilds upon Burnham{\textquoteright}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{\textquoteright}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 {\textquoteleft}slow approach to seeing{\textquoteright} 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.",
author = "Casey, {Sarah Marie}",
year = "2017",
month = nov,
day = "9",
language = "English",
note = "Cloth Cultures : The Legacy of Dorothy K. Burnham ; Conference date: 09-11-2017 Through 11-11-2017",
url = "https://www.rom.on.ca/en/collections-research/research-community-projects/textiles-fashions/cloth-cultures",

}

RIS

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 -