COLLECTION NAME:
University Art Galleries (UMassD)
mediaCollectionId
UMASSDVRCVRC~43~43
University Art Galleries (UMassD)
Collection
true
exhibition_title:
The Intimate Apparel Exhibition (Merkin Exhibition): Reviving an Undercover Cover-Up
exhibition_title
The Intimate Apparel Exhibition (Merkin Exhibition): Reviving an Undercover Cover-Up
exhibition_title
false
exhibition_dates:
January 30 - March 14, 2010
exhibition_dates
January 30 - March 14, 2010
exhibition_dates
false
exhibition_year:
2010
exhibition_year
2010
exhibition_year
false
exhibition_location:
University Art Gallery (UMass Dartmouth Galleries)
exhibition_location
University Art Gallery (UMass Dartmouth Galleries)
exhibition_location
false
exhibition_curator:
Linda Gass
exhibition_curator
Linda Gass
exhibition_curator
false
exhibition_note:
The exhibit originally debuted at the Pi Gallery in conjunction with the 14th International Surface Design Conference at the Kansas City Art Institute in Kansas City, Missouri. "Intimate Apparel" is an unusual and provocative exhibit of artists' merkins. It debuted in June 2007 at the Pi Gallery in Kansas City, Missouri and is now traveling to the Textile Center in Minneapolis, MN (September 18 - October 24, 2009) and the University Art Gallery at University of Massachusetts Dartmouth (January 30 - March 14, 2010). Curator Linda Gass invited artists from around the world to participate and the resulting collection of works is wildly diverse and inspired. "What is a merkin?" you might ask. Few speakers of the English language know the meaning of the word. Dictionaries vary on the definition however most agree that it's a pubic wig. The authoritative Oxford English Dictionary defines it as "an artificial covering of hair for the female pubic region; a pubic wig for women." The origin of the merkin goes back many centuries to a time when pubic lice were a common problem and women had to shave their pubic area to eradicate the lice and relieve the itching. Someone then invented merkins to replace the shaved hair. Prostitutes were frequent wearers of merkins as well, using them to cover up the marks of syphilis and genital warts so they could appear to be disease-free and therefore still employable. As hygiene improved and drugs were developed, the need for merkins disappeared. When asked why she wanted to create this exhibit, curator Linda Gass replied "I thought it would be fun and fascinating to use this obscure historical object as a format for making art. It seemed like there were so many possibilities for expression and I wanted to see what this group of talented artists could do. The works they have created have exceeded my expectations." The invited artists are innovators in their respective fields some are inventors of key surface design techniques and others have significantly expanded on traditional techniques. A common characteristic in all of the artists is their willingness to take risks. They have created a collection of visually exciting pieces utilizing weaving, embroidery, crochet, quilting, fusing, felting, silkscreening, monoprinting, marbling, beading, bookmaking, basketry, painting, casting, burning, and mixed media assemblage. The artists explore a wide range of issues in the artwork for this exhibition. Although the original function of the merkin was to replace something "lost" in an area of the body we often consider very private and vulnerable, the artists have gone far beyond these beginnings. The artworks address sexuality, fertility, shame, self-esteem, danger, power struggles and domination, flirtation and seduction, voyeurism, pleasure, and the stages of our lives. Many of the artists use humor in their work - some directly through use of illustrative graphics, others more subtly through their choice of materials or title. The artists' merkins are made from diverse and sometime surprising materials. In addition to fabrics such as velvet, silk, cotton and lace, the artists have used beads, sequins, human hair, X-acto blades, silicone fishing bait, bobby pins, pine cone scales, chrysanthemum stamens, lichen collected from the Black Forest in Germany, seaweed, glass eyes, fish skin, vintage keys, match sticks, mirrors, aluminum, copper wire, rusted metal washers, and plastic and glass fruit. One of the merkins will literally come to life during the exhibit: it is made of moss and seeds and visitors to the gallery will be able to interact with the merkin by misting it with water to help it grow. http://www.lindagas…
exhibition_note_
The exhibit originally debuted at the Pi Gallery in conjunction with the 14th International Surface Design Conference at the Kansas City Art Institute in Kansas City, Missouri. "Intimate Apparel" is an unusual and provocative exhibit of artists' merkins. It debuted in June 2007 at the Pi Gallery in Kansas City, Missouri and is now traveling to the Textile Center in Minneapolis, MN (September 18 - October 24, 2009) and the University Art Gallery at University of Massachusetts Dartmouth (January 30 - March 14, 2010). Curator Linda Gass invited artists from around the world to participate and the resulting collection of works is wildly diverse and inspired. "What is a merkin?" you might ask. Few speakers of the English language know the meaning of the word. Dictionaries vary on the definition however most agree that it's a pubic wig. The authoritative Oxford English Dictionary defines it as "an artificial covering of hair for the female pubic region; a pubic wig for women." The origin of the merkin goes back many centuries to a time when pubic lice were a common problem and women had to shave their pubic area to eradicate the lice and relieve the itching. Someone then invented merkins to replace the shaved hair. Prostitutes were frequent wearers of merkins as well, using them to cover up the marks of syphilis and genital warts so they could appear to be disease-free and therefore still employable. As hygiene improved and drugs were developed, the need for merkins disappeared. When asked why she wanted to create this exhibit, curator Linda Gass replied "I thought it would be fun and fascinating to use this obscure historical object as a format for making art. It seemed like there were so many possibilities for expression and I wanted to see what this group of talented artists could do. The works they have created have exceeded my expectations." The invited artists are innovators in their respective fields some are inventors of key surface design techniques and others have significantly expanded on traditional techniques. A common characteristic in all of the artists is their willingness to take risks. They have created a collection of visually exciting pieces utilizing weaving, embroidery, crochet, quilting, fusing, felting, silkscreening, monoprinting, marbling, beading, bookmaking, basketry, painting, casting, burning, and mixed media assemblage. The artists explore a wide range of issues in the artwork for this exhibition. Although the original function of the merkin was to replace something "lost" in an area of the body we often consider very private and vulnerable, the artists have gone far beyond these beginnings. The artworks address sexuality, fertility, shame, self-esteem, danger, power struggles and domination, flirtation and seduction, voyeurism, pleasure, and the stages of our lives. Many of the artists use humor in their work - some directly through use of illustrative graphics, others more subtly through their choice of materials or title. The artists' merkins are made from diverse and sometime surprising materials. In addition to fabrics such as velvet, silk, cotton and lace, the artists have used beads, sequins, human hair, X-acto blades, silicone fishing bait, bobby pins, pine cone scales, chrysanthemum stamens, lichen collected from the Black Forest in Germany, seaweed, glass eyes, fish skin, vintage keys, match sticks, mirrors, aluminum, copper wire, rusted metal washers, and plastic and glass fruit. One of the merkins will literally come to life during the exhibit: it is made of moss and seeds and visitors to the gallery will be able to interact with the merkin by misting it with water to help it grow. http://www.lindagass.com/IntimateApparel/About.html
exhibition_note
false
exhibition_genre:
mixed-media, wearable objects
exhibition_genre
mixed-media, wearable objects
exhibition_genre
false
exhibition URL:
exhibition_url
http://www1.umassd.edu/cvpa/universityartgallery/past/2010/intimate_apparel.cfm
exhibition URL
false
resourceID:
06_lklakulak_001
resource_id
06_lklakulak_001
resourceID
false
resource_type:
photographs
resource_type
photographs
resource_type
false
copyright notice:
COPYRIGHT NOTIFICATION: Under the direction of the Visual Resource Center digital collections are made available to the UMass Dartmouth campus community for the sole purpose of classroom instruction and study in accordance U.S. Copyright Laws . All other uses are prohibited and are subject to copyright infringements.
copyright_notice
COPYRIGHT NOTIFICATION: Under the direction of the Visual Resource Center digital collections are made available to the UMass Dartmouth campus community for the sole purpose of classroom instruction and study in accordance U.S. Copyright Laws . All other uses are prohibited and are subject to copyright infringements.
copyright notice
false
credit line:
UMass Dartmouth Art Galleries
credit_line
UMass Dartmouth Art Galleries
credit line
false
artist name:
Klakulak, Lisa
artist_name
Klakulak, Lisa
artist name
false
artist_biographical note:
BIOGRAPHY: Inspired by humanity's age-old relationship with the community and time involved fiber processes, Lisa Klakulak's primary use of fiber and natural dyes represents a fight for the threatened values of community responsibility, patience, physical activity, and an intimate relationship with our natural world. Klakulak manifests non-functional pieces and body textiles that reference a variety of issues related to human vulnerability, the resulting need for physical security and mental defense and the unfortunate isolation that often results. She works primarily with protein fibers from silk cocoons and animal fleece as well as other natural materials and human-made products that offer a sense of comfort and security through protective qualities such as insulation, durability, convenience and control. Lisa Klakulak is a studio artist of 14 years with a BFA in Fiber Arts from Colorado State University. She has recently completed a three-year artist residency at the Appalachian Center for Craft and currently resides in the southeast. Specializing in natural dyes, felting and embellishment, Klakulak has instructed at such institutions as Penland School of Crafts, the Society of Contemporary Craft, and the Appalachian Center of Craft. Klakulak exhibits nationally and has received multiple Best of Show accolades at Fine Art and Craft Shows, as well as having received awards with the Handweaver's Guild of America Convergence and Craft USA exhibitions. Her work has been published in the Surface Design Journal, American Craft, Fiber Arts, Shuttle, Spindle, Dyepot, the Atlanta Constitution Journal and the Tennessean.
artist_biographical_note
BIOGRAPHY: Inspired by humanity's age-old relationship with the community and time involved fiber processes, Lisa Klakulak's primary use of fiber and natural dyes represents a fight for the threatened values of community responsibility, patience, physical activity, and an intimate relationship with our natural world. Klakulak manifests non-functional pieces and body textiles that reference a variety of issues related to human vulnerability, the resulting need for physical security and mental defense and the unfortunate isolation that often results. She works primarily with protein fibers from silk cocoons and animal fleece as well as other natural materials and human-made products that offer a sense of comfort and security through protective qualities such as insulation, durability, convenience and control. Lisa Klakulak is a studio artist of 14 years with a BFA in Fiber Arts from Colorado State University. She has recently completed a three-year artist residency at the Appalachian Center for Craft and currently resides in the southeast. Specializing in natural dyes, felting and embellishment, Klakulak has instructed at such institutions as Penland School of Crafts, the Society of Contemporary Craft, and the Appalachian Center of Craft. Klakulak exhibits nationally and has received multiple Best of Show accolades at Fine Art and Craft Shows, as well as having received awards with the Handweaver's Guild of America Convergence and Craft USA exhibitions. Her work has been published in the Surface Design Journal, American Craft, Fiber Arts, Shuttle, Spindle, Dyepot, the Atlanta Constitution Journal and the Tennessean.
artist_biographical note
false
artist_URL:
artist_url
http://www.strongfelt.com/
artist_URL
false
artist_reference:
artist_reference
http://www.lindagass.com/IntimateApparel/Artists/LisaKlakulak.html
artist_reference
false
work_title:
Covered Seed
work_title
Covered Seed
work_title
false
work_medium:
Merino wool, silk gauze fabric, pine cone scales, cotton batting
work_medium
Merino wool, silk gauze fabric, pine cone scales, cotton batting
work_medium
false
work_technique:
fiber art
work_technique
fiber art
work_technique
false
work_technique:
mixed media
work_technique
mixed media
work_technique
false
work_date:
2006
work_date
2006
work_date
false
work_note:
Dimensions: 12" w x 12" h x 2.5" d
work_note
Dimensions: 12" w x 12" h x 2.5" d
work_note
false
work_topic:
"Merkin" - The authoritative Oxford English Dictionary defines it as "an artificial covering of hair for the female pubic region; a pubic wig for women."
work_topic
"Merkin" - The authoritative Oxford English Dictionary defines it as "an artificial covering of hair for the female pubic region; a pubic wig for women."
work_topic
false
work_reference:
work_reference
http://www.lindagass.com/IntimateApparel/Artwork/509367.html
work_reference
false
date_of_ record:
2013
date_of__record
2013
date_of_ record
false
name_cataloger:
BC
name_cataloger
BC
name_cataloger
false