Conversation Products Catalog
Over the next three decades, Green-Field became known as the Mad Hatter for his conversation-piece designs. His whimsical designs featured leather lobsters, dice, jeweled bees, clocks, and other objects he collected on his travels to Cuba, Paris, Hong Kong, and other exotic locations. During the World War II rationing restrictions, he incorporated nonrationed materials, such as kitchen utensils, scrub clothes, feather dusters, napkin rings, tea strainers, and clothespins, into his designs. Green-Field was also commissioned for a number of special headwear pieces including a hat for the 1944 Democratic National Convention, a hat adorned with razor blades for Hedda Hopper to wear to the opening of her film The Razor's Edge in 1946, and a headpiece for the queen of Belgium for the Brussels 1958 World's Fair. As hat popularity declined in the 1960s, Green-Field added decorative pillows to his business, but he elected to close his shop and retire in 1978.
Have you ever had a friend proudly proclaim that he was dating a stripper Everyone suddenly respects and admires him, right Even if the girl is as dumb as a stump, no one is going to disapprove. The same thing happens when women talk. They explain what sexy stereotype the guy is, often using a short nickname like rapper boy or surfer boy. The other women in the conversation immediately understand why the guy is desirable, and the woman is given a free pass to do something slutty with him that would normally get her in trouble with her friends.
Figure 14.3 is displayed prominently as a large canvas in my studio to act as a conversation piece. This artistic beauty piece has appeared in half a dozen publications in London, Australia, and the United States. When clients comment on or inquire about the piece, I have an opportunity to talk about my work and international publications.
The deconstruction of image or product as text lies at the heart of any totalizing definition of a cultural studies methodology. In direct opposition to traditional art and design history and literary criticism methods, cultural studies offers a way of studying objects as systems rather than as the simple product of authorship. Borrowed from European structuralism, most specifically the work of linguist Ferdinand de Saussure,11 the theory of language looms as the most essential of cultural studies concepts, either in its own right, or through being appropriated as a model for understanding other cultural systems (Turner 1996). The structures of language, deployed through speech or text, have been shown to reveal those mechanisms through which individuals make sense of the world Culture, as the site where that sense or meaning is generated and experienced, becomes a determining, productive field through which social realities are constructed, experienced and interpreted (Turner 1996)....
One of the biggest suggestions I can give you as a photographer when shooting portrait and fashion images is to get to know your subjects. When you meet them, figure out their interests and who they are. What are they passionate about in life Ask about their children, the college they're attending, or their hobbies. Allow this casual conversation to reveal what drives your subjects. I use this information to help me get the facial expressions I need to achieve a certain visual effect. For example, if in my conversation I find out that someone is an animal lover, I tell them to think about puppies or their favorite pet to help get a jovial expression. Similarly, if I am trying to achieve a forlorn expression, I ask them to act as though their pet ran away. I'm toying with their emotions to convey a particular mood or emotion within my image.
So it is important to realize that different constituencies in the world of textiles will use different labels for cloth. Even when the same word is being used, it may have a different meaning, depending on the viewpoint and education of the speaker. An interior designer might speak to another designer using the word tapestry to describe a wall hanging, and they understand they are discussing a pictorial textile, not necessarily referencing how the work was made. A weaver, however, who thinks in terms of weave structure for classification, overhearing their conversation, might take exception to this usage, unless the work being discussed was specifically a weft-faced plain weave using discontinuous wefts to create the pictorial elements. Thus, it is important to recognize that the classification of weave types reflects the needs and concerns of the group using the terms.
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