Photographers' Gallery: Claire Aho (until 21st July 2013)
Hello and welcome to the very first entry of my art blog!
Last week I visited the Photographers' Gallery, W1, to visit the Claire Aho: Studio Works exhibition, which provided an insight into not only 1950s and 60s fashion and culture, but an underlying look on the journey of feminism. Much of Aho's work in this particular exhibit is based on advertisement and personally I was astounded at the quality of the photography, given that some of her pieces were almost sixty years old.
As some of the exhibited photographs were from advertisements, modern viewers are offered an insight into the feminocentric view of the household and the domestic. However as an equilibrium we also see women dressed formally and elegantly in elaborate dresses. For someone as interested in feminism and its implications as myself, I found that the artificiality of the feminine scenarios found in particular pieces almost disturbing. I believe that one of her most fascinating pieces on display is of a woman in a large pink dress wrapping a curtain. While this shows the domestic responsibility of the women of the household, as the advertisement both highlighted and targeted as its audience, we also see the shocking pink outfit, which strips the viewer's attention from the curtain to the model. This could well be interpreted as women breaking from their domesticated oppression, as the model is the focal point of the photograph and is highlighted as an individual.
I recommend the exhibit, especially for those interested in social and fashion history.
Last week I visited the Photographers' Gallery, W1, to visit the Claire Aho: Studio Works exhibition, which provided an insight into not only 1950s and 60s fashion and culture, but an underlying look on the journey of feminism. Much of Aho's work in this particular exhibit is based on advertisement and personally I was astounded at the quality of the photography, given that some of her pieces were almost sixty years old.
As some of the exhibited photographs were from advertisements, modern viewers are offered an insight into the feminocentric view of the household and the domestic. However as an equilibrium we also see women dressed formally and elegantly in elaborate dresses. For someone as interested in feminism and its implications as myself, I found that the artificiality of the feminine scenarios found in particular pieces almost disturbing. I believe that one of her most fascinating pieces on display is of a woman in a large pink dress wrapping a curtain. While this shows the domestic responsibility of the women of the household, as the advertisement both highlighted and targeted as its audience, we also see the shocking pink outfit, which strips the viewer's attention from the curtain to the model. This could well be interpreted as women breaking from their domesticated oppression, as the model is the focal point of the photograph and is highlighted as an individual.
I recommend the exhibit, especially for those interested in social and fashion history.
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