Lace is not typically viewed as high art. It is more of a decorative or utility object found under vases and on windowsills or as an ornament on garments. Historically speaking, it was often seen as a luxury product due to its hand-made origin that involved acquired skill. As a decorative object, its place in modern culture is tentative, however. Lace has been commonly linked to handicrafts, home industries and to folk art. At the beginning of the twentieth century, however, new themes and approaches to lace began to be explored and Emilie Paličková Milde (1892–1973) is one of the key examples of a designer who experimented with lace as a form of artistic expression.
Built in 1928 on one of the slopes of Zlín’s hilly and quite bare landscape, the family home of Berty and Fanuška Ženatý became known as The American House. It was a replica of a house that the couple owned in the United States, where they had lived and worked for a few years. The villa was rebuilt in the new location upon the wish of the manufacturer Tomáš Baťa (1876–1932) for whom it was meant to serve as a model house that could be easily replicated for the employees of his factories.
CRAACE is please to co-host this online event with Fulbright Czech Republic and Společnost pro queer paměť.
On 11 May 2022 at 8 pm CET
Dr. Karla Huebner, author of Magnetic Woman:Toyen and the Surrealist Erotic (University of Pittsburgh Press, 2020)
will discuss this gender-ambiguous Czech surrealist artist, who was born Marie Čermínová (1902–1980). Toyen’s early life in Prague made it possible to become a force in three avant-garde groups – Devětsil, Prague surrealism, and Paris surrealism – and also to emphasize erotic themes in many works of visual art. Dr. Huebner will focus on Toyen’s construction of gender and eroticism in relation to the artist’s historical context as a gender nonconforming person and probable sexual minority during the First Republic.
According to the Merriam Webster dictionary, a negrophile is ‘someone (especially a white person) who is very sympathetic to or supportive of Black people, their culture, or their rights and interests.’ The levels of sympathy and support may, indeed, differ and be open to interpretation. Negrophilia, then, is the attraction to Black culture and Black people, often linked to the fascination of the interwar avant-garde with Africans and African Americans in European metropolises. Between the wars, Black culture became a subject of inspiration, captivation but mostly exploitation by many writers, poets, painters, musicians, or dancers from Paris to Prague.
The 110th Annual Conference of the College Art Association takes place online 16 to 19 February and 3 to 5 March 2022. CRAACE researchers will be involved in a number of sessions: