According to Roland Barthes, the ordinary clothing is accepted as an object in the visual arts since the avant-garde experiments of the European modernism in the twentieth century. Thereafter, concepts and practices such as readymade and artist‟s clothing (künstlerkleid) respectively created by Marcel Duchamp (1887-1968) and Henry Van De Velde (1863-1957) will promote profound changes in art in that sense. The readymades will allow many everyday objects to enter spaces traditionally intended for works of art, which will lead as a result to the notion of artist's clothing, understood here as a subcategory of the readymade concept strictly concerning to garments. This study aims to examine the use and the relevance of the term artist's clothing as a category of or a resource for the modern and contemporary visual arts. Such an examination will explore the general aspects related to social and symbolic value of clothing, to offer typologies for the term artist's clothing based on the way tailor-made wearable items are used in a work of art or are conceived as art itself. Finally, in order to verify the validity of such a phenomenon and the proposed classifications in this study, the concept of artist's clothing is taken into account within the visual arts production in Belém, the capital of the state of Pará.
|
