Jacqueline Kennedy’s style is one of the mainstays of the history of fashion and popular culture, as well as contemporary politics. John Kennedy’s way of dressing garnered much less attention. Even ...though, at first glance, not as interesting as the first lady’s “fashion sense”, the president’s style was no less thought-out. If, however, we view the changes in clothing as social changes and a determinant of various kinds of social differentiation: marital status, sex, occupation, religious and political affiliation, the way in which the Kennedys were presented to the public becomes more interesting – from the (carefully planned) photos and appearances to art and culture. Having in mind that the 1960s were a time when the appropriation of popular and fictional came back into modern art, and that general changes inherent in the new lifestyle, as well as a layered image of American internal politics, and the cold war map of the world, the carefully thought-out image of the presidential couple can be viewed as a specific kind of metaphor for a complicated time.
Stil odevanja Žakline Kenedi jedno je od opštih mesta istorije mode, popularne kulture ali i savremene politike. Sa znatno manje pažnje razmatralo se oblačenje Džona Kenedija. Iako na prvi pogled ne ...toliko interesantan kao „modni ukus“ prve dame, predsednikov način odevanja nije bio ništa manje promišljen. Ako, pak, promene u odevanju označimo kao socijalne promene i pokazatelj svih oblika društvene diferencijacije: bračnog statusa, pola, zanimanja, verske i političke pripadnosti, način na koji su Kenedijevi predstavljeni u javnosti postaje višestruko zanimljiv – od (brižljivo planiranih) fotografija i nastupa do umetnosti i kulture. Imajuć i na umu da su šezdesete godine trenutak kada se aproprijacija popularnog i fikcionalnog vrać a u modernu umetnost, te opšte promene svojstvene novom životnom stilu ali i slojevitu sliku kako američke unutrašnje politike, tako i hladnoratovske mape sveta, pažljivo promišljeni „imidž“ predsedničkog para može se posmatrati kao svojevrsna metafora jedne složene epohe.
Jacqueline Kennedy’s style is one of the mainstays of the history of fashion and popular culture, as well as contemporary politics. John Kennedy’s way of dressing garnered much less attention. Even ...though, at first glance, not as interesting as the first lady’s “fashion sense”, the president’s style was no less thought-out. If, however, we view the changes in clothing as social changes and a determinant of various kinds of social differentiation: marital status, sex, occupation, religious and political affiliation, the way in which the Kennedys were presented to the public becomes more interesting – from the (carefully planned) photos and appearances to art and culture. Having in mind that the 1960s were a time when the appropriation of popular and fictional came back into modern art, and that general changes inherent in the new lifestyle, as well as a layered image of American internal politics, and the cold war map of the world, the carefully thought-out image of the presidential couple can be viewed as a specific kind of metaphor for a complicated time.
Jacqueline Kennedy’s style is one of the mainstays of the history of fashion and popular culture, as well as contemporary politics. John Kennedy’s way of dressing garnered much less attention. Even ...though, at first glance, not as interesting as the first lady’s “fashion sense”, the president’s style was no less thought-out. If, however, we view the changes in clothing as social changes and a determinant of various kinds of social differentiation: marital status, sex, occupation, religious and political affiliation, the way in which the Kennedys were presented to the public becomes more interesting – from the (carefully planned) photos and appearances to art and culture. Having in mind that the 1960s were a time when the appropriation of popular and fictional came back into modern art, and that general changes inherent in the new lifestyle, as well as a layered image of American internal politics, and the cold war map of the world, the carefully thought-out image of the presidential couple can be viewed as a specific kind of metaphor for a complicated time.
Historical narratives are transferred in various ways, which are often understood – even when this is not the case – as tangible, material remnants of history: objects, paintings, sculp¬tures, ...memorabilia, films, photographs. The need to make a record of history in the realm of art is most often motivated by the intention to make its contents timeless, universal, to elevate them to the level of symbols. The status of “great” works of art, which are simultaneously political as well, shapes the iconic manner in which the audience understands them. It is this status that gives rise to their visibility in public spaces, and consequently to the preservation of the memories contained within them from violation. Could the Tulsa race massacre of 1921 have remained invisible for almost a century if it had been subjected to an “artistic treatment”? From the moment when, in 2012, Mark Bradford’s painting Scorched Earth was exhibited at The Broad Museum in Los Angeles, it has provided the impetus to speak publicly of disturbing histories, to clarify their context, to expose tragedies and injustices done and suffered to the public eye. In the contemporary world, perhaps the most powerful visibility is commanded by interpretations of history from the domain of mainstream popular culture. Insights gained through googling, tweeting, Wikipediaing, blogging, and “understanding” gained from films and series constitute a major and significant issue. When the first episode of the Watchmen series was broadcast in October 2019, this resulted in the boosting of Google searches pertaining to the event that occurred in Tulsa in 1921. At the same time, when, looking from the perspective of the present, we intervene to correct perceptions of contents from the past, we testify to changes, a triumphant subjugation of history, we perceive that control is exerted over public discourse, popular perception, the system of values, as well as events and individuals who are to be hidden from view and/or cancelled. From multiple presents, multiple histories arise.
This article deals with questions concerning the nature of representation of the female body within the so-called `oriental' discourse in Serbian art: Who is the painter? For whom is the work ...painted? With whom is the work identified? With what other possibilities of identification does the work leave us? In the context of the historical codes, a stance towards a body is seen as a projection of the social, cultural and power impulses. In the first case studied, the artist (Djordje Krstic) was a male commissioned by the Serbian court to paint a series of paintings for the indigenous population and foreigners. In the second case, the artist (Paja Jovanovic) was also male, a Serb working in Vienna, who painted for the audience of the `real Europe' from the position of an identity alteration. The third case focuses on a female artist, Babett Bachmayer Vukanovic, who was born in Germany but after marrying a Serb moved to her husband's homeland. Visual constructions of female bodies are used as the starting point for the deconstruction of ignored gender-related questions in analysing époque.
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