Nicole Archer
Biographic Data
| ID | 1479651 |
|---|---|
| NAME | Nicole Archer |
| GIVEN NAMES | Nicole |
| FAMILY NAME | Archer |
| SIGNATURE | ARCHER N |
| AFFILIATIONS | San Francisco Art Institute |
| ORCID | 0000-0003-0210-0593 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Weathering the Storm
Over the last two decades, red umbrellas have increasingly appeared in campaigns to end violence against sex workers, oppose harmful legislation, advocate for decriminalization, commemorate lost community members, and broadly express sex worker pride. Originating with the work of the artist/activist Tadej Pogačar and the P.A.R.A.S.I.T.E. Museum of Contemporary Art's contribution to the 2001 Venice Biennale ("The Prostitute Pavilion"), red umbrell…
Queer ThreadsThe San Jose Museum of Quilts and Textiles, May 12–August 20, 2023 Curated by John Chaich Queer Threads
Unlike Ariadne’s singular red thread, which promised Theseus a direct and easy way out of his troubles, the independent curator John Chaich’s multifarious and multicolored Queer Threads weaves tang
Rudi Gernreich and the Art of Bad Timing
It is strangely difficult to speak of “materiality” in the face of “fashion.” Clothing designers often start with fabric (as a cloth’s pattern, weight, grain, and give all lend themselves to particular forms, cuts, and methods of manufacture). Likewise, consumers tend to prioritize size, fit (range of motion), weight, and texture. Yet critical attentions are quick to neglect fashion’s material consistencies in favor of its image—or “look.” Throug…
Security blankets
Images of the hood have become central in contemporary discourses of state-sanctioned violence. While many have commented on how the hood is situated relative to the politics of in/visibility, scant attention has been paid to the materiality and haptic circumstances of this technology of torture. In an effort to better understand the War on Terror, this essay considers how the hood's particular, textilic form corresponds to the figuration of the …
Filmmaker's Journal
Filmmaker’s Journal:Notes on The Lincoln Film Conspiracy Ina Diane Archer (bio) Or does it explode? —Langston HugHes1 My film The Lincoln Film Conspiracy is based on a fragment of film I once glimpsed in Pearl Bowser’s documentary Midnight Ramble: Oscar Micheaux and the History of Race Movies (1994). The damaged morsel from By Right of Birth (1921) shows the horseback rescue of a damsel by a dapper man. It is the only footage remaining from The L…
Text(ile)s
From momentary metaphorical allusions to “unraveling,” or “stitching,” to more elaborately built philosophical models that directly employ the likenesses of folded and/or patchworked cloth, the regular repetition of fabric(ated) references—punctuated by the physical refrain of turning, cloth-like pages—in the works of Gilles Deleuze and Félix Guattari cleverly makes the relationships between “our bodies,” which are largely understood through clot…
Security blankets
Images of the hood have become central in contemporary discourses of state-sanctioned violence. While many have commented on how the hood is situated relative to the politics of in/visibility, scant attention has been paid to the materiality and haptic circumstances of this technology of torture. In an effort to better understand the War on Terror, this essay considers how the hood's particular, textilic form corresponds to the figuration of the …
Text(ile)s
From momentary metaphorical allusions to “unraveling,” or “stitching,” to more elaborately built philosophical models that directly employ the likenesses of folded and/or patchworked cloth, the regular repetition of fabric(ated) references—punctuated by the physical refrain of turning, cloth-like pages—in the works of Gilles Deleuze and Félix Guattari cleverly makes the relationships between “our bodies,” which are largely understood through clot…
Filmmaker's Journal
Filmmaker’s Journal:Notes on The Lincoln Film Conspiracy Ina Diane Archer (bio) Or does it explode? —Langston HugHes1 My film The Lincoln Film Conspiracy is based on a fragment of film I once glimpsed in Pearl Bowser’s documentary Midnight Ramble: Oscar Micheaux and the History of Race Movies (1994). The damaged morsel from By Right of Birth (1921) shows the horseback rescue of a damsel by a dapper man. It is the only footage remaining from The L…
Security blankets
Images of the hood have become central in contemporary discourses of state-sanctioned violence. While many have commented on how the hood is situated relative to the politics of in/visibility, scant attention has been paid to the materiality and haptic circumstances of this technology of torture. In an effort to better understand the War on Terror, this essay considers how the hood's particular, textilic form corresponds to the figuration of the …
Rudi Gernreich and the Art of Bad Timing
It is strangely difficult to speak of “materiality” in the face of “fashion.” Clothing designers often start with fabric (as a cloth’s pattern, weight, grain, and give all lend themselves to particular forms, cuts, and methods of manufacture). Likewise, consumers tend to prioritize size, fit (range of motion), weight, and texture. Yet critical attentions are quick to neglect fashion’s material consistencies in favor of its image—or “look.” Throug…
Queer ThreadsThe San Jose Museum of Quilts and Textiles, May 12–August 20, 2023 Curated by John Chaich Queer Threads
Unlike Ariadne’s singular red thread, which promised Theseus a direct and easy way out of his troubles, the independent curator John Chaich’s multifarious and multicolored Queer Threads weaves tang
Weathering the Storm
Over the last two decades, red umbrellas have increasingly appeared in campaigns to end violence against sex workers, oppose harmful legislation, advocate for decriminalization, commemorate lost community members, and broadly express sex worker pride. Originating with the work of the artist/activist Tadej Pogačar and the P.A.R.A.S.I.T.E. Museum of Contemporary Art's contribution to the 2001 Venice Biennale ("The Prostitute Pavilion"), red umbrell…
Art (5 works) · Sociology (5 works) · Aesthetics (3 works) · Computer Science (3 works) · Law (3 works) · Political science (3 works) · Art history (2 works) · Art, Politics, and Modernism (2 works) · Clothing (2 works) · Fashion and Cultural Textiles (2 works)