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出版社周刊评论
UCLA cultural history professor Silverman aims to demonstrate a connection between the values of the ``New Right'' and recent trends in high fashion, focusing on Diana Vreeland, particularly on her role as curator of several Costume Institute exhibitions at the Metropolitan Museum. Surely Silverman shows that Vreeland's clothing exhibits are woefully ahistorical (mixing and matching from different eras and social stations) and promote opulent living as desirable in and of itself. But Silverman's prose is arch, repetitive and academic. (``Vreeland's Saint Laurent presentation reiterated the essential link between historical and contemporary luxury, organizing the Saint Laurent costumes along a single axisluxury.'') There are many trenchant observations scattered here, but does anyone need to argue in such detail that Diana Vreeland is not Mother Teresa? (October) (c) Copyright PWxyz, LLC. All rights reserved
Kirkus评论
Silverman builds a case for her claim that the Reagan administration's gutting of social welfare programs, combined with the President's penchant for reinventing the facts of history and the First Lady's obvious enthusiasm for high fashion and good living, is responsible for a growing and dangerous disdain for the less advantaged in this country. That disdain is woven through political policies and the merchandising of culture, Silverman says. It is the new aristocracy in this country (to which the Reagans belong) that has little regard for history. It is this same group that helped Diana Vreeland's four fashion exhibits at the Metropolitan Museum of Art in recent years. Nancy Reagan is one of Silverman's main targets. (Jackie Kennedy's restoration of the White House, with her careful search for original pieces from former administrations, showed a concern for historical accuracy, Silverman says. Nancy Reagan's search for a $200,000 set of China showed nothing of the sort.) It is a sign of the times in Reagan's America that Vreeland--Silverman's other target--was chosen to oversee the Met's fashion exhibits. Vreeland has admitted to being ""terrible on facts"" and given to ""always exaggerating."" Her exhibits were nothing more than advertising for the designers who often underwrote the programs, Silverman argues. Identifying placards explained only the materials used in the outfits, nothing about the society reflected in the costumes. Fashion exhibits at other museums have been ""models of historical interpretation, public education and technical perfection."" What Vreeland offered was a ""mistreatment of history and the public."" Worse yet, Bloomingdale's came up with almost mirror-image exhibits. And why, Silverman wonders, was there barely any criticism of Vreeland's exhibits? Entertainingly irreverent damning of the ""Let them Eat Quiche"" subculture. Copyright ©Kirkus Reviews, used with permission.
《图书馆杂志》(Library Journal )书评
Cultural historian Silverman analyzes the phenomenon of aristocratic emulation in contemporary America. She sees the evocation of opulence, privilege, and historical fantasy in Vreeland's costume exhibitions at the Metropolitan Museum and in Bloomingdale's theme promotions and suggests an affiliation with the policies and ethos of the Reagan White House. Comparing Vreeland's shows with Bloomingdale's commercial versions, she finds a common value system: opulent objects offered for cultural consumption through an appeal to snobbery, with cool disregard for historical meanings. This antihistorical attitude is mirrored in the political arena by Reagan. The thesis is provocative, but slight. It is here attenuated, overelaborated, and overburdened with proofs, some strained. Marjorie Miller, Fashion Inst. of Technology Lib., New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.