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Rebecca Arnold

[née Pacanins y Nino, Maria Carolina Josefina]

(b Caracas, Jan 8, 1939).

Venezuelan fashion designer, active also in the USA (see fig.). While Herrera’s designs always contain elements of current fashion, her work is more about the cultivation of a sleek international style that is classically feminine. Her upbringing among the élite, leisured classes of South America encouraged her to view clothing as a visual expression of good taste and ease. Rather than following trends, her designs tend to favor clean lines, with a focus on detail.

Herrera was brought up in an environment where clothes were bought from Parisian couturiers, such as Cristobal Balenciaga, or made by skilled local dressmakers. In each case, craftsmanship and structure were important, combined with a desire to acknowledge wealthy women’s lifestyles within the design of each garment. Herrera therefore developed an appreciation for refined design skills and good fit early in her life, which was to prove crucial to her own evolution as a designer. Combined with this awareness of fashion’s central role in the life of wealthy women was her cosmopolitan outlook. This was nurtured by regular trips to Europe and North America, which provided inspiration through visits to galleries and museums, and gave her an understanding of the international lifestyle of many women of her class. The need of these women to be dressed stylishly and appropriately for diverse events from tennis matches to cocktail parties or office work in a city shaped Herrera’s outlook, as much as her appreciation of art and culture....

Article

Paula J. Birnbaum

(b Brooklyn, NY, April 30, 1943).

American conceptual artist. Reichek earned a BFA from Yale University and a BA from Brooklyn College, where she studied painting with Ad Reinhardt. Well versed in the traditions of modernist painting, Reichek began critiquing those traditions in the 1970s by making art using the vehicles of embroidery, knitting, and weaving. She then engaged in a range of large-scale installation projects that retool domestic media and formats to analyse the patriarchal and modernist assumptions of American culture. In her series of samplers, including Sampler (Kruger/Holzer) (1998; priv. col.), Reichek placed post-modern media-related art within a long history of alphabetic Samplers, a decorative form of needlework long practised by American and European women to demonstrate skill as well as exercise instructional aphorisms. Reichek’s samplers also strategically reference the rectilinear grid as structuring principle in abstract painting, revealing the artist’s interest in recurring patterns of representation of both image and text....