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Joel Hirsch Resnicoff (October 23, 1948 – December 28, 1986) was an American artist and fashion illustrator, who incorporated expressionistic art into commercial fashion illustrations, stating his belief that "commercial art is the art of the century." 〔''The Manhattan Catalog'', April 1980, p15.〕 His work did not fit easily into any one category, and "the figures in his amusing illustrations defy stereotype and are posed in unexpected ways."〔 Those figures reflected a mixture of cultures, with viewers seeing something familiar to their own background, mixed with something more distant: a combination of the "girl next door," and "the girl on the other side of the world." So, for example, a Japanese work describes "the influence of black African sculptures," mixed with a more Japanese look characterized by "lips like cherry blossom petals, and almond-shaped eyes."〔Seiichi Tanaka, ''The Avant-Gardes of New York,'' Tanaka Studios, Japan: 1986.〕 His work captured the new impact of multiculturalism on art and the "standards of beauty" of the seventies,〔Bryant, ''op cit.'', 70.〕 and along with artists such as Andy Warhol helped "blur the line between commercial art and fine art."〔(www.santaynezvalleyjournal.com ), retrieved August 12, 2011.〕 Resnicoff died at the age of 38 as a result of complications linked to AIDS.〔''Esprit'' Newsletter, United States Headquarters, San Francisco, March 1986, p10. This issue included a tribute to Resnicoff, which included the words: "Joel Resnicoff was a freelance artist from New york City who worked at Esprit in the Summer, 1985. His whimsical figures of knobby-kneed girls served as the basis for the theme of the '86 Summer Esprit line. His death from AIDS complications in December has saddened all of us in the Design Department who were fortunate enough to have worked with him."〕 ==Life and work== Joel Resnicoff was born in Washington, DC, and raised in Hyattsville, Maryland. He studied art at the University of Miami for one year, and then transferred to Greenwich Village's Parsons School of Design, settling in Manhattan's East Village.〔Hit Parade, Francis Toohey, ''Joel Resnicoff'', 1981.〕 After two years at ''Parsons'', he worked as a fashion illustrator for seven years on the staff of ''Women's Wear Daily (WWD)'',〔 the trade journal often referred to as ''the Bible of fashion'' ,〔Miller, Lia. ("Women's Wear Daily Setting Its Sights on the Luxury Market." ) ''New York Times'' (March 14, 2005)〕 where illustrations were used more as commentaries on fashion and predictions of consumer reaction than as a means to advertise and sell products to consumers.〔Michelle Wisen Bryant, ''WWD Illustrated: 1960s-1990s'', Fairchild Publications: 2003, intro., ix-x.〕 Art historians have noted that during the seventies, ''WWD'' proved to be a '"wonderful showcase" for artists including Resnicoff,〔Bryant, ''op cit.'', 81.〕 and through his work, he quickly made a name for himself in the fashion industry.〔''Art Direction,'' The Magazine of Visual Communication, March 1972, p67.〕 However, after seven years with that publication, he left in order to devote a year to experimentation with different art forms, take some classes in sculpture, and have a chance, as he put it, "to deal with reality after a life of illusion."〔 During this year, he supported himself through street portraits,〔 along with many fellow street artists whose work would collectively be remembered as part of the artistic hey-day of the East Village. Soon, his career as a freelance artist took off, eventually including works in water colors, charcoals, oils, and paintings; a series of fashion mannequins that were based on the style he had popularized in his illustrations;〔''Resnicoff for Discoveries'', Discoveries, Inc., 235 West First St., Bayonne, NJ 07002.〕 some overseas travel for invitational commissioned artwork, including billboard designs in Scandinavia; and art he created for clothing and fashion accessories that included the international design brand, ''Esprit''. In the early 1980s, his unusual displays for windows in such major New York department stores as Macy's and Bloomingdale's caught the attention of both the public and the press, with an article in the ''New York Post'' reporting that his 1983 Macy's window display literally "stopped traffic" on 34th St.〔''New York Post,'' France-Michele Adler, June 1, 1983.〕 The windows were part of Macy's campaign to publicize Resnicoff's new shop in its New York location.〔 His work was not limited to any one store or chain of stores, and although his link to Macy's would continue for a number of years, his artwork was also used by Bloomingdale's in a number of ways, including a series of brightly colored beach towels, marketed as "Camp Bloomie's." In addition to artwork that appeared on apparel and accessories, he created and illustrated a series of postcards and greeting cards, called ''ResniCards'', that gently poked fun at New York City, its residents, and its tourists. In these cards, he contrasted often overweight women with the ultra-slim figures in the fashion world that he regularly used in his own illustrations. As one reviewer put it, his cards featured "pachiderm-sized dames in tacky-wacky get-ups...shattering ''la mode''"〔 He could poke fun at New York and New Yorkers because his love for both the city and its city-dwellers was well-known. When asked to describe New York in three words, he wrote, ''energy'', ''variety'', and ''creativity.''〔''Fashion Illustration in New York'', Pater Sato, Graphic-sha Publishing Co., Ltd, Tokyo, Japan: 1985, p90.〕 Resnicoff's fashion illustrations were well known and wide-ranging, including his years of work with ''WWD'', and with other Fairchild Publications journals, including (''Footwear News'' ), and the ''Daily News Record''; a variety of fashion advertisements in virtually every New York newspaper, from ''The New York Times'' to ''The Village Voice'', including cover illustrations for some, such as the ''Soho News'', and ''Art Direction'';〔''Art Direction'', Advertising Trade Publications, Inc., August 1980.〕 contributions to special publications such as the ''Manhattan Catalogue''; illustrations and lay-outs for national and international periodicals, including ''Travel and Leisure'' and ''Mademoiselle'';〔Mademoiselle, July, 1985, ''How to Wear the Latest -- even if your shape's not the greatest'', 138pp.〕 special brochures for stores and periodicals, including ''New York''〔For example, a special ''New York'' brochure, July 1985, advertising the August 1985 issue, where fashion outfits were presented as if they were paper-doll cut-outs.〕 magazine; and multi-color spreads for a number of foreign publications and journals, including some in Italy, like (''Vanity Magazine'' ), and Japan.〔 He was also featured as an illustrator in major campaigns for national and international chains and brands, such as Macy's, Charles Jourdan, (''Intercoiffure'' ), and ''Fong Leng International''; independent stores and smaller "boutique" chains, such as ''Mr. Jay'', ''Armadillo'', and the designer boutique (''Riding High'' ); and designers, including Regina Kravitz, Calvin Klein and Yves St. Laurent. His work gained special popularity in Japan as examples of American ''avant-garde'' art, described by Japanese artist (Pater Sato ) as work that "sends us messages of joy, peace, and humor. His comic style draws us to a new world."〔 Resnicoff himself wrote that he "would like people to look at the world a little differently after looking at my drawings."〔"The whole idea of art is to inspire, to teach, to bring something to another level.... Commercial art is the art of the century, it's the most visible, it goes to the greatest number of people.〔 Resnicoff's work always reflected his own unique style, but they also often brought to mind images from "fine art" or literature, such as in his well-known illustration for hosiery that "directly referenced the film poster, ''Six Girls Seeking Shelter,'' by Vladimir and Georgi Stenberg.〔Bryant, ''op cit.'', pages 78 and 133.〕 In some ways, along with artists like Andy Warhol and Antonio Lopez, Resnicoff's art helped "blur the line between commercial art and fine art."〔 Samples of Resnicoff's work that appeared in the magazine, ''Hit Parade'', are on file as part of the New York Public Library Collection.〔(Francis Toohey Papers, 1977-1989. ), New York Public Library, Humanities and Social Sciences Library, Francis Toohey Papers, Circa 1977-1989, MissCol 6174, Melanie A. Yolles, Dec 2004, Rev. 2008.〕 In 1985, Resnicoff began working with ''Esprit'', and in 1986, two summer seasons of clothing, including brightly colored shirts and scarves, featured his designs—with his signature on each item. Using an unusual approach, the company commissioned Resnicoff to paint a series of "oversize summery murals," which ''Esprit'' then used as a basis for its "sassy...bold, and colorful" fabric designs.〔Orlando Sentinel, ''Esprit Plays Off Summer's Flip Side'', Davin Light, June 4, 1986.〕 In fact, Resnicoff's artwork for the summer designs were so successful that he was invited to repeat his collaboration with ''Esprit'' for an additional season, but by then he had to decline the invitation due to his failing health. In addition to his work with ''Espirit,'' Resnicoff also designed a series of ''Tee-Hee Shirts''—pullovers and sweatshirts, and "cooking apparel"—aprons, gloves, and pot-holders, illustrated with whimsical characters similar to those on his ''Resnicards'' illustrations. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Joel Resnicoff」の詳細全文を読む スポンサード リンク
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