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Posted by: Viviane Gosselin on October 4, 2012 at 10:21 am

A few months ago I invited Jan Sippel, educator at the Vancouver School Board, to complement historian Mona Gleason’s research. Mona, a professor at the Faculty of Education at UBC, with a keen interest in the history of education had generated some cool exploratory research for the Sex Talk in the City project. Mona’s work  (more in a future post) had focused on the 1900-1960s period. Jan was to extend the storyline to the present.

I am not an historian, but I have very recently become one.  As a member of the Sex Talk in the City Advisory Committee and the coordinator of sexual health education for the Vancouver School District, I had been asked to research the history of sex education in our schools over the past 50 years.  I expected it to be fairly straightforward — reflect on the twenty-five years I have been in the district, check the VSB archives, talk with current and retired colleagues, and canvas schools for ‘artifacts’ (old films, videos, and teaching materials) that may be collecting dust in cupboards and closets. 

It quickly became apparent that sex education teaching materials tend to be thrown out when they become obsolete and it is unknown how many of these resources existed in the first place. The School Board archives, which are maintained by the Vancouver School Board Heritage Committee, a dedicated group of retired teachers and school administrators, are somewhat limited in scope by the storage space available. The archives yielded very few sex education artifacts, likewise the request to schools.

Probably the most important thing I have learned from this exercise is that much of the history of sex education in our schools resides with a few individuals, many of whom are retired. My ‘key informants’ thus far been teachers,  counsellors, and administrators who have, in the past, had leadership roles in the school district that included responsibility for sex education.  All had the task of helping teachers implement the Ministry of Education health and guidance curriculum of the day.  Some had been the Elementary Curriculum Consultants. Others had been members of the VSB Family Life Education Team formed in the late 1980s to support teachers of grades 7–12 with the provincial Family Life Education Curriculum, developed in response to the “Aids Crisis”.

I was surprised to learn that sex education, in some form, has had a place in the BC education curriculum since the 1950s.  For many years, it was taught almost exclusively at the secondary level, often with no guidebook and teachers sharing what resources they had with one another. Secondary students may have received ‘sex ed’ classes from their school counsellor or from a teacher in science, home economics, or physical education classes.  Historically, in the intermediate grades, sex education came under the topic of “body systems” in science and students learned about the reproductive systems of mammals. Although sex education has been part of the BC curriculum, a teacher‘s comfort level with the topic was often the determining factor in whether or not it was taught.  In the 1960’s and 70’s, public health nurses and some private sexual health educators began to play a significant role in addressing this topic in our classrooms.

Delving into the documentation and interviewing key people in the field has also allowed me to see curricular patterns emerging, patterns that appear to have been driven by the societal concerns of the time. For example, in the mid-1980s child sexual abuse prevention first appeared in the BC health and guidance curriculum; by the late 1980s, sex education curriculum had a strong focus on the prevention of HIV /AIDS and sexually transmitted infections. The 1990s saw a greater emphasis on healthy relationships, which seemed to reflect an increase in public awareness and discussion of domestic violence.  These social issues exerted a strong influence on the curriculum and in some cases, renewed interest in sex education in our schools.  The last 10 or more years has seen a move to include themes of sexual diversity and inclusion, and recognition of the need for comprehensive sexual health education at both the elementary and secondary level.

Tracing the history of sex education in Vancouver schools has been daunting and discouraging, at times. The research I have done to date  seems to have only scratched the surface! I’m hoping that some keen historians and grad students will continue the process of unveiling and recording how we have taught — and are teaching — this important subject in our schools. It says so much about who we are as a society, and we have much to learn from that history.
 

Posted by: Guest Author on September 12, 2012 at 9:14 am

By Todd Falkowsky, co-curator of Object(ing): The art/design of Tobias Wong

The first time I met Tobias Wong was in New York City in 2004, where we both had shows at the Felissimo House.  As I was setting up my space, a small, very pleasant guy kept circling around and nodding his approval at what we were installing. As we were finishing, he finally came forward and introduced himself as a “big fan”. We chatted about the work and he shared some thoughts. It was only after he left, when I asked the curator who he was, did I find out that it was Tobias. Humble, interested, and filled with ideas. It was a genuine pleasure to meet someone with so much talent introduce himself as a fan when in fact he was a celebrated artist/designer with his star on an explosive rise. Well, the feeling was mutual.

I knew that designers appreciated Tobi’s work, but I realized his influence had run deeper when I was teaching at OCAD in Toronto. I was pleasantly surprised by how many design students wanted to do work like his. They were not looking to be designers in the traditional sense, but to become provocative and use product design as a mirror and comment on the status and purpose of our culture. They did not want to be Starck or Rashid; instead they wanted to be Tobias Wong, the artist who used design to break the rules. Tobi’s ideas and approach had impact on design practice, inviting designers to use their craft to create serious meaning and new ways of interacting with our communities.

Our paths continued to cross over the years and though we were able to work together a handful of times, we always talked about future projects to collaborate on, new shows, products, and publications. That opportunity was not meant to be — a reminder to grab the chances you have and to do the things you really want to do today, rather than tomorrow. I brought Tobias to Toronto in January 2010 for one of his last lectures, and showed his iconic “This is a Lamp” at the accompanying exhibit at the Royal Ontario Museum. This was the last time I talked to him.

Later that spring, upon learning of his passing, I immediately suspected that it was not real; the whole thing seemed surreal and mad, and in line with the shock that Tobi’s work sometimes embraced. I thought it was another irreverent yet more potent stunt, ratcheted up from past projects like his Core77 lecture or the elaborate installation, the Wrong Store in Manhattan. Reality settled in and as heartbreaking a loss it was for the art and design community, I felt his ideas and products would endure, and that his work should continue to be seen, discussed, and celebrated.

I had just moved to Vancouver and it struck me that Tobias’ international success deserved a long overdue homecoming, in the city where he was born and raised (and perhaps where his ideas had their beginning). For me, his work was avant-garde, blending design and art, opening both professions up to new directions; work that is still important and deserves to be promoted and shared.

The Museum of Vancouver has graciously opened their doors to me, and the idea for this show, bringing the work of this remarkable Vancouverite home. Tobi’s family, close friends, colleagues, and fans have opened their hearts to share with us their thoughts and experience to understand and contextualize the work (not to mention lending it to us in the first place). I am honoured to have played a part in bringing this exhibition together. I hope Tobias’ work lives on and continues to inspire, disrupt, and provoke. 

Object(ing) opens to the public September 20, 2012. A limited number of tickets are available to attend the opening night.

Posted by: Amanda McCuaig on August 13, 2012 at 2:44 pm

Curator of the 2009/2010 Ravishing Beasts exhibition (no longer on display), Rachel Poliquin, is on the verge of releasing her new book, The Breathless Zoo: Taxidermy and the Culture of Longing.

About the book, she says:

"Taking off from some of the things I talk about in this blog, my book explores the cultural and poetic history of preserving animals in lively postures from sixteenth-century cabinets of wonders to contemporary animal art. Why does anyone want to preserve an animal, and what does this animal-thing become? I suggest that taxidermy is always entwined with the enduring human longing to find meaning within the natural world. By drawing out the longings at the heart of taxidermy—the longing for wonder, beauty, spectacle, order, narrative, allegory, and remembrance—I explore the animal spectacles we desire to see, human assumptions of superiority, the yearnings for hidden truths within animal form, and the loneliness and longing that haunt our strange human existence, being both within and apart from nature."

If Ravishing Beasts caught your eye, I suspect it this will be a fascinating read for you.

Posted by: Viviane Gosselin on July 26, 2012 at 12:57 pm

Sex Talk in the City blog

Let’s face it; the Internet has become the most popular “sexual educator” for people of all ages. In light of this, we’re using the section of the exhibition dedicated to exploring the ways people learn about sexuality (the Pedagogy Zone) to address the question of media literacy and the need for children and youth to cope with the barrage of sexually explicit material online (as consumer and creator).

In working on this, a Vancouver-based law firm offered to cover the cost of having their articling students look at the intersection of law, social media, and the dissemination of sexually explicit material. I just received the last version of their text and LOVE their idea of re-packaging key information in the form of tweets!

Here are couple of examples:

Text messages that describe sexual activity, or “sexting”, is only illegal if it describes unlawful sex. [105 characters]

Teens can be charged with a criminal offense for taking pictures/videos of obscene sexual activity and sending them to friends. [130 characters]

If you don’t teach your teens about privacy, sexuality and social media, where will they learn? [98 characters]

I asked the two law students to reflect on their experience working on this project:

This summer we were asked to do some legal research for the upcoming Sex Talk in the City Exhibition. Our focus was social media, which is relevant in today’s world of smart phones, posting, and instant technology in general. We also researched the evolution of consent by looking at legislation and court cases. These topics complement and contrast each other since social media is modern and contemporary while consent has a long history in Canadian law. The biggest challenge we faced was condensing all the information we found into an easy-to-read format for the exhibition, since the law in these areas is complex and always changing. But that is also what makes legal research so much fun, believe it or not! Being involved in this project has given us the opportunity to discover more about the evolving relationship between the law, social media, sexual activity, and consent. We hope that everyone involved in the exhibition — from the creators and staff to the public at large — will find these issues just as interesting as we did.

Emelie and Amanda are law students in Vancouver.

Posted by: Danielle Lafrance on July 8, 2012 at 8:03 pm

Sex Talk in the City blog header

While reading Greg Smith’s post on the Sex Talk in the City blog, I got to thinking. Greg’s idea of sexual “hang-ups” seem to have a lot to do with the process of medicalizing sexuality in the 19th and 20th century.

The medicalization of sexuality is not only the construction of sexuality in medical language or the act of mandating interventions (which has led to significant public health improvements), it is also the introduction of pathology and medical explanations used to frame “deviant” behaviours. Hysteria, homosexuality, and transsexuality have a history of being explained as medical disorders in order to defend what is thought of as normal sexual behaviour and what isn’t. As Sex Talk in the City will remind us, these constructions are felt in the present day and do affect our sexual experiences – they lead us to understand ourselves within these medical terms, sometimes out of necessity, due to a lack of alternative language.

When discussing sexuality we can’t forget the work of French philosopher and historian Michel Foucault. Foucault demonstrates how “repressive pathology” has a quality of administrative inquiry into our private lives. It confines sex to the 'privacy' of the home while maintaining a wider, external world of repressed sexual expression. Pierre E. Trudeau's famous declaration in 1967, "There's no place for the state in the bedrooms of the nation," highlights the tension between the state and the individual, and through omission suggests that sexuality and sexual expression belong only in the bedroom.

Sex Talk in the City isn’t necessarily unique. It is a process of construction, deconstruction, and reconstruction of the meanings attached to sexual experience and sexual conduct. Through its position of authority (coming from a museum), the exhibition can’t help but be part of the medicalization of sexuality. However, the exhibition also provides space to negotiate how authorities have affected our individual impressions of sexuality.

Knowing that the development of vibrators was an experiment in speeding up the female orgasm and finding out the “hidden truth” of a woman’s sexuality changes the ritual and may bring up new questions to the visitors. Will the audience second guess its usage? Or maybe the historical element will enter the arena of new fantasies, a new taboo? I wonder how the exhibition and the knowledge it produces will challenge power (the institution, the tools) and how might it be the same mechanism that misrepresents. 

Sex Talk and the City is a self-reflexive exhibition. It’s conscious of misrepresentation by defining itself in these fluid terms, using humour to suggest another world to be probed. It’s radical but careful. The multi-media nature of the exhibition “allows” multiple access points to sexual discourse. The history of the vibrator installation not only uses dresser drawers to augment mom and dad’s secret treasures (Joy of Sex, anyone?), but can also act as a sexual confession, a clinical codification behind the doctor’s door. The museum itself waits, coyly, for our Visit the Sex Talk tumblrattention.
 

Danielle LaFrance is a digitization assistant at the Museum of Vancouver, and is the author of Species Branding (2010).

Posted by: Gala Milne on June 28, 2012 at 4:20 pm

ART DECO CHIC FASHION CHALLENGE WINNERS

Congratulations to Elisa Medina, Lisa Ngo, and Dianna Drahanchuk, winners of the Art Deco Chic Fashion Challenge! Over the summer, these three designers will be hard at work transforming these designs into garments for display at the MOV September 1-23 alongside Art Deco Chic. Read on to find how Vancouver and Art Deco inspired their designs.

ELISA MEDINA | GEOMETRIC REVERIE
Bachelor of Design, Fashion & Technology | Kwantlen Polytechnic University

Art Deco Chic challenge winner Elisa MedinaWhich art deco era/ garment/ or design concept inspired the creation of your garment?

Art Deco existed between modernity and exoticism, creating fashion that was intellectually eclectic and seductively elegant. The influence of architecture, art movements like Cubism and Fauvism, as well as the Jazz Age’s rhythm and movement had a strong presence on the exhibition’s early 20’s garments, which in turn inspired my designs’ repeating geometric shapes, unexpected embroidery, and saturated colour palette.

Tell us your story about deciding to become a fashion designer.

My path to fashion design was carved by a love for painting and drawing in the picturesque Quito, Ecuador. I started to draw at an early age and was eventually introduced to fashion illustration. From then, I Elisa Medinagradually cultivated my eye for design through sketching models in the pages of Vogue. I also started to appropriate my fine arts training to develop an aesthetic rooted in painterly compositions of colours and fabrics as well as mixed cultural and historical references. Moving to Canada in 2008 allowed me to pursue a career in fashion, as there are more educational and professional opportunities in this field. I am currently developing my technical skills at Kwantlen University both in women’s and menswear, as I go into my third year of studies.  

Where else do you draw inspiration from in your work?

Art, music, and culture are a constant source of inspiration as I design.

What changed for your conception of the garment design in knowing that you were creating for a museum exhibit as opposed to a fashion runway?

Designing garments for a museum exhibit requires a special attention to detail, as the garments remain static, becoming subjects to a closer view from the audience. It was therefore important to offer a dynamic experience for the viewer through different textures and shapes.  

How does living in Vancouver shape your design process?

Vancouver offers wonderful exposure to art and nature. This has encouraged me to be curious of my surroundings and look for inspiration wherever I go. All I need is a sketchbook in hand. In addition, our city’s “green culture” has also influenced me to become a responsible designer, keeping the people and the environment in mind during the design process.

***

DIANNA DRAHANCHUK | ARGYLE REVIVAL
Fashion Merchandising | Blanche MacDonald

Art Deco Chic challenge winner Dianna DrahanchukWhich art deco era/ garment/ or design concept inspired the creation of your garment?

The primary inspiration for this dress was the striking evening dress made in France for Bullocks in1929 – 1930.  The transparent black-layered silk georgette with dramatic crisscross shiny black machine beading I translated into an inner dress with sequins and transparent over dress with bead crisscross pattern applied to the outer layer.  The top of the under dress mimics the diamond shaped pattern while the over dress scoop neck with wider shoulder strap is typical of dress style of the 20’s.  The bead pattern creates an argyle pattern, made popular in the 20’s and is reminiscent of the long strands of beads that were all the rage during the jazz age.

Tell us your story about deciding to become a fashion designer.

Fashion Design was something I wanted to take up in high school but Horse Hill High School wasn’t able to advise me on available fashion Dianna Drahanchukschools. However, after retiring from my interior design career and realizing that the desire to engage in fashion design was still there, I decided to attend the Blanche Macdonald Fashion Merchandising program, even just for fun.  

Where else do you draw inspiration from in your work?

There is not one place that that my inspiration comes from.  I rarely buy fashion magazines but I travel a lot observing things that are not available here and in my mind's eye try to figure out how that particular item could be made/adapted in my world. 

What changed for your conception of the garment design in knowing that you were creating for a museum exhibit as opposed to a fashion runway?

I've never created a piece for a fashion runway so my only point of reference was the museum exhibit.

How does living in Vancouver shape your design process?

Availability of resources is key.  To enter a competition such as this would have been much more difficult, say in Victoria or Edmonton where I lived most of my life.  Having resources at hand allows for greater creativity.

***

LISA NGO | CRYSTALS OF THE SKY
Fashion Arts | Vancouver Community College

Which art deco era/ Art Deco Chic challenge winner Lisa Ngogarment/ or design concept inspired the creation of your garment?

The art deco garment that most inspired or more so caught my eye was the satin dress that had its hem ingeniously twisted  across the bust and thrown over the shoulder as an interesting design detail.

 

 

Tell us your story about deciding to become a fashion designer.

Well first of all, I never had a clear decision, when I was young, that I wanted to truly be a fashion designer. At a young age I was exposed to watching a lot of cartoon television shows like Pokemon, Sailor Moon, Card Captors and more. I really loved the illustrations drawn of the cartoon characters so I decided drawing them and wanted to create a character of my own. After creating my cartoon character's appearance, I said to myself,Lisa Ngo “I need to put some clothes on this girl” so I did. Still I was oblivious that drawing clothes on this girl was “designing” and dressed her like a doll, but on paper. Years after that, I trailed off from the design, I still immersed myself in art, but I was far from the path of a fashion designer. I still thought of having a career in designing clothes, but I forced myself to different areas of interests. It was until one day I realized during my last year of secondary education that I had to choose a career path to prepare for. I looked back and thought “What the heck did you even prepare yourself for?” I thought about my education, my passion and interests and throughout my life the only thing I've really enjoyed was styling my barbie in her clothes, caring about how I looked and dressed during school, overall just admiring cute dresses, and drawing clothes on my characters. So where does that lead me? Boom. Here I am at VCC and in this competition. Holy cow.

Where else do you draw inspiration from in your work?

Definitely Madeleine Vionnet as an haute couture designer. There is a picture of here sitting down and creating her draft on a doll. Looking at the picture, to me, I feel that she had a great passion and love for what she was doing. It seems as though she is in her own world and so immersed in what she is doing and that inspired me to try to re-create that mood in the dress in the picture. I also researched some art deco artists and the one that stood out was no other than Erte. I love his illustrations and designs. Very elaborate, dramatic, creative and just good.

What changed for your conception of the garment design in knowing that you were creating for a museum exhibit as opposed to a fashion runway?

As soon as I found that it would just be in an exhibit, it could be fragile. Very fragile. I figured that if the dress I designed was for the runway, It would totally get caught and torn in a painful, heart-wrenching way. The care and handling that I saw in the exhibition from Ivan Sayers, Claus Jahnke and his team insured that I could sacrifice some functionality, so I had the nylon thread be the support between the two pieces of fabric while holding some crystals at the same time. Sorry thread. Hopefully, I would love to see a real model at least walking slowly in the dress.

How does living in Vancouver shape your design process?

Other than the mountainous backdrop view, cultural diversity, and ecstatic rainy days, overall Vancouver just feels like a breath of fresh air. Whenever I think of Vancouver overall, I just feel very natural and free of any limitations and that is what I want to try to do when I design. I was born here and I still don't know Vancouver as much as I thought I did. I currently work for Erin Templeton (one of my role models!) and after meeting her I just found about this world of local designers and workers that either have this close net or some type of connection and support to one another and that just warms my heart.

Posted by: Amanda McCuaig on June 14, 2012 at 2:17 pm

This Friday (June 15) is the official launch of our Reading the Riot Boards exhibition – a display of 15 of the plywood boards that were put up to hoard windows after the riots, and which were then covered with messages of hope, love, and more.

The boards demonstrate that what began as a utilitarian reaction to broken windows grew into an open source work of art, with messages from thousands of Vancouverites and visitors to the city. At a time when world media fixed on Vancouver’s wrongs, residents-as-authors and as-artists used the riot boards to examine our collective conscience, encourage reconciliation, address the city’s social ills, and remind us that hope persists.

Riot boards tote bagLast year the MOV received assistance from the Enterprising Non-Profit program to develop a business plan to help diversify and expand our current revenue streams. Among other projects to help meet this goal, Richard Muller of Sum Things Ventured, has been working tirelessly with the MOV’s Kate Follington, Director of Development and Marketing, to come up with  merchandise that embodies the MOV's mission and vision while fostering our unique personality.

The first of these pieces are a tote bag and a t-shirt which display an interpretation of the messages of the board – showing and celebrating Vancouver’s resiliency and community.

The bags and t-shirts will be available for sale at The Latest Scoop and Book’mark, the Vancouver Public Library store.

Riot boards tshirt

 

The Latest Scoop
2928 Granville St. (between 13th and 14th).
Store hours for our South Granville location are: Mon-Wed: 10-7 Thurs & Fri: 10-8 Saturday: 10-6 Sunday & Holidays: 11-5

Book'Mark
Vancouver Public Library, Central Branch
350 West Georgia Street

With every item purchased you'll receive $2 off your next visit to the MOV.

 

 

 

 

Posted by: Viviane Gosselin on June 5, 2012 at 12:57 am

Sex Talk in the City exhibition blog

Sex Talk in the City exhibition drawing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Conceptual drawing of a section in the Pleasure Zone. The bed mattress becomes the projection surface. Design by Propellor Studio, February 2012.

 

We could say that the dust has settled since the announcement from Heritage Minister James Moore concerning Sex: the Tell-all Exhibition and his view that its an inappropriate use of funds for that specific museum. The controversy over an exhibition designed by the Montreal Science and Technology Museum to educaete teens about their sexuality has made one thing very apparent: some interest groups will mobilize a lot of energy to discourage public institutions (schools and museums alike) from relaying valuable information to youth about sexuality. It would be naïve to think that MOV’s 2013 exhibition Sex Talk in the City project will be immune from similar criticism. The exhibition may not be presented in the national capital and in a national museum, but like most museums, MOV relies, in part, on public dollars to provide its services. And that’s usually enough to get some critics going.

We feel completely comfortable with embracing the topic of sexuality at MOV. Developing an exhibition that investigates the evolution of "sex talk" in Vancouver. Addressing issues of sexual health, diversity and education helps us fulfill our mandate . . . in a big way.  To put it succinctly:

  1. People in the city work, play and . . . have sex. Exploring how people think and talk about sexuality is one way, among many, to understand and investigate the city.
  2. We want a healthy city. The Sex Talk in the City project advocates for more open and public conversations about sexuality. The more knowledgeable people are about their sexuality, the more informed decisions people will make.

 

Sex Talk in the City project at MOV and the larger museum picture:

Recent practice and studies have demonstrated that museums, with their unique resources, can play an important role as agents of social services. Some museums today take on starkly bolder roles (than the traditional institutions) as a way to influence social change and promote social inclusion. Canadians and international studies have shown the potential for museums to raise public awareness and contribute to attitudinal changes concerning public health, social inclusion and social justice (Sandell, 2005, 2007; Silverman, 2010). What is also important to remember is that studies  confirm that museums benefit from an incredible capital of public trust. As a result, the museum, as site of public education, holds a privileged position to convey and engage the public with critical social issues. 

A number of museums have taken an active role in fostering new understandings related to the issue of sexual diversity, and in promoting safer sex to prevent infection as well as (unwanted) conception.  Close to us we have Hide/Seek: Difference and Desire in American Portraiture at the Tacoma Art Museum. In Canada, recent examples include as mentioned above Sex: A Tell-all Exhibition at the Science Centre in Montreal and Hello Sailor an exhibition exploring the lives of gay and lesbian mariners at the Maritime Museum of the Atlantic in Halifax. Both exhibitions (as we know more than ever now) were able to stir provocative discussions involving visitors, the broader public, the media and policymakers.

The multi-media nature of museum exhibitions, which includes videography, installation, display of material culture, graphics, text, programming, social media campaigns, soundscape as well as the social quality of museum visiting make up powerful learning vectors in regards to sexual education. And so we have come to view MOV as uniquely positioned to co-produce with community partners, a learning experience that is less medicalized than the visit at the health clinic and less didactic than sex education in the classroom context while promoting meaningful cross-cultural and inter-generational dialogue about sexuality.

From this perspective, addressing the topic of sexuality becomes a particularly compelling way to fulfill MOV’s mission to lead provocative conversations about Vancouver’s past, present and future. 

Sex Talk in the City brainstorming paper

Group discussion at a meeting with the advisory meeting, May 2012
Posted by: Viviane Gosselin on April 3, 2012 at 4:17 pm

I just had an excellent meeting with Daphne Spencer from the Division of STI/HIV Prevention + Control at the BC Centre for Disease Control (CDCofBC). Talked for 2 hours non-stop. She welcomed our idea of having an exhibition zone dedicated to sexual pleasure and giggled when I talked about our research on vintage vibrators! Great potential for collaboration. Amazingly helpful with connecting us with knowledge/community experts. I think she’ll be able to lend us the costume of Captain Condom for the exhibition! She introduced me to the work of Chee Mamuk and educator Sarah Callahan. I’m so impressed with their aboriginal youth video program Youth Have The Power. Super Inspiring. I'm not surprised to see that Hello Cool World is involved!

Join in the conversation on Twitter: @xtalkinthecity #xtalkMOV

Posted by: Viviane Gosselin on March 5, 2012 at 11:38 am

“Our work has made us keenly aware of society’s fears around sexuality” -Andrea Dobbs, Womyn'sWear

As the retail design and display manager of Womyns’Ware I wear a lot of hats. Sometimes I’m buried under a pile of catalogues trying to select tasteful, safe, quality sex toy amidst a sea of cheap, tacky, or disturbing products. Or I’m trolling industrial design sites in Europe looking for innovative approach to sex toys design. I support customers and staff, collaborate with our founders to design and produce fixtures and displays that support our wares, and I participate in the communication efforts. When all is said and done, I feel I’ve developed the skills of a researcher, an educator, and an artist.

So when Womyns’Ware was asked to participate in the MOV Sex Talk in the City project I was overjoyed! Helping to create a visual and tangible feast for Vancouverites to engage in with the goal of enlightenment at its core is right up our alley. What can we bring to the table? How about 17 years of front line work with women and their partners in search of sexual empowerment. Our customers have fundamentally informed our approach to what we do and have given us an understanding of just how vast an arena sex and sexuality is.

As an organization we’ve faced censorship, unwarranted legal barriers, black listing, and fear mongering — and it’s left us keenly aware of society’s fears around sexuality. We’ve encountered wonderful allies over the years such as Options for Sexual Health, midwifery clinics, progressive faith organizations, sex educators in North America and abroad, cottage industry proprietors, and physicians in private practice. Through these welcomed (and even the not so welcomed) engagements we’ve enjoyed an exchange of ideas and information that has made for layers of knowledge difficult to parallel under any other circumstance.

And yet there is so much to learn! We have experiences to share and artifacts to loan —we arguably have a collection of vibrators that rivals even the best sex toy museums! From the early 1900 Hamilton Beach New Life Vibrator donated to us in the very early days of our business by an aged man who understood right away that we’d be the place to appreciate and display his family heirloom to the 1956s Sonoid Spheroid Action vibe (complete with packaging and instruction manual) donated to us by a lovely woman whose mother had passed away and who couldn’t bring herself to sell it at the yard sale!

We’re very much looking forward to seeing the first iteration of the exhibition design concepts, and to continuing this discussion of sexuality and sex education over the upcoming year.

Andrea Dobbs has worked as Design and Display Manager at Womyns’Ware since 2004.

Join in the conversation on Twitter: @xtalkinthecity #xtalkMOV

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