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mrinstadotgram · 2 years

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Carefree in my NB's. 😎🔵🟠🅿️ @newbalance 237 x The Intelligent Choice #newbalance #237 #nb237 #bostonmarathon #newbalance237 #newbalance237classic #classics #1996 #kicksonfire #thugkicks #supremenewyork #coplist #sneakercon #solelyjumpman #solelicious #solelysneakers #theshoegame #sneakgallery #sneakernews #sneakerfiles #snkrs #snkrsapp @newbalancelifestyle #snkrskickcheck #snkrsonly #snkrhead #snkrvn #smoothsoles #solecollector #solecollectors (at Houston, Texas) https://www.instagram.com/p/CjZylFxOKdd/?igshid=NGJjMDIxMWI=

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mkei5159 · 3 years

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- 💕New Balance 237 💕 詢問度爆表的237又出新款了🔥 奶油色真的很燒欸😍😍 尺碼：22-25.5cm 數量有限 💢優惠價 $4300 小叮嚀‼️：本商品需先預購，約3-6周到貨，不接急單，可接受者再預訂唷 💋歡迎加入LINE社群 💋LINE社群以分享在台現貨為主 💋網址在首頁唷 #newbalance #newbalance237 #nb #nb237 #237 #newbalance代購 #newbalance237代購 #nb237代購 #237代購 #mkei海外精品代購 #奶茶色 #修飾腿長 #熱銷鞋款（在 Taipei, Taiwan） https://www.instagram.com/p/CM9vl3OBdGi/?igshid=1hfxv8bbaoz03

#newbalance #newbalance237 #nb #nb237 #237 #newbalance代購 #newbalance237代購 #nb237代購 #237代購 #mkei海外精品代購 #奶茶色 #修飾腿長 #熱銷鞋款

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uartslibraries · 2 years

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Sean Scully : Sculpture

// texts: Clare Lilley [and three others]

NB237.S287 A4 2019

#uarts #uartslibraries #new books #greenfieldlibrary #sculpture #sean scully

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clarencewardartlibrary · 4 years

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An Allen Work and an Art Book: Willie Cole

You remember works by Willie Cole.

Cole art transforms the shapes of everyday objects. His two works in the Allen collection use the shape and patterns of irons. In Proctor Silex (Evidence and Presence) – which fleshed out the Allen's award winning Afterlives of the Black Atlantic – Cole scorches his canvas with patterns evoking slave ships and African masks. The scorched pattern returns in his Man, Spirit, Mask a triptych.

Proctor Silex (Evidence and Presence)

Willie Cole (1989)

Cole’s influence is evident in the work of Tatana Kellner. Kellner is a book artist and co-founder of Women’s Studio Workshop in Rosendale, NY.

Iron was originally an installation where an automated iron reveals text as it irons out a white dress shirt. Kellner’s book Iron examines the history of domestic labor and immigration, while the images document the technological progress of ironing appliances (patents included). Printed in invisible ink, the viewer reads the book by ironing the pages. You can see Iron in the Clarence Ward Art Library collection.

Iron

Tatana Kellner [Rosendale, New York]: Women's Studio Workshop, [2008] Clarence Ward Art Library, N7433.4.K456 I76 2008

Want to learn more?

Anxious objects: Willie Cole's favorite brands

Patterson Sims Montclair, N.J.: Montclair Art Museum, [2006] Clarence Ward Art Library, NB237.C64 A4 2006

An object maker, musician, poet, and performer, Willie Cole is an artist with remarkably diverse art-making skills and a formidable imagination. Best known for his assemblage, mixed media sculptural works, and prints, Cole liberates and aggrandizes everyday artifacts, including irons, ironing boards, hairdryers, high-heeled shoes, lawn jockeys, bicycle parts, and other discarded domestic appliances and hardware and transforms them into powerful and iconic art works.

#Juneteenth2020 #OCJuneteenth #OCLCelebratesJuneteenth

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tyree-finearts · 7 years

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Louise Nevelson: Art is Life Laurie Wilson NB237.N43 W54 2016

#art #sculpture #sculptors #Women Artists #artists

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mrinstadotgram · 2 years

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I have green on. Trust me 😉 ....... 🍀 📸 @newbalance 237 x The Intelligent Choice #newbalance #237 #nb237 #bostonmarathon #newbalance237 #newbalance237classic #classics #1996 #kicksonfire #thugkicks #supremenewyork #coplist #sneakercon #solelyjumpman #solelicious #solelysneakers #theshoegame #sneakgallery #sneakernews #sneakerfiles #snkrs #snkrsapp @newbalancelifestyle #snkrskickcheck #snkrsonly #snkrhead #snkrvn #smoothsoles #solecollector #solecollectors (at Houston, Texas) https://www.instagram.com/p/CbOFCW3L5RD/?utm_medium=tumblr

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mrinstadotgram · 2 years

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Good mornian....... 🍊📸 @newbalance 237 x The Intelligent Choice #newbalance #237 #nb237 #bostonmarathon #newbalance237 #newbalance237classic #classics #1996 #kicksonfire #thugkicks #supremenewyork #coplist #sneakercon #solelyjumpman #solelicious #solelysneakers #theshoegame #sneakgallery #sneakernews #sneakerfiles #snkrs #snkrsapp @newbalancelifestyle #snkrskickcheck #snkrsonly #snkrhead #snkrvn #smoothsoles #solecollector #solecollectors (at Houston, Texas) https://www.instagram.com/p/CbH12WeLNBp/?utm_medium=tumblr

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clarencewardartlibrary · 5 years

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Black Creative Fire: Edmonia Lewis and Neoclassicism

Chicago, 1987. The Forest Park Historical Society is perplexed by a curious-looking woman made of marble. Beneath the chipping and grease is a woman lying in a tremendous chair with two sphinx heads on the side. Her body is seated calmly, but her face is writhing in pain from what seems to be a bite from a small snake in her right hand. The Society is stunned by the beauty, deep sadness, and mourning of the marble woman, but have no idea where she came from. The only clue to her origins is an inscription on her side:

E. LEWIS ROMA

More than a century before, in 1876, The United States of America is celebrating its centennial anniversary. Thus, in Fairmount Park, Philadelphia, a 2,000+ acre urban landscape sprawling with trees, tents, and buildings of various designs, sizes, and colors is the site of the first World’s Fair: The Centennial Exposition. The U.S. Congress has sent ships to various American artists in order for them to send their work. Across the Atlantic Ocean, in Rome, Black American and Chippewa artist Mary Edmonia Lewis prepares a piece to challenge popular white sculptor William Westmore Story’s Cleopatra.

Story’s Cleopatra was sculpted in the popular neoclassical style of the time, which emphasized representing ancient subjects (such as figures from Greek and Roman literature, ancient history, and the Bible) as icons of magnificent regality and nobility. Thus, realism and natural emotions and expressions were frowned upon. This resulted in Story’s Cleopatra:

As she muses over her husband’s suicide and prepares for her own as the story goes, she suffers unmoved and emotionless, known then as “noble sufferring” or “classic impassivity.” While the statue was definitely up to date with the standard, Edmonia Lewis had a different idea in mind. Lewis set out to complete her own version of Cleopatra, but something that expressed her voice outside of the norm.

As waves of guests walked past the sculptures at the exposition, they could not help but notice the oddness of Lewis’ newest sculpture: The Death of Cleopatra. To those steeped in the artistic trend of neoclassicism, Lewis’ sculpture must have seemed incredibly strange. The “noble suffering” and harshness of Story’s Cleopatra was gone. Instead, Lewis’ The Death of Cleopatra artfully portrayed the deceased queen’s vulnerability in death. Her face was slightly clenched in pain, yet she sat straight up in what seemed like an acceptance of her death. It almost looked as if, after letting the small snake poison her as the story goes after hearing the news of her lover/brother’s death, she lay back and let the venom quickly take her life. As one artist/critic, Walter J. Clark, put it, “the effects of death are represented with such skill as to be absolutely repellent” (Bearden 74). Also, Lewis strayed from portraying Cleopatra as Egyptian, as Story had done. Instead, she opted to give Cleopatra Macedonian Greek features, which was more historically accurate. Lewis had clearly communicated her interest in art that more closely reflected reality.

However, due to the virulent racism in the art world and throughout America, “absolutely repellent” was the most widely circulated comment about the piece. It was difficult enough being a Black Chippewa woman artist competing in a predominantly white art world, but now Edmonia Lewis had placed herself outside the standard, regardless of The Death of Cleopatra’s “naturalness and…gracefulness of the lines” as J.S. Ingram wrote. Even he could not help but say, “the classic standard has been departed from…” (74). William J. Clark, despite his praise of the piece’s originality, still stated, “Apart from all questions of taste, the striking qualities of the work are undeniable…” Edmonia Lewis’ The Death of Cleopatra was so counter to the norm that audiences were not sure how to receive it as an artistic piece. It seems, ultimately, because of Edmonia Lewis’ Blackness and her willingness to challenge the mass standard, The Death of Cleopatra was forgotten for more than a century. After its controversial debut, The Death of Cleopatra was stored in Chicago and then went missing, not being discovered by an art museum until more than a century later when it was sold by the Forest Park Historical Society. However, Cleopatra by William Westmore Story was bought by art collector and co-founder of The Metropolitan Museum of Art John Taylor Johnston not too long after the exposition. This is due in large part to racism, but one particular tool of racism used that continues to be used today is that of canons such as “neoclassicism.”

Worldwide trends such as neoclassicism define that which is “good art” and “strange art.” Lewis was caught in the middle. While being a sculptor in the 19th century meant automatic proximity to “neoclassicism,” she also had her own voice as one of the only Black Native American women sculptors in America. This is especially hard on Black artists. Had she been a white woman, might The Death of Cleopatra been praised as a cutting-edge piece? The outright invisibility of her work is a testament to the racist legacy not only of America, but of the American art world. Surprisingly, whether she knew it or not, Edmonia Lewis was on the cusp of a transition, as the centennial marked the decline of the neoclassical era. She was ahead of her time. She challenged the canon by creating sculptures that tell stories of human emotion and vulnerability with classical subjects rather than adhering to romanticization and “classic impassivity.” Thus, subjects in her art are distinct and innovative. Today, The Death of Cleopatra lives, professionally restored, in the Smithsonian American Art Museum. It’s a bittersweet victory nearly a century later, as the words and names: “modernism, classicism, postmodernism, etc.” still define “good art” from “bad art” in the public perception.

To read more, check out these books in the art library:

A History of African-American Artists : from 1792 to the Present / Romare Bearden & Harry Henderson [N6538.N5 B38 1993]

Edmonia Lewis : Wildfire in Marble / by Rinna Evelyn Wolfe [NB237.L487 W66 1998 ]

#blackness #blues #edmonialewis #african-american #romare bearden

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uartslibraries · 5 years

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