Nakeya Brown explores Black womanhood through hair

Mickalene Thomas's exhibition series, 'Beyond the Pleasure Principle,' is a four-part, multi-site presentation across Lévy Gorvy galleries in New York, London, Paris, and Hong Kong. This international exhibition features interconnected bodies of work, including paintings, illustrations, and video pieces, expanding on Thomas’s extensive study of the Black female body as a symbol of power, eroticism, agency, and inspiration. The timing and scale of this exhibition necessitated Thomas to work on multiple bodies of work simultaneously, tailored to the cultural audience and socio-political context of each city. The exhibition’s design is specifically adapted for each of its four locations. The series began in New York in early September, where Thomas unveiled her latest large-scale _Jet_ paintings. These works draw inspiration from vintage pin-ups found in _Jet_ magazine, a publication central to Black American life since 1952. Thomas recontextualizes these anonymous pin-ups through diverse material techniques, including silkscreen, oil, acrylic, and rhinestones, to celebrate their beauty, strength, and individuality. In these pieces, Thomas employs the formal language of 19th and 20th-century avant-garde movements to express freedom, fluidity, and experimentation. Furthermore, she integrates and highlights the political paradigm of Black liberation, positioning the works as a vanguard of American culture. The narrative continues in London, where the second part of the series delves deeper into the historical context of the source material. Seven new _Jet Blue_ paintings feature archival imagery from _Jet_ magazine, initiating a refreshed dialogue about beauty and identity in contrast to outdated cultural perceptions. These historical images carry significant personal weight for Thomas, as she typically works with subjects she knows intimately, and her adolescence in the 1970s profoundly influenced her artistic output. Additionally, this segment of the exhibition includes the debut of _Je T’aime Trois_ (2018), a film created in collaboration with her life partner and muse, Raquel Chevremont. Thomas’s artistic practice is dedicated to portraying Black beauty, femininity, and power in a manner that liberates these concepts from cultural oppression and marginalization. Her engagement with a touchstone of Black American culture like _Jet_ magazine underscores her commitment to making both historical and contemporary celebrations of Black identity, femininity, queerness, and transgressiveness more visible. The sequential presentation of the shows is critical for establishing a comprehensive narrative, allowing viewers to experience a cohesive journey. While the shows are distinct, each possessing unique aesthetic formalisms and references, collectively they form a thematically consistent thread concerning the Black female body, connecting the various cities and countries. The third and fourth chapters of the exhibition, opening concurrently in Paris and Hong Kong in October, offer audiences the opportunity to experience the full scope of Thomas’s vision both in person and virtually through installation videos, extending the artistic journey to a global audience. #MickaleneThomas #BeyondThePleasurePrinciple #BlackArt #FemaleArtists #ContemporaryArt #Exhibition #LévyGorvy #JetMagazine #BlackBeauty

Pharrell Williams returns to the Perrotin gallery in Paris to curate 'Femmes,' a group exhibition dedicated to exploring diverse interpretations of femininity, with a specific homage to Black women. This follows his 2014 show 'GIRL,' named after his album, which also took place at the same gallery. The new exhibition features artwork from 39 international artists, predominantly Black, representing various genders and generations, with many pieces being newly created for the show. The artists include pioneers like 98-year-old Betye Saar and 89-year-old Esther Mahlangu, as well as emerging talents such as Kenyan photographer Thandiwe Muriu and British-Ghanaian-Vincentian painter Emma Prempeh. Renowned artists like Mickalene Thomas and Prince Gyasi, who shares synesthesia with Williams, are also featured. Emmanuel Perrotin, the French contemporary gallerist, explained that the selection of artists involved extensive brainstorming with Williams's team. The artworks delve into themes such as the body, fashion, motherhood, activism, queerness, and spirituality, aiming to challenge historical stereotypes associated with femininity. Despite the complexities of securing all desired artists due to gallery politics, Perrotin highlighted the strength and diversity of the final group. Williams emphasized the exhibition's focus on Black artists, stating that it stemmed from a desire to amplify the voices and visibility of female artists, particularly Black women, whose experiences he believes involve a unique "gravity." The collaboration between Williams and Perrotin began in 2007 through a mutual friend, Sabina Belli. Perrotin recalled meeting Williams at a pool party in Miami, where they immediately connected over art and a shared interest in design. Their initial work together involved designing a chair, spurred by Perrotin's observation of Williams's sophisticated store designs for Billionaire Boys Club. Williams credited Perrotin with helping him recognize his own artistic worth, even as a musician, citing Perrotin's early belief in his future success with songs like 'Happy' and 'Get Lucky.' Perrotin praised Williams's curatorial approach, noting his open-mindedness and lack of pretension regarding artists' fame or recognition. This freedom from conventional art world pressures allowed for the inclusion of many artists previously unknown to Perrotin's team, thereby broadening the exhibition's scope and vision. Williams described his own journey into art appreciation as acquired, learning from figures like Perrotin, and expressed gratitude for the opportunity to engage with and present such talented works. He also reflected on how his role as creative director at Louis Vuitton menswear has profoundly influenced his creative process and overall perspective, viewing it as an "artist's residency." Williams currently considers France his creative headquarters, and Perrotin acknowledged that their long-standing friendship and collaborations have not only changed his view of art but also his perspective on life. The exhibition features a comprehensive list of artists including Nina Chanel Abney, Mequitta Ahuja, Kenia Almaraz Murillo, Malala Andrialavidrazana, Jess Atieno, Seyni Awa Camara, Gaëlle Choisne, Joana Choumali, Theresa Chromati, Kenturah Davis, Alex Gardner, Todd Gray, Prince Gyasi, Leslie Hewitt, Reggie Burrows Hodges, Lauren Kelley, Kapwani Kiwanga, Glenn Ligon, Naomi Lulendo, Esther Mahlangu, Georgina Maxim, Gabriel Moses, Zanele Muholi, Thandiwe Muriu, Zéh Palito, Emma Prempeh, Robert Pruitt, Otis Kwame Kye Quaicoe, Betye Saar, Cinga Samson, Tschabalala Self, Kathia St Hilaire, Tavares Strachan, Henry Taylor, Mickalene Thomas, Chiffon Thomas, Eden Tinto Collins, Carrie Mae Weems, and Kennedy Yanko. #PharrellWilliams #PerrotinGallery #FemmesExhibition #BlackWomen #ContemporaryArt #Femininity #ParisExhibition #ArtCurator #EmmanuelPerrotin

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

Toyin Ojih Odutola, a Nigerian-born, New York-based artist, is presenting her fourth solo show in four years at New York’s Jack Shainman Gallery, titled *Of Context and Without*. The exhibition, which opens on December 11th and runs until January 30th, delves into themes of race and identity through her distinctive figurative drawings. Ojih Odutola is known for her hypnotic works created with ballpoint pen ink and charcoal, which have garnered her recognition in various art surveys and solo exhibitions, including those at the Studio Museum in Harlem, Contemporary Art Museum St. Louis, and the Indianapolis Museum of Contemporary Art. Despite her success, Ojih Odutola felt that previous interpretations of her work sometimes missed the intended narrative, leading to what she describes as “quick reads.” She aims to challenge these preconceived notions, particularly the expectation that a black woman artist's work must conform to specific themes. Her intention with *Of Context and Without* is to “confuse people” and make them question their assumptions about identity and representation. The exhibition marks a deliberate shift in her artistic approach to address the complexities of blackness and societal perceptions. The show begins with a series of works executed in white charcoal on blackboard, a technique that introduces a sense of ambiguity and slipperiness. By using white as a demarcating tool instead of black, Ojih Odutola creates an environment where viewers struggle to delineate clear meanings, making the concept of context suspect and the content unreliable. An example includes a portrayal of a black runway model rendered in white charcoal, giving it an almost otherworldly appearance. Further unsettling the viewer are grayscale figures with shimmering, seemingly pupil-less eyes, which blur the lines between form and image, pushing the discussion of race and blackness beyond conventional representation. Ojih Odutola emphasizes that her work is not merely about depicting black individuals but about addressing the societal inability to properly address the image of blackness. This perspective was deeply influenced by a commentator on CNN who discussed the dehumanization of figures like Michael Brown, who were reduced to concepts rather than seen as individuals. For Ojih Odutola, “blackness is an obfuscating element that obstructs anything that’s behind,” preventing true recognition of the person. To counteract this, she developed a series called *The Treatment*, featuring drawings of famous white men with black faces, their identities obscured by simple pencil outlines for hair and clothes, transforming them into anonymous figures. This intentional evasiveness aims to prevent singular, superficial interpretations, highlighting the multifaceted nature of people and situations. The exhibition also includes self-portraits, such as *Subway Selfie (Or be Thankful to Exist)*, a white charcoal piece reflecting the contemporary impulse for self-documentation. Another significant self-portrait is a larger-than-life marker drawing of a nude Ojih Odutola, initially titled *What’s on offer* and later renamed *The Object is the Technique + The Technique is the Object*, inspired by a Francis Bacon quote. This title underscores her desire for the marks themselves to be the subject, inviting viewers into her creative process and revealing the intricate layers often hidden in the final product. Through these diverse works, Ojih Odutola seeks to challenge viewers' perceptions, encouraging a deeper engagement with the complexities of identity, race, and artistic representation. #ToyinOjihOdutola #ArtExhibition #JackShainmanGallery #FigurativeArt #RaceAndIdentity #ContemporaryArt #CharcoalDrawing #NewYorkArt

The article explores the exhibition 'In the Black Fantastic' at London's Hayward Gallery, curated by Wallpaper* contributing editor Ekow Eshun. The exhibition, which is part of a larger series of events at the Southbank Centre, is accompanied by a book of the same title. The show serves as an eclectic examination of Black past, present, and speculative futures, aiming to challenge Western accounts of history and offer alternative narratives. Eshun's curatorial approach emphasizes the concept of the 'Fantastic' as a means of excavating and uncovering reality, rather than escaping it. This perspective allows for the deconstruction of centuries of socially assigned personhood and the creation of new meaning from what remains. Many of the featured artworks emerge from this understanding, positioning Black life as a realm of possibilities rather than solely an interrogation of historical conditions tied to previous definitions of Blackness. The exhibition aims to present new propositions and possibilities of Black self-hood, space occupation, and imagination. The exhibition features a diverse range of artistic mediums, including film, painting, sculpture, and installation. Notably, a selection of films created specifically for art spaces is included. Eshun highlights that these films, unburdened by commercial demands, are able to expand the possibilities and 'spectacular strangeness' of Black existence by venturing into other realms. Artists are afforded a greater license to explore personal interests, drawing from conventional histories, folklore, myth, spiritual traditions, pageantry, and the legacies of Afrofuturism to forge what Eshun terms 'The Black Fantastic.' Among the artists showcased are Tabita Rezaire, whose work 'Ultra Wet – Recapitulation' (2017) is presented, and Hew Locke, whose installations are prominently featured. Other contributing artists include Nick Cave, known for his 'Soundsuit' responding to racial violence; Kara Walker, with her stop-motion animation film on the same theme; Chris Ofili; Sedrick Chisom; Ellen Gallagher; Rashaad Newsome; Cauleen Smith; and Lina Iris Viktor. The exhibition critically addresses the placidity of Western historical accounts concerning Blackness, arguing that the global system often leaves non-Western narratives unexplored. It encourages viewers to engage in internal investigations of how 'Western megalomania,' manifested through global homogenization, has obscured ancient discoveries, counter-histories, and future visions from cultures of the 'global south.' The article suggests that by conforming to Western narratives, individuals may become complicit in what is described as an 'attrition of the archive.' The exhibition ultimately calls for an openness to these alternative perspectives, which can challenge and enrich our understanding of history and identity. #BlackCulture #ArtExhibition #HaywardGallery #EkowEshun #BlackFantastic #Afrofuturism #ContemporaryArt #CulturalCritique #LondonExhibition

The article details a personal experience with TikTok's viral hair color analysis trend, where the author, Charlotte Bitmead, sought to find her optimal hair shade. The process, typically performed by hair experts, involves analyzing skin tone, eye color, and natural hair color to determine a person's ideal hair color season. This method categorizes individuals into one of twelve sub-categories across four main groups: Summer, Autumn, Winter, and Spring. Each season is defined by hue (cool or warm), value (light or dark), and chroma (soft/muted to bright/clear). The author, initially believing she was cool-toned due to her pale complexion, discovered through self-diagnosis and expert consultation that she was a 'Warm Spring.' This classification suggests that warm brown and golden-red shades are most flattering, while ashy colors, blonde, or black should be avoided. The expert, Susann Hohlfeld from Aveda Lifestyle Salon & Spa, confirmed this assessment, explaining that a copper tone would enhance the author's hazel eyes and add vitality to her pale skin, contrasting with how blonde or dark shades could wash her out. The hair transformation involved two stages. The first stage was a 20-minute application of a straightforward red dye, resulting in a vibrant red that the author likened to 90s Julia Roberts. The second stage involved applying various copper tones to create depth and dimension, preventing the color from appearing flat. This entire process took six hours. Upon completion, the author observed that the copper color visibly improved her complexion, making her skin appear less washed out and intensifying the green hue of her hazel eyes. She noted the multidimensional quality of the color, which changed appearance under different lighting. The experience led the author to conclude that relying on expert analysis and working with one's natural coloring is more effective than following celebrity trends when choosing a hair color. #TikTokTrend #HairCare #ColorAnalysis #BeautyTransformation #Aveda #HairDye #BeautyReview

Photographer Alex Black's debut monograph, *Scripted*, delves into the complex relationship between beauty photography and societal perceptions, utilizing the visual language of commercial advertising to create a "glossy gothic" aesthetic. Black, a renowned fashion and beauty photographer who has contributed to various magazines and worked with prominent brands like Maison Margiela, Diesel, Tom Ford, and Pat McGrath, leverages her deep understanding of advertising psychology to subvert conventional beauty standards. The book is presented as an opportunity for Black to explore the mechanics of photography and desire on her own terms, moving beyond the commercial imperatives of publications and brands. Black's artistic approach in *Scripted* is centered on deconstructing visual codes to understand what images communicate. She aims to create a duality within her work, juxtaposing high and low, minimalist and decadent, and familiar with foreign elements. This creates a space for critical reflection on how images influence our understanding of beauty. The book features high-gloss images that initially attract the viewer but then challenge them with unconventional subjects. Examples include extensively retouched faces that resemble plastic, a close-up of glossy yellow lips, and a perfectly groomed face with frizzy hair, appearing disembodied in a dark void. These images collectively present a distorted yet compelling vision of beauty. A significant element of *Scripted* is the inclusion of grids that display the same image with subtle yet impactful alterations. One such grid illustrates a red painted nail, showcasing familiar manicure shapes like square and taloned, alongside bizarre ones such as a diagonal line and saw-like spikes. This juxtaposition renders the act of nail painting as a peculiar ritual, highlighting the uncanniness of beauty practices. Another series of six images features an AI-generated face, impeccably perfect and adorned with retro makeup, reminiscent of Barbie dolls. However, its hair is styled into impossible, futuristic shapes, making it appear both old-fashioned and hyper-modern. This blend of eras and styles further emphasizes Black's theme of duality and subversion. Black explains that her project examines how identity functions as a "script" constructed piece by piece, with beauty playing a significant role in this narrative. She suggests that personal choices, such as hair dye, often tap into commercially propagated ideals rather than being purely individual expressions. *Scripted* aims to reflect this complex interplay. Black intentionally portrays the beauty process through objects and remnants that evoke a sense of harshness, even torture. This approach contrasts the inherent discomfort of beauty rituals, like waxing and hair cutting—described by Black as "quite a violent act"—with the softness and lushness typically promoted in advertising. The objective is to create a body of work that simultaneously holds both these contrasting truths. The book effectively captures this duality, exemplified by an image of a long nail adorned with various beauty detritus, such as a smear of cream and a piece of a fake eyelash. This stylized representation of rummaging through a beauty bag and getting messy serves to illustrate that the concepts of "beautiful" and "grotesque" can be synonymous. *Scripted* maintains the visual appeal of aspirational imagery while distorting it into new forms. The resulting effect is compared to a carnival mirror, reflecting a strange yet profoundly compelling image that invites viewers to reconsider their perceptions of beauty. The book, priced at €70, is available through alexblackstudio.com. #AlexBlack #Photography #BeautyStandards #FashionPhotography #CommercialAdvertising #VisualArt #ContemporaryArt #Monograph

In commemoration of Black History Month, TRNK founder Tariq Dixon launched “Resistance::Resilience,” the latest installment of the TRNK Editions art series. This collection of photographic and mixed-media works aims to provide a fresh perspective on the history of Black activism in the United States, specifically addressing the Black Lives Matter protests of summer 2020. Dixon, a Black retailer and head of a design studio, sought to leverage his platform to inspire change and contextualize these significant events. The exhibition features diverse artistic voices, including Amandla Baraka, Gregory Prescott, and Quan Brinson, offering varied interpretations of protest and its implications for the Black American experience. These works are available for purchase, framed and unframed, starting at $150, with 25 percent of sales throughout the year benefiting the Black Youth Project 100, an organization dedicated to Black youth activism. Dixon discussed the curatorial process and the exhibition's intentions, emphasizing a desire to redefine protest art beyond a singular focus on trauma and struggle. While including documentary-style photographs of Black Lives Matter protests, the collection also highlights humanity and power within these movements. Other works, while not directly addressing recent protests, are inherently political, as Black identity and existence continue to be seen as a political act. The selection criteria involved exploring artists' broader bodies of work, even if their initial connection to the project stemmed from their protest-related art. The goal was to encompass various ways to depict Black strength and resilience, from staged vignettes and models to graphic art used in protests or created for social media amplification. One notable graphic piece included is the “All Black Lives Matter” poster by Joanne Petit-Frère. The collaborative nature of the show was evident in the development of its narrative. Dixon's understanding of protest art expanded through conversations with contributors. For example, Myesha Evon Gardner's barbershop series, which she proposed, resonated with the show's theme of resilience. This series portrays barbershops as spaces of community and camaraderie for Black men, offering a moment to depoliticize their identity. The artists featured in the exhibition come from diverse backgrounds, including commercial photographers like Anthony Geathers (sports) and Amandla Baraka (fashion campaigns), alongside those with more traditional fine art practices like Felli Maynard. Despite their varied professional paths, a common thread among all participating artists is the personal and deeply meaningful nature of their work. For those beginning to collect art and photography, Dixon advises prioritizing works that evoke a strong personal connection, whether through their intellectual message or visual appeal. He suggests that the integration of art with home decor is a secondary consideration, as beloved pieces will naturally find a harmonious place within a space. From TRNK’s perspective as a design studio, curating such art is vital because these pieces are meant to be lived with. Certain images, Dixon notes, can offer comfort, reinforce feelings of strength and humanity, and serve as daily reminders of persistence—messages that are universally valuable. #BlackHistoryMonth #ProtestArt #TRNKEditions #BlackLivesMatter #ArtExhibition #DesignStudio #Activism #Photography #CulturalDialogue

The article focuses on the collaborative work between Berlin-based artist Noé Sendas and Wallpaper* magazine for their March issue cover story, 'The Lady Vanishes.' This project integrates Sendas's artistic approach with contemporary fashion, specifically highlighting spring/summer 2015's graphic designs. Noé Sendas is known for his 'un-collage' technique, where he manipulates found photographs by removing elements to introduce new meanings. His work draws inspiration from cinematic and literary sources, treating photographs as three-dimensional objects and exploring concepts of gravity, weight, and balance. Sendas emphasizes the creation of something 'beautifully strange and unexpected' through a combination of hard work, chance, trickery, desire, and intuition. His celebrated 'Crystal Girl' series exemplifies this by deconstructing Hollywood golden age film stills, transforming portraits into ambiguous, elegant still lifes by eliminating faces, limbs, and contextual details. The collaboration for 'The Lady Vanishes' was initiated by Wallpaper*'s creative director, Sarah Douglas, and involved fashion director Isabelle Kountoure. The goal of this project was to produce content that is both contemporary and timeless, with Kountoure expressing keen interest in how Sendas would adapt his methods to new materials, specifically fashion photography. Photographed by Jan Lehner, the 16-page spread presents the human body as both a theoretical and material entity. The imagery explores how a single image can evoke diverse interpretations from viewers. Crucially, in these photographs, the clothing itself becomes the object of focus, rather than the female form, shifting the emphasis from the wearer to the garment. Sendas posits that the artist's role is to 'deceive,' or to cast a 'glamour' that alters the spectator's perception, making objects appear different from their true nature. This perspective is applied to fashion, suggesting that fashion too can create an 'affectation' that transcends mere appearance. The 'The Lady Vanishes' series was also slated for exhibition at the Michael Hoppen Gallery during London Fashion Week, further bridging the gap between fine art and high fashion. The article explores how art can provoke rather than explicitly reveal, adding depth and meaning to otherwise ordinary objects or concepts. The collaboration showcases a unique blend of art, fashion, and photography, challenging traditional perceptions of identity and representation within visual media. #NoéSendas #ArtAndFashion #TheLadyVanishes #Photography #Surrealism #FashionEditorial #MichaelHoppenGallery #LondonFashionWeek #ContemporaryArt

Kindred Black, a retail project focused on environmental sustainability, has launched a new line of skincare products called Slow Beauty. This collection aims to redefine sustainable skincare by emphasizing both the ingredients and the packaging. Founders Alice Wells and Jennifer Francis identified a gap in the market where natural and organic beauty products often came in excessive plastic packaging. Their initiative addresses this by offering an aesthetically pleasing and eco-conscious alternative. The core of the Slow Beauty line lies in its unique packaging: hand-blown glass vessels crafted by master artisans across the United States. This approach transforms beauty packaging into a form of art, moving away from conventional mass-produced containers. Wells and Francis ensure that the glassblowers are not subjected to factory-like conditions, allowing them significant creative freedom. Each production run is a limited edition, reflecting the painstaking manual labor involved and preserving the handmade quality of the products. The company often rotates products into different bottle designs to cater to collectors and manage demand without compromising the artisanal integrity. In addition to the distinctive packaging, Kindred Black's Slow Beauty formulations are meticulously crafted using clean, responsibly sourced, and all-natural ingredients. These ingredients are procured from small family-run farms and growers worldwide, highlighting a commitment to ethical sourcing and a return to traditional, nature-derived treatments. The founders are particularly interested in historical cosmetic practices, drawing inspiration from what people once harvested directly from the earth for beauty and therapeutic purposes. They believe that many contemporary problems stem from a disconnection from the land, advocating for a more mindful and slower way of living. The sourcing process for ingredients is rigorous and thoughtful. For example, the lavender used in their products comes from a female-owned farm in France that collaborates with a school for troubled youth. Their hinoki oil is sourced from a Japanese craftsman who distills oil from leftover wood originally intended for traditional cypress tubs. Argan and prickly pear oils are obtained from a women-owned and operated collective in Morocco. The brand even uses lilac and jasmine perfumes made by a woman who practices the ancient art of enfleurage, growing the flowers herself. The founders' research into cosmetic history has unveiled numerous surprising and sometimes unusual beauty practices from millennia past, such as wine infused with drowned lizards for aphrodisiacs or ox hair for thicker eyebrows. While they acknowledge these peculiar historical methods, they also note that many foundational ingredients from ancient times, like rosewater, olive oil, and neroli, remain effective and are still used in modern skincare today. Among Kindred Black’s offerings, the multipurpose Unicorn Oil and the Hypocrites shimmer powder, made from crushed mica, are highlighted as favorites. The brand also produces multi-purpose soap bars, handmade by Navajo farmers in Arizona using their own grown ingredients, further cementing their commitment to community and sustainable practices. Overall, Kindred Black's Slow Beauty line represents a comprehensive approach to sustainable skincare, integrating artistic packaging, ethically sourced natural ingredients, and a philosophy rooted in historical wisdom and mindful living. The brand emphasizes craftsmanship, community support, and environmental responsibility, offering products that are not only effective but also embody a deeper connection to nature and traditional artistry. #SustainableSkincare #EcoFriendlyPackaging #HandblownGlass #NaturalIngredients #EthicalSourcing #ArtisanalBeauty #CleanBeauty #SlowBeauty #KindredBlack

Peggy and David Matthews, celebrating their 30th wedding anniversary, undertook a significant interior design renovation of their Southside Place home, which they built 20 years ago. The initial design of the house catered to their young children, but with their five children now ranging from 16 to 28, and several back home due to the coronavirus pandemic, the family's needs and lifestyle have evolved. Peggy Matthews, who owns Rapid Record Retrieval, a legal support company, expressed a desire to upgrade, redo, and refresh their living space, driven by her love for change. The redesign project was spearheaded by Marie Flanigan Interiors, with Marie Flanigan and design director Melanie Hamel leading the effort. A key aspect of the renovation involved transforming a multi-purpose front room, which had served as a playroom and teenage hangout, into Peggy's personal retreat. This room now features deep blue lacquered walls and built-in bookshelves, a sofa reupholstered in white fabric, a bold geometric rug with chartreuse accents, and a dark blue tufted ottoman. This space allows Peggy to relax privately, though it remains appealing to other family members as well. Peggy's passion for fashion significantly influenced the design choices, prompting the designers to incorporate sophisticated yet functional fabrics inspired by runway trends, including Hermes and Jean Paul Gaultier fabrics. The home's existing art collection, notably Andy Warhol's "Cowboys and Indians" lithographs, served as a primary source of color inspiration. The rich ochers and cobalts present in Warhol's pieces, such as "Mother and Child" in the front room, "Geronimo" in the family room, and "Kachina Dolls" in the hallway, guided the selection of the home's new color palette. Flanigan and Hamel aimed to create a vibrant interior that matched Peggy's dynamic lifestyle, moving away from an all-white aesthetic. The dining room, frequently used for family gatherings, was reimagined with customized de Gournay "Willow" wallpaper featuring delicate branches and a Lindsey Adelman "Branching Bubble" chandelier. Vintage side chairs, discovered on firstdibs.com with garish green frames and old upholstery, were meticulously restored with a gold-bronze finish and reupholstered to complement the wallpaper. The family room was designed with two distinct seating areas to accommodate both large group television watching and intimate conversations, and even includes a designated "dance floor" for entertaining. Minor updates were also made to the kitchen, including replacing traditional island legs with edgier stainless steel ones to match the existing stainless steel counters and range hood. New barstools, combining wood frames with varied fabric on the backs and seats, added warmth. A geometric patterned backsplash was installed after a range replacement, contributing to the updated decor. The breakfast area received new furniture, including a round table that can expand to an oval for larger gatherings. Furthermore, part of the backyard patio was enclosed with large glass panels to create an indoor-outdoor sunroom, offering a climate-controlled space that can be fully opened to the outdoors. This sunroom is furnished with a mix of blue and white patterns in performance fabrics, including a bold Martyn Lawrence Bullard Perennials print on a large ottoman, a striped chair, a solid sofa, and a chevron rug, ensuring durability and a cohesive aesthetic that extends the home's style into the outdoor living area. #InteriorDesign #HomeRenovation #FashionInspiredDecor #LuxuryInteriors #ArtCollection #CustomWallpaper #ModernTraditional #IndoorOutdoorLiving #FamilyHome

Finnish designer Hanna Anonen introduces her new Bouclé Collection, a series of modular wall hangers that reinterprets the tactile qualities of bouclé fabric using solid walnut and painted wood. This collection blends functional design with wall art, aiming to serve as both a practical coat rack and a decorative element in various settings. Anonen's intention was to create an object that encourages interaction with living spaces, suitable for entryways, hallways, public areas, and bedrooms. The Bouclé Collection is characterized by its lattice structure crafted from rich walnut, which is intersected by painted circular "knots." These circular elements are a clever design choice, referencing the texture and rhythmic pattern found in traditional bouclé textiles. The circular knots also serve as functional hanging points, forming a distinct polka-dot like pattern that is visually graphic yet harmonious. The design allows for scalability in size and layout, making the pieces adaptable to different spatial requirements and design aesthetics. Each piece in the collection is available in four sizes, providing versatility for integration into diverse interiors. The use of wood to mimic a fabric texture is a central theme, transforming the soft, looped appearance of bouclé into a hard, sculptural form. This design approach highlights the designer's ability to translate material properties across different mediums, offering a unique take on familiar textures in a new context. Hanna Anonen debuted the Bouclé Collection at Launch Pad by WantedDesign earlier this year. This presentation was supported by several organizations, including the Finnish Cultural Foundation, the Finnish Cultural Institute in New York, and the New York State Council on the Arts (NYSCA). These supports underscore the cultural and artistic significance of Anonen's work within the design community. The collection is not merely functional but also carries an artistic dimension, as emphasized by Anonen. It invites viewers to appreciate the subtle design cues and the reimagination of a textile texture in timber. The visual impact of the pieces, with their precise forms and material contrasts, makes them stand out as both utility items and contemporary art installations. The Bouclé Collection offers a sophisticated and playful addition to modern interiors, demonstrating how material reinterpretation can create innovative and engaging design solutions. #HannaAnonen #BoucléCollection #WallHooks #FinnishDesign #ModularDesign #WoodFurniture #TextileInspired #InteriorDesign #HomeDecor

The National Portrait Gallery is currently hosting a spring exhibition titled ‘The Time is Always Now: Artists Reframe the Black Figure’. Curated by Ekow Eshun, the exhibition brings together works from 22 African diasporic artists primarily working in the UK and US, aiming to explore the representation of the Black figure in contemporary portraiture. The artworks featured in the exhibition were all created from 2000 onwards, reflecting a significant shift in artistic practice where Black artists are increasingly depicting the Black figure, a departure from historical portrayals often dominated by European or Western artists. The exhibition is structured into several thematic sections. The initial part delves into identity and representation through the theoretical framework of W.E.B. Du Bois’ 1903 concept of Double Consciousness. This theory examines the internal conflict experienced by marginalized groups, specifically the sensation of viewing oneself through the eyes of others while simultaneously maintaining an individual self-perception. Artists in this section explore the interplay between their self-identity and how they are perceived by society, offering nuanced perspectives on the Black experience. Another significant aspect of the exhibition addresses the historical absence of the Black figure in traditional art archives. Many artists engage with this void by creating new narratives and representations that challenge established historical accounts and fill in the missing visual histories. This engagement often involves recontextualizing historical art forms or creating entirely new iconographies to establish a more inclusive and accurate visual record. The exhibition also features works that focus on depicting Black gatherings, celebrating community, solidarity, and shared experiences within the Black diaspora. Eshun emphasizes the diverse approaches artists take in depicting the Black figure. He notes that there isn't a singular, definitive way to represent this subject, and the exhibition showcases a wide array of styles and aesthetics. Examples include Claudette Johnson's use of vast proportions, Nathaniel Mary Quinn's abstract and fragmented portraits, and Kimathi Donkor's adaptation of historical painting techniques to construct new narratives. This variety underscores the complexity and richness of Black identity and artistic expression. A central theme highlighted by Eshun is the shift in perspective invited by the artworks. He explains that these artists encourage viewers to move beyond merely 'looking at' the Black figure, which has been the historical mode of Western art, to 'looking with or through the eyes' of the artists or their subjects. This transition fosters a more empathetic and subjective engagement, moving away from an external, often objectifying gaze, towards an internal, relational understanding. This internal relationship, seen from the perspective of the artists and their subjects, allows for a deeper appreciation of individual experiences and cultural narratives. The exhibition is a critical examination of how contemporary Black artists are redefining the visual language surrounding the Black figure. It celebrates their agency in shaping their own representation, challenging historical omissions, and offering multifaceted portrayals of identity, community, and lived experiences. The featured works collectively contribute to a broader and more inclusive art historical discourse, promoting understanding and dialogue about the complexities of representation and identity. #EkowEshun #NationalPortraitGallery #BlackFigure #Portraiture #AfricanDiasporicArtists #DoubleConsciousness #ContemporaryArt #ArtExhibition #CulturalRepresentation