2023

Nov 27, 2023 By Admin in Native

When:
Wednesday, November 29, 2023
12:00 PM – 8:00 PM CT

Where:
Block Museum of Art, Mary and Leigh, 40 Arts Circle Drive, Evanston, IL 60208 Evanston map it

Audience:
Faculty/Staff – Student – Public – Post Docs/Docs – Graduate Students

Cost: Free and Open to All

Contact:
Lindsay Bosch

Group:
Block Museum Exhibitions

Category:
Fine Arts

Description:

Rosalie Favell (b. 1958) is a photo-based Métis artist from Canada whose work is inspired by her Indigenous heritage.”Rosalie Favell: Indigenous Artists Facing the Camera” presents over 115 black and white portraits that speak loudly of the broad diversity of Indigenous people engaged in the arts and cultural community. The exhibition draws from the artist’s monumental archive “Facing the Camera,” consisting of more than 500 photographs taken between 2008 and 2018 in North America and Australia, as well as a selection of new portraits showcasing the vibrant and thriving community of Indigenous artists based in and near Chicago. Favell’s work is a living visual history and a critical intervention in expanding the visibility of contemporary Indigenous artists and arts professionals.

Rosalie Favell: Indigenous Artists Facing the Camera is curated by Corinne Granof, Academic Curator, and Felipe Gutierrez, 2022–23 Interdisciplinary Graduate Fellow, at The Block Museum of Art. Major support for the exhibition is provided by the National Endowment for the Arts. The exhibition is also generously supported by the David C. and Sarajean Ruttenberg Arts Foundation, the Alumnae of Northwestern University, and the Illinois Arts Council Agency.

Format Architecture Infuses Café Mars With Bright, Bold Visual Flavor

Nov 27, 2023 By Admin in Design

Bucking the idiom “too many cooks in the kitchen,” Café Mars represents the richness achieved when architecture marinates in collaborative effort across distinct disciplines. The founders and co-chefs, Jorge Olarte and Paul D’Avino, enlisted New York-based Format Architecture to help them deliver an experience in service to their culinary narrative, Italian-American heritage, and the Gowanus neighborhood – with a dash of Format’s signature geometry. Working closely together, the eatery’s design is made as bright as its featured flavors.

“We had many conversations with the chefs in the early stages of the project about food and memory, and the multi-sensory experience that is integral to a great meal,” the firm explains. “Through these conversations, inspiration pulled from food was less direct, but mindfulness to how a visitor would smell, touch, taste, and hear in the space, let alone what they see, was very important to materiality and adjacencies throughout the project.”

A memorable experience begins with the pasta die door handle sourced from D. Malardi & Sons, a local, third-generation and family-run macaroni die manufacturer. The detail serves to add charm to the new space while paying homage to the building’s history as a pasta factory and Italian grocery. The restaurant’s significance is also tied to the neighborhood by its location across from the first residence of D’Avino’s great-grandfather – an emigrant from Campania, Italy in 1901.

“At the beginning of the project, the chefs came to us with a large scrapbook of inspiration imagery from a broad array of disparate sources: Amalfi Coast umbrellas, neon signage from old Italian restaurants, film stills from Pee Wee’s Playhouse and Beetlejuice, Hobbit-holes, stained glass booth dividers in Chicago and New York dive bars,” the firm adds. “As we were finalizing the color palette for elements in the space, and researching fabrics and upholstery that would be appropriate for the seating and booths, the chefs came to us and said, ‘think Sesame Street,’ and very specifically referred to each hue derived from the main characters.”

Asymmetrical yet balanced – and punchy – guests are pulled into a bright white front dining room that creates a long line of continuation through the length of the corner space. Flanking the left are six booths with custom Format yellow and white bench seatings illuminated by Andrew Neyer’s globe pendants. The original brick wall is made a backdrop at every table through colorfully backlit viewing portals punched out from an oblong yellow panel.

Opposite is the central bar followed by the adjacent open kitchen space, both separated by white oak paneled archways. The L-shaped, light gray counter area corresponds to a variety of curves and ribbed details from across the room while the dual tiered dining surface ensures a sense of privacy and comfort. Beyond is the cobalt blue bar outlined by LED lights. Studio Apotroes’ custom Phobos Dining Chairs, with hot pink zig-zag legs, and Grand Rapids Reece Chairs with white detailing are placed around the bar with a staccato rhythm.

A visual rollercoaster continues as patrons venture to the Blue Dining Room at the restaurant’s rear and are greeted with a shift in materiality – generous fenestration, exposed brick, and white hexagon floor tiles. The upholstered cobalt blue banquette seating to the left is another Format-designed original and balanced by more Grand Rapids chairs, this time detailed in blue. MushLume pendants made of mycelium with hot pink wire accents hang above bespoke Todd Higuchi tables with curvy edges adding to unrelenting cheerfulness.

But architects weren’t the only creative forces brought in to realize this project. Artist Massimo Mongiardo was tasked to create a fresh visual identity, which included an original typeface, hand-painted pasta illustrations to adorn the entire restaurant, and neon signage. “Ultimately, the chefs had close ties with many local artisans and friends that they wanted to bring into the project directly, so this framework was really helpful for them to make sure everything felt cohesive and complementary,” the firm continues. “The earnest playfulness of this is indicative of the whimsy and joy that underscored the entire design collaboration with the chefs, and ultimately is embedded in the character of the space throughout.”

Photography by Nick Glimenakis.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

With professional degrees in architecture and journalism, Joseph has a desire to make living beautifully accessible. His work seeks to enrich the lives of others with visual communication and storytelling through design. A regular contributor to titles under the SANDOW Design Group, including Luxe and Metropolis, Joseph serves the Design Milk team as their Managing Editor. When not practicing, he teaches visual communication, theory, and design. The New York-based writer has also contributed to exhibitions hosted by the AIA New York’s Center for Architecture and Architectural Digest, and recently published essays and collage illustrations with Proseterity, a literary publication.

Inside the visionary world of William Blake

Nov 27, 2023 By Admin in Printmaking

The Getty presents major William Blake exhibition

Drama Erupts Over Abrupt Firing of Veteran White House Photographer

Nov 27, 2023 By Admin in Photography

Veteran White House photographer Jonathan Ernst was fired from his nearly 20-year role as a freelance and staff photographer at Reuters over what the publication is calling “gross neglect of duty.”

The event that led to his dismissal took place on the evening of October 19, Politico reports, when Ernst got into what is described as a heated disagreement with White House press aides. The veteran photographer allegedly displayed “inappropriate behavior” after he was asked to leave the Oval Office ahead of president Joe Biden’s prime-time national address.

It is not clear why he was initially asked to leave, but as the only photographer on duty that day, he pushed back on the request to leave because not only did he already set up his equipment, the request was apparently unusual. The group of television camera operators were not being asked to leave and while he could theoretically have operated his camera remotely, he expressed concern over the safety of his equipment given how packed the room was.

By the description of events, Ernst appears to have left the room but during that time got into a loud, heated verbal altercation with multiple White House aides. He was, eventually, let back into the room.

It was thought that the situation was resolved, and Ernst even brought the aides homemade cookies the following day as a sort of peace offering. However, Reuters editors reportedly reached out to the White House to ask about details of his behavior. Following a multi-week investigation in conjunction with the White House, Reuters elected to dismiss Ernst. The publication did not share the full findings of the report with Ernst or the Reuters Union.

Tim McLaughlin, the Reuters Guild chair, wrote a letter to the CEO of Reuters demanding that they rescind Ernst’s termination. In it, McLaughlin says Ernst did not threaten anyone or use inappropriate language. If true, it’s not clear what it is he did that was grounds for termination as it is not unusual for members of the White House press corps to push back given the high-stress nature of the job.

Ernst apparently has a bit of a reputation for having a short fuse when it comes to his anger and there is little doubt he may have overreacted.

“On most days I would give my right arm to be in the middle of the day’s biggest news or sports story,” Ernst has said of himself, adding credence to the belief that he would have become agitated if anyone were to have gotten in the way of his job.

However, given the secrecy of the investigation, some other members of the press corps tell Politico that Ernst had made enemies of some of the higher-ups at Reuters who were already looking at ways to “get rid of him.”

Image credits: Header photo licensed via Depositphotos.

WFU in the news: Nov. 20-26, 2023

Nov 27, 2023 By Admin in Art World News

Afraid of overspending on holiday gifts? Set a budget.
By Daniel de Visé | USA Today
“Don’t just set a number,” said marketing professor and retail expert Roger Beahm. “I suggest building a budget from the bottom up, by listing the people you expect to buy gifts for and estimating how much you expect to spend on those people.” Once you have a budget, move those funds into a separate account, so you “know what you’re working with.” – 11/25/2023

‘Dupes’ clothing, perfume craze lures holiday shoppers as major brands fret
By Katherine Masters | Reuters
Experts say the current excitement over dupes traces back to the start of fast fashion. Inditex-owned Zara, which opened its first store in 1975, made a business of replicating luxury designs. Its shorter production cycles allowed more styles to enter the market quickly, sparking “the habit of shopping more frequently,” said Ian Taplin, a sociology and international studies professor at Wake Forest. – 11/20/2023

Some protection against infidelity? How about perspective-taking
By Christian Miller | Forbes
“Cheating in monogamous relationships is prevalent these days. Depending on how ‘infidelity’ is defined, studies have found the percentage of adults reporting some form of infidelity to range from 20% to as high as 70%. And things do not show any signs of getting better,” writes philosophy professor Christian Miller. “Fortunately new research suggests a way to help fight against temptations to cheat: adopting the perspective of one’s significant other.” – 11/22/2023

Kennedy photos 60 years after assassination
Mirage News
On November 22, 1963, President John F. Kennedy was shot and killed as he rode in his motorcade in downtown Dallas, Texas. In 2003, forty years after the assassination, art professor David Lubin published the book “Shooting Kennedy,” where he explores iconic images of Kennedy and his family and how these photographs shined a light on the American cultural landscape of the time. For the 60th anniversary of the shooting of President Kennedy, Lubin answers questions on the power of the images of the First Family then and now. – 11/21/2023

Prediction markets can tell the future. Why is the US so afraid of them?
By Oliver Roeder | Financial Times
According to a paper by Koleman Strumpf, “Betting in the run-up to elections was a cherished ritual. A widely held value was that one should be prepared to ‘back one’s beliefs’ either with money or more creative dares.” These included the loser literally eating crow, or pushing the winner around in a wheelbarrow. – 11/10/2023

Enviva, the world’s largest biomass energy company, is near collapse
By Justin Catanoso | Mongabay
“This year has been a financial disaster for Enviva, the world’s largest producer of wood pellets for the biomass energy industry. With more than $250 million in losses to date and worsening results expected in the fourth quarter, the once high-flying company’s viability, by its own admission, is in grave doubt,” writes journalism professor Justin Catanoso, a regular contributor to Mongabay. – 11/21/2023

NY AG’s plastic bottle suit called both innovative, overreach
By Sarah Jarvis | Law360
Law professor Sarah Morath is quoted extensively in this news article about the NY AG lawsuit against Pepsi-Co. for plastic pollution. – 11/17/2023

Why was a human skull on sale at a Florida thrift shop?
By Sarah Kuta | Smithsonian Magazine
“There is actually very little federal law regarding the dead,” writes law professor Tanya Marsh who specializes in laws involving human remains. “Instead, the vast majority of law respecting the dead is state law, which varies significantly.” – 11/21/2023

Pollution is displacing Black midwesterners. White homeowners are profiting.
By Adam Mahoney | In These Times
This story was originally published by Capital B and is the fourth installment of a yearlong Capital B series on the country’s current Black migration, the most significant movement of Black people in the United States in 50 years. It was made possible, in part, by a grant from the Environmental and Epistemic Justice Initiative at Wake Forest University. – 11/24/2023

Politics gears up for momentous 2024
By Paul B. Johnson | High Point Enterprise
Republican presidential nominees have carried North Carolina since Obama’s triumph 15 years ago, though the races have been competitive. Politics professor John Dinan said “North Carolina has clearly joined the ranks of states that are competitive in presidential elections. It is now one of about six to eight states that will attract significant advertising from presidential candidates in both parties.” – 11/25/2023

Naughty or nice? Triad shoppers expected to spend more, give less this season.
By Richard Craver | Greensboro News & Record
Local consumers may be shopping “more cautiously” this year, predicted marketing professor Roger Beahm. “First, inflation has reduced what shoppers can get for the dollars they are spending. This, in turn, prompts them to be more cautious in various ways: what they buy, where they buy, when they buy and even how they pay.” – 11/20/2023

Wake Forest students feed the community through Turkeypalooza
By Zyneria Byrd | Spectrum News Charlotte
The smell of stuffing and sweet potatoes filled the air inside the Campus Kitchen of Wake Forest University as they cooked more than 600 meals. “For the menu this week, we’ll have turkey, mashed potatoes, stuffing, cranberry sauce and then vegetables as a side,” said Raahim Khan, student coordinator of Campus Kitchen. This was the 17th annual Turkeypalooza event. – 11/22/2023

WFU names Brandon Gilliland senior VP for finance & administration
By Cheryl V. Walker | Wake Forest News
Wake Forest University has named Brandon Gilliland senior vice president for finance and administration, effective January 1. Gilliland returns to Wake Forest after serving for the past six years as vice president and chief financial officer at the University of Miami. He previously served at Wake Forest from 2007 to 2017, rising to the position of vice president for finance. – 11/20/2023

This announcement was also shared in the Winston-Salem Journal.

How these TWU art students are leaving their mark: A mural and a tribute

Nov 27, 2023 By Admin in Art World News

“Oh wow, that looks amazing!”

A driver offers praise to the Texas Woman’s University mural painting students, stopping to look at the northern side of the now-empty Marketing and Communications building on Oakland.

A dozen TWU students stand, squat and stretch to dab paint onto the stucco wall. The man behind the wheel grins at TWU staffers who have gathered in the parking lot, across Third Street. The art students started to transform the stained, blank 70-by-17-foot wall on Oct. 7.

TWU visual arts and design students working on a mural painting at the Denton campus.

The emerging mural is a riot of color and metaphor — Oakley the owl, Minerva the Pioneer Woman, the Little Chapel in-the-Woods and a collection of symbols, color and motion.

Giovanni Valderas, the professor who leads the mural class, said the class conducted the project like a formal public art proposal. Four teams submitted requests for proposals, mural designs and budgets. A panel selected the winning design. The whole class has been painting it.

“I think the best thing about it has been that they have really worked together, and they’ve gotten to know each other,” Valderas said. “And they’ve learned some really important things through this. They’ve learned that when you’re an artist, you can’t always be too precious about your work.”

Diane Cox, a sophomore studio art major who is back at TWU for a second time after serving as a U.S. military nurse in Afghanistan, designed the winning mural.

“It wasn’t too good in those first efforts,” she said. “The process was really good, though. Gio was very direct. If something wasn’t working, he said so, and helped us understand why.”

WHAT IS – AND WHO ARE – IN THE NEW TWU MURAL

Texas Woman’s University mural painting students are transforming the north wall of the now-empty Marketing & Communications building into a work of art. The painting pays tribute to the university’s icons, Denton landmarks and diversity. Here’s who and what is on the mural:

Minerva – The face of the famous Pioneer Woman, her inscrutable gaze peering across Pioneer Circle and the land west of Denton, looms large on the left side of the mural. Students made her face more lifelike.

Oakley the Owl – TWU’s mascot, also known as Minerva’s owl, soars above all else on the mural. Oakley references the student body, the school’s legacy and school spirit. He clutches oak leaves as he surveys the mural below.

The downtown Courthouse-on-the-Square – TWU is a little further than a stone’s throw from the historic downtown Square, but the famous courthouse gets its due near Minerva.

The historic fountain at TWU – The famous fountain that sits near Hubbard Hall and the Blagg-Huey Library. A favorite spot for gatherings, studying and graduation photos, the fountain is on the right side of the mural.

The TWU Little Chapel-in-the-Woods – The panel that gave the mural design a greenlight wanted the mural to be interactive, so the design team put the Little Chapel in the center of the mural, and at a size that is perfect for people to shoot a selfie in front of. The chapel is one of Denton’s most important structures. It was designed by Denton’s most famous architect, O’Neil Ford. TWU professor and modernist painter Toni LaSelle directed the art in the chapel, including the stained glass windows.

Monarch butterfly & Hummingbird – These creatures honor the butterfly garden on campus that attracts the Monarch and Ruby-throated hummingbirds to campus.

Heart rhythm pattern – A heart rhythm reached from end to end on the mural, referencing TWU’s award-winning nursing program and the emotional connections that education inspires.

Diversity – The mural references the different cultural backgrounds of the student body with a kente cloth to acknowledge both African and African-Americans who have attended and earned degrees. A milagro, a traditional Mexican religious charm or altar ornament, references the growing Hispanic student population. There is also a pride rainbow to honor LGBTQ students, graduates, faculty and staff. The Monarch butterfly does double-duty on the mural, also honoring the culture of Mexican and Mexican-American students, faculty and staff at the university.

Books – You’ll see a number of open books with TWU-maroon binding that turn into birds. The books pay tribute to education, democracy and the freedom of students — and Americans — to read authors and books of their choice.

Rheyna Antoine, a senior studio art major in the class, said she found the process challenging, but found the project satisfying.

“Usually when you’re doing painting and drawing, you’re working on your own, so it’s been really good, really interesting to do a project like this where you work with other people, and you come up with an idea as a team,” she said.

The painters said they know that the mural might be provocative to some people — especially the Pride rainbow, the African kente cloth and the Mexican milagro that frame the top of the Little Chapel in-the-Woods. The books in the mural communicate that TWU supports the freedom of inquiry and reference the artists’ objection to book bans in American public and school libraries.

“We understand that some people might get offended,” Antoine said. “There is a lot going on right now, with certain states, like Florida, making laws about how history can be taught, and teaching that slavery benefited the slaves. We’ve talked about it.”

Senior Felicity Sanders said the class talked about what university leaders wanted, as well — a mural that seconds the recent ”Dream Big” campaign, which aims to raise $125 million for the university’s 125th anniversary. But the campaign is also a celebration of the diversity at TWU.

TWU visual arts and design students working on a mural painting at the Denton campus. Leo Gonzalez/Texas Woman’s University — TWU visual arts and design students working on a mural painting at the Denton campus.

“We wanted to do something that recognizes all of the different cultures and identities on campus,” Sanders said. “TWU is a place for everyone.”

Senior Flor Bejar and Sanders said the mural has taught the class about the reality of creating a mural, which often means changing techniques and designs after the project gets started.

“You just don’t know what’s going to happen until you start,” Bejar said.

The class had to clean the wall, then prime it. Valderas said the stucco wall soaked up several coats of primer, and the artists are having to press the paint onto the wall.

Colby Parsons, the interim dean of the TWU Department of Visual Arts, said the mural marks an important moment for art students.

“I’m impressed with what they’ve been able to accomplish together,” he said. “I’ve been here for 27 years. I don’t know if this mural is a first, other than the brick murals. But I haven’t seen a project like this here.”

Valderas said he has listened as students give voice to what they hope will be enduring inspiration for students and for the people who live in the nearby neighborhood.

“I know that, sometimes, I’ll be driving to campus and I’ll be so tired,” Cox said. “Sometimes, I find myself saying, ‘Can I keep doing this?’ But I get here and it’s like, yes, I can do this.

“I like to think that other students like me will see this and know that, no matter where they come from or what they’re going through, they can get through school. That they can look at this mural and see themselves in it and know that. You know? That they look at this, see themselves and know that someone else did it.”

Love Hultén’s Mean Green Music Machine: ATOM-IC

Nov 27, 2023 By Admin in Design

Swedish audio-visual synthesizer maestro Love Hultén is back at it again, this time designing and assembling a “beast” of a synth titled the ATOM-IC. The custom instrument combines a Syntrx2, LXR-02, and Fusion Delay from Erica Synths with a Moog Theremini, Arturia Keystep, T-Rex Replicator, and Befaco Spring reverb into an integrated mean green machine embellished with all the tactile and visual bells and whistles the Gothenburg designer and woodworker has become renown for.

The 1-of-1 made-to-order creation designed for an unnamed client exhibits Love Hultén’s woodworking cabinetry skills in full (if you’re curious, Hultén’s commissioned client roster includes musicians A$AP Rocky, Eminem, and Danger Mouse to name a few).

A subtle bit of the wood’s grain is visible seeping through the Hulk green stain washed across the angled keyboard + synth contraption, similar to the designer’s past cityscape-skyline-as-synth, the Doodlestation.

Close up of LED matrix display inset into wood cabinet synthesizer showing relationship between signal, control inputs and sources.

The synth design is further enhanced by the designer’s keen eye for interpreting the graphical user interface into a tactile experience tempting experimentation.

Alongside the ATOM-IC’s extensive layout of dial, switch and button controls, the inclusion of an oscilloscope and LED matrix both add a visual element, representing the aural output into “dancing” green oscillations of lines with a light show of blinking colorful LEDs into the designer’s signature retro-futuristic sci-fi vibe.

Watch the ATOM-IC in action below:

[embedded content]

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Culture Type Gift Guide 2023: Celebrate the Holidays with 50 Great Finds Inspired by Leading African American Artists

Nov 27, 2023 By Admin in Native

THE GRAPHIC QUILT DESIGNS of Gee’s Bend artists inspired a new line of upholstered furniture available exclusively from the Philadelphia Museum of Art. The Studio Museum in Harlem recently added new items to its Barkley L. Hendricks Collection. Interior designer Sheila Bridges continues to expand the line of products featuring her clever Harlem Toile de Jouy print.

From stationery and home goods to clothing and accessories, African American artists have inspired a bounty of new products, great finds for anyone happy to have more art in their life. The selections reflect an array of new and recent museum exhibitions dedicated to Black artists such as Hendricks, Dawoud Bey, Faith Ringgold, Spike Lee, Whitfield Lovell, Wangechi Mutu, Gary Simmons, Henry Taylor, Grace Wales Bonner, and Benjamin Wigfall. The products also highlight treasured artworks by Jacob Lawrence, Horace Pippin, and Romare Bearden, among others, represented in the permanent collections of major museums.

Purchases made from museum stores benefit the institutions and sales of the growing collection of design objects available from the Kehinde Wiley Shop benefit the artist’s Black Rock Senegal artist-in-residence program in Accra. Culture Type’s 2023 holiday guide highlights 50 artist-inspired gifts:

STATIONERY

The postcard set features a selection of portraits, including: Brenda P, George Jules Taylor, Slick, Misc. Tyrone (Tyrone Smith), APB’s (Afro-Parisian Brothers), Sisters (Susan and Toni), Blood (Donald Formey), Victory at 23, Sir Charles, Alias Willie Harris, and Lawdy Mama

Barkley L. Hendricks Collection Postcard Set. | Studio Museum in Harlem’s Studio Store, $20.00

From the Studio Museum in Harlem’s Barkley L. Hendricks Collection, the postcard set is a real treasure featuring 10 fascinating 1960s and 70s-era portraits by Barkley L. Hendricks (1945-2017) in postcard format. Each postcard measures 5.8 x 8.3 inches.

The boxed set features two artworks: From left, BENJAMIN WIGFALL (American, 1930-2017), Detail of “Chimneys,” 1951 (oil on canvas). | Virginia Museum of Fine Arts, General Endowment Fund. © Benjamin Wigfall; BENJAMIN WIGFALL (American, 1930-2017), Untitled (Christmas card design), 1958 (opaque watercolor on wove paper, 5 1/8 × 7 3/16 inches). | Virginia Museum of Fine Arts, Gift of the artist, 2007.27

Benjamin Wigfall Boxed Notecards | Virginia Museum of Fine Arts, VMFA Shop, $19.99

The boxed notecards explore the work of Richmond, Va., native Benjamin Wigfall (1930-2017), as featured in the exhibition “Benjamin Wigfall and Communications Village” (June 17-Sept. 10, 2023), recently on view at the Virginia Museum of the Fine Arts in Richmond. Blank inside, each notecard is 5 1/4 x 4 inches. The box includes 12 cards (six each of two designs) and 13 envelopes.

The Kwanzaa cards feature one design, a screen print and woodcut artwork by Chakaia Booker. | © Chakaia Booker

Chakaia Booker: Boxed Kwanzaa Cards. | Metropolitan Museum of Art, The Met Store, $16

A celebration of African American culture, Kwanzaa is observed Dec. 26, 2023-Jan. 1, 2024, this year. Designed by artist Chakaia Booker, who is known for her tire sculptures and printmaking, the boxed set includes 8 cards and 8 envelopes (5 x 7 inches). The greeting inside reads: “Remember & Rejoice Happy Kwanzaa.”

The card designs are based on ROMARE BEARDEN (1911-1988), “The Block,” 1971 (cut and pasted printed, colored and metallic papers, photostats, graphite, ink marker, gouache, watercolor, and ink on Masonite, 48 inches × 18 feet / 121.9 × 548.6 cm; Individual panel: 48 × 36 inches / 121.9 × 91.4 cm). | Gift of Mr. and Mrs. Samuel Shore, 1978; Accession Number: 1978.61.1-.6. Art © Romare Bearden Foundation/Licensed by VAGA, New York, N.Y.

Romare Bearden: The Block Boxed Notecards. | Metropolitan Museum of Art, The Met Store, $15

From the collection of the Metropolitan Museum of Art in New York, “The Block” (1971) by Romare Bearden (1911-1988) is a monumental depiction of Harlem’s unique streetscape. Bearden grew up in Harlem and would later establish a studio in the neighborhood. The collage painting is composed of seven panels and the cards feature detailed images from the work. The box includes 20 cards (2 each of 10 designs) with 21 envelopes, measuring 4 x 5 1/4 inches. (The cards are blank inside.)

The journal features, GARY SIMMONS, “Everforward…,” 1993 (lLeather, metallic gold thread, satin, and laces; Edition of 20, dimensions variable, approximately 26 × 16 × 5 inches / 66 × 40.6 × 12.7 cm) Overall. | Collection of the Walker Art Center, Minneapolis, Minn. Anonymous gift, 2001, 2001.156.1–.2. © Gary Simmons

Gary Simmons Journal: Everforward. | Pérez Art Museum Miami’s PAMM Shop, $32.95

The journal is produced on the occasion of “Gary Simmons: Public Enemy” (Dec. 5, 2023-April 28, 2024), the first comprehensive survey of the artist. The hardcover velvet laminate journal features an image of the sculpture “Everforward” by Gary Simmons on the cover, includes 100 blank pages, and measures 6 x 8 1/4 inches.

Cover features KEHINDE WILEY, Detail of “Sir Brooke Boothby,” 2013 (oil on canvas, 108 x 68 inches). | © Kehinde Wiley; Inside: KEHINDE WILEY, “Three Boys,” 2013 (oil on canvas, 92 x 92 inches). | © Kehinde Wiley

Kehinde Wiley Coloring Book. | Kehinde Wiley Shop, $15

Featuring portraits from Kehinde Wiley‘s The World Stage: Jamaica (2013) series, the 32-page coloring book includes 15 ready-to-color works. The suggested age is 12, but adults may also appreciate the opportunity to color masterworks by Wiley. Net proceeds benefit Wiley’s Black Rock Senegal artist-in-residence program in Accra.

The pocket pad cover features JACOB LAWRENCE (1917–2000), “Pool Parlor,” 1942 (watercolor and gouache on paper, 31 1/8 × 22 7/8 inches / 79.1 × 58.1 cm). | Arthur Hoppock Hearn Fund, 1942. Accession Number: 42.167. © 2023 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence: Pool Parlor Pocket Pad. | Metropolitan Museum of Art, The Met Store, $8 (3 for $20)

“Pool Parlor” (1942), became the first artwork by Jacob Lawrence (1917–2000) to enter the collection of the Metropolitan Museum of Art in 1942, the same year the artist made the painting. The softcover, pocket notebook has 60 lines pages and measures 4 x 6 inches.

CLOTHING & ACCESSORIES

The Crooklyn t-shirt is part of the CROOKLYN CAPSULE collection by Spike Lee and designer Tré Seals.

Crooklyn Museum Eyes T-Shirt. | Brooklyn Museum Shop, $45

Legendary filmmaker Spike Lee grew up in Brooklyn, N.Y., and is an unrivaled promoter of the borough in his life and work. “Spike Lee: Creative Sources,” an incredible exhibition at the Brooklyn Museum through Feb. 4, 2024, is paying homage to his many collections and expansive portfolio of work across platforms. The t-shirt is a collaboration between Lee and designer Tré Seals, who is known for his typeface creations. Commemorating the exhibition, the t-shirt’s logo replaces the Brooklyn Museum name with the moniker Lee gave Brooklyn and used for the title of one of his most beloved films, “Crooklyn” (1994). The back of the t-shirt features a Crooklyn eyes circle graphic.

The long-sleeve tee is one of several items produced by the museum on the occasion of the “Going Dark” exhibition.

Going Dark Long-Sleeve Tee. | Solomon R. Guggenheim Museum, Guggenheim Store, $45

The t-shirt is produced on the occasion of the group show “Going Dark: The Contemporary Figure at the Edge of Visibility.” Featuring many prominent artists, including Charles White, David Hammons, Faith Ringgold, Sandra Mujinga, John Edmonds, and Lorna Simpson, the exhibition is curated by Ashley James at the Solomon R. Guggenheim Museum. Designed with dark type on a black ground, the 100 percent cotton t-shirt embraces the theme of the exhibition, which is on view through April 7, 2024.

Zip pouch features FAITH RINGGOLD, “The Sunflowers Quilting Bee at Arles: The French Collection, Part I, #4,” 1991 (acrylic on canvas, printed and tie-dyed pieced fabric, and ink, 74 x 80 inches / 188 x 203.2 cm). | Collection Oprah Winfrey. © Faith Ringgold / ARS, NY and DACS, London, Courtesy ACA Galleries, New York 2022

Faith Ringgold: The Sunflower Quilting Bee at Arles Zip Pouch. | Museum of Contemporary Art, Chicago, $25

Celebrating “Faith Ringgold: American People,” an expansive survey exhibition on view at the Museum of Contemporary Art, Chicago, through Feb. 25, 2024, the pouch features “The Sunflowers Quilting Bee at Arles: The French Collection Part I #4” (1991) by Faith Ringgold. Part of the artist’s French Collection series, the painted quilt pays homage to eight pioneering women: Madam C. J. Walker, Sojourner Truth, Ida Wells, Fannie Lou Hamer, Harriet Tubman, Rosa Parks, Mary McLeod Bethune, and Ella Baker. The pouch is 100 percent cotton canvas and measures 9.5 x 9 inches. The pouch is available in two additional designs.

Bag features JEAN MICHEL-BASQUIAT (1960-1988), Untitled (Head), 1982. | The Mini Ova Bag is part of the Jean-Michel Basquiat: King Pleasure x Black Fashion Fair: Those Who Dress Better Collection © Estate of Jean-Michel Basquiat 

Homage Year: Jean Michel Basquiat Edition Mini Ova Bag. | Brooklyn Museum Shop, $275

Homage Year was established in 2014 by young designer Antoine Manning, who hails from the Bronx, N.Y., and is currently based in Atlanta. According to the brand, “Manning has fueled the ethos of Homage Year primarily through the lens of their Ova Manifestation Bags.” Featuring Jean-Michel Basquiat‘s iconic skull motif, the 100 percent vegan leather Mini Ova bag measures 6.5 x 7 x 3 inches, with details including a 11 1/2-26 inch strap drop.

The tote features HORACE PIPPIN, “Supper Time,” circa 1940 (oil on burnt-wood panel, 12 x 15 1/8 inches / 30.5 x 38.4 cm); On reverse: HORACE PIPPIN, “Giving Thanks,” 1942 (oil on canvas, later mounted to composition board, 11 x 14 3/8 inches / 27.9 x 36.5 cm)

Horace Pippin Tote. | The Barnes Foundation, The Barnes Shop, $35

Considered one of the greatest collections of impressionist, post-impressionist, and early modern European paintings in the world, the Barnes Collection in Philadelphia, Pa., feature works by Cézanne, Matisse, Modigliani, Picasso, and Renoir, among others. The holdings also include four important paintings by African American artist Horace Pippin. Two of them—“Supper Time” (circa 1940) and “Giving Thanks” (1942)—are featured on a reversible tote. Made of canvas, the tote measures 15 x 13.5 inches.

Tote bag features, HENRY TAYLOR, “Fatty,” 2006 (acrylic and plastic tape on canvas 65 × 54 inches / 165.1 × 137.2 cm). | © Henry Taylor, Collection of R. Blumenthal

Henry Taylor: B Side Tote – Fatty. | Whitney Museum of American Art’s Whitney Shop, $36 each

The tote was produced in partnership with Brooklyn Press on the occasion of the retrospective “Henry Taylor: B Side” at the Whitney Museum of American Art in New York (through Jan. 28, 2024). Two different tote bags are available, featuring graphic images of Henry Taylor‘s paintings, either “Fatty” (2006), which is shown, or “Cora (cornbread)” (2008), a tribute to the artist’s mother. Each tote bag is 100 percent cotton and measures 17 x 14 x 7 inches.

From left, the front and back of the t-shirt is shown. The t-shirt is based on DERRICK ADAMS, “Be the Table,” 2023 (acrylic on wood panel, in artist’s frame, 61 x 61 x 2 1/2 inches / 154.9 x 154.9 x 6.4 cm). | © Derrick Adams Studio. Photo by Jeff McLane

Derrick Adams x Union: “Come As You Are” Show Tee. | Gagosian Shop, $55

The t-shirt was produced to commemorate “Derrick Adams: Come as You Are” (Sept. 14-Oct. 28, 2023) at Gagosian Beverly Hills, the artist’s first solo show with the mega gallery, since joining its roster in March. A collaboration between Derrick Adams and Los Angeles-based Union, the 100 percent cotton shirt is pigment dyed and enzyme washed. The shirt is also available in gray.

Basquiat Crown Socks. | © Estate of Jean-Michel Basquiat Licensed by Artestar, New York

Jean-Michel Basquiat Crown Icon Socks. | Museum of Contemporary Art Chicago’s MCA Store, $22

There is no mistaking the iconic symbolism of Jean-Michel Basquiat (1960-1988). The artist’s signature gold crown is featured on the calf-length crew socks with the name “Basquiat” appearing around the ankle. From the brand Rome Pays Off, the cotton socks have ribbing at the top with blue color blocking at the toe, heel, and top highlighting the design (one size fits most adults).

The socks feature HORACE PIPPIN, “Giving Thanks,” 1942 (oil on canvas, later mounted to composition board, 11 x 14 3/8 inches / 27.9 x 36.5 cm)

Horace Pippin: Giving Thanks Socks. | Barnes Foundation, The Barnes Shop, $25

From the collection of the Barnes Foundation in Philadelphia, “Giving Thanks” (1942) by Horace Pippin depicts a family gathered around the dinner table bowing their heads in prayer. The domestic scene features several colorful, patterned textiles, including clothing, a blanket, tablecloth, and rugs that make a bold statement pictured on knitted socks. A blend of 80 percent cotton/nylon and 20 percent spandex/lycra, the socks are one size fits most adults.

The Sheila Bridges Harlem Toile Silk Robe was designed with Gingerlily, a London company that specializes in luxury bedding and other products made with Mulberry silk.

Sheila Bridges: Harlem Toile Silk Robe. | Fine Linens, $425

Working in collaboration with Gingerlily, critically recognized interior designer Sheila Bridges has introduced her Harlem Toile de Jouy design to the luxury and comfort of a 100 percent Mulberry silk robe with a self-tie belt and trim at the collar, patch pockets, and sleeves. The robe is available in lilac, blue, and ivory.

The umbrella is inspired by KEHINDE WILEY, “Lunch with Inettia, Lucemy and Soukenya,” 2022 (oil on paper, 57 x 80.5 inches). | © Kehinde Wiley; and KEHINDE WILEY, “Three Wise Men Greeting Entry Into Lagos,” 2008 (oil on canvas, 72 x 95 1/4 inches / 182.88 x 241.935 cm.). | Pennsylvania Academy of the Fine Arts, Frances and Joseph Nash Field Fund, Accession Number: 2009.20. © Kehinde Wiley

Kehinde Wiley: Green Leaf Umbrella. | Kehinde Wiley Shop, $75

The striking design of the umbrella is inspired by two different works by Kehinde Wiley. The leafy green background is drawn from Wiley’s “Lunch with Inettia, Lucemy and Soukenya” (2022) and the clenched fists reference “Three Wise Men Greeting Entry Into Lagos” (2008). Made with 100 percent polyester, the umbrella has a 48-inch arc canopy and hardwood handle. Net proceeds benefit Wiley’s Black Rock Senegal artist-in-residence program in Accra.

From left, the front and back of the t-shirt is shown. The t-shirt commemorates the exhibition “Artist’s Choice: Grace Wales Bonner–Spirit Movers,” which presents works by a variety of artists, including Terry Adkins, Betye Saar, and David Hammons.

Grace Wales Bonner: Spirit Movers Cotton T-Shirt. | Museum of Modern Art’s MoMA Design Store, $160

The t-shirt was produced to accompany “Artist’s Choice: Grace Wales Bonner–Spirit Movers,” which is on view at the Museum of Modern Art (MoMA). Curated by British designer Grace Wales Bonner, the exhibition explores “Black cultural and aesthetic practices inspired by the African diaspora” through works drawn from MoMA’s collection. “Spirit Movers,” is printed on the front of the shirt and “Dream in the Rhythm,” appears on the back. Also on the back, the designers initials (“GWB”) are embroidered in blue just below the collar. The crewneck shirt is 100 percent organic cotton.

ARTIST SCARVES

The scarf features JACOB LAWRENCE (1917-2000), Detail of “Toussaint at Ennery,” 1989 (color screenprint on wove paper, Image: 47.3 x 73.5 cm / 18 5/8 x 28 15/16 inches; Sheet: 55.9 x 81.6 cm / 22 x 32 1/8 inches). | National Gallery of Art, Gift of Alexander M. and Judith W. Laughlin. Accession Number: 1993.30.2

Jacob Lawrence: Toussaint at Ennery Scarf. | National Gallery of Art Shop, $60

Jacob Lawrence‘s “Toussaint at Ennery” is part of the The Life of Toussaint L’Ouverture, the artist’s first narrative body of work (1936-38), which was produced as a series of prints half a century later with master printer Lou Stovall (1937-2023). The 1989 work is in the collection of the National Gallery of art and the scarf, featuring a detail of the image, was designed for the “Afro-Atlantic Histories” exhibition. Made of 100 percent polyester, the scarf measures 33 × 40 inches.

The scarf is based on DAWOUD BEY (American, born 1953), Untitled (James River), 2022 (gelatin silver print, 44 x 55 inches). | © Dawoud Bey

Dawoud Bey Silk Scarf. | Virginia Museum of Fine Arts, VMFA Shop, $75

This scarf is produced on the occasion of “Dawoud Bey: Elegy,” which is on view at the Virginia Museum of Fine Arts in Richmond, through Feb. 25, 2024. Inspired by the work of Chicago photographer Dawoud Bey, the oblong scarf is a lightweight, translucent, 100 percent silk and measures 18 x 72 inches.

The scarf is inspired by LUCY T. PETTWAY (1921-2004), “Housetop and Bricklayer with Bars quilt,” circa 1955 (Top and back: cotton and acetate, 91 3/8 × 80 1/8 inches / 232.1 × 203.5 cm). | Gift of Souls Grown Deep Foundation from the William S. Arnett Collection, 2014. Accession Number: 2014.548.52. © Estate of Lucy T. Pettway

Gee’s Bend Pettway Quilt Silk Scarf. | Studio Museum in Harlem’s Studio Store, $95

The scarf recreates “Housetop and Bricklayer with Bars quilt” (circa 1955), a storied design by Gee’s Bend quilt artist Lucy T. Pettway 1921–2004). She fashioned the pattern based on an imagined aerial view of the old Pettway plantation that previously belonged to Joseph Gee. Measuring 50 x 38 inches, the scarf is 85 percent modal and 15 percent silk.

The scarf is based on ROMARE BEARDEN (1911-1988), “The Block,” 1971 (cut and pasted printed, colored and metallic papers, photostats, graphite, ink marker, gouache, watercolor, and ink on Masonite, 48 inches × 18 feet / 121.9 × 548.6 cm; Individual panel: 48 × 36 inches / 121.9 × 91.4 cm). | Gift of Mr. and Mrs. Samuel Shore, 1978; Accession Number: 1978.61.1-.6. Art © Romare Bearden Foundation/Licensed by VAGA, New York, N.Y.

Romare Bearden: The Block Silk Scarf. | Studio Museum in Harlem’s Studio Store, $95

Romare Bearden (1911-1988) grew up in Harlem and in 1940 established a studio on 125th Street. From the collection of the Metropolitan Museum of Art in New York, “The Block” (1971) is Bearden’s monumental depiction of the neighborhood’s vibrant life and built environment, from the barber shop to the corner store. Six of the seven panels that compose the collage work are pictured on the 100 percent silk-twill oblong scarf, which has a hand-rolled hem and measures 72 × 22 inches.

The scarf features a detail from MARIA MAGDALEN CAMPOS-PONS, “She Always Knew of the Space in Between,” 2019 (composition of five panels: gouache, watercolor, graphite, acrylic ink, peacock feather on paper, 63 × 32 inches / 160 × 81.3 cm) each. | Courtesy the artist and Gallery Wendi Norris, San Francisco. © María Magdalena Campos-Pons. Photo: Courtesy of Gallery Wendi Norris

Maria Magdalen Campos-Pons: She Always Knew the Space In Between Scarf. | Brooklyn Museum Shop, $115

The scarf is inspired by “Maria Magdalen Campos-Pons: Behold,” a multimedia survey of the artist that spans four decades and is currently on view at the Brooklyn Museum, through Jan. 14, 2024. The scarf image is adapted from one panel of “She Always Knew of the Space In Between” (2019), a mixed-media painting by Maria Magdalen Campos-Pons.

The scarf is based on WANGECHI MUTU, “Fallen Heads,” 2010 (ink, paint, collage, contact paper, and plastic pearls on Mylar, 104 × 53 3/4 inches / 264.2 × 136.5 cm). | Collection of Paul and Linda Gotskind. Courtesy the artist and Vielmetter Los Angeles. © Wangechi Mutu

Wangechi Mutu: Fallen Heads Scarf. | New Museum Store, $160

In the spring, the New Museum in New York presented “Wangechi Mutu: Intertwined,” a survey of the artist’s 25-year career featuring more than 100 works, including “Fallen Heads.” Wangechi Mutu‘s mixed-media painting also graced the cover of the exhibition catalog and inspired a large scarf. Digitally printed the 100 percent silk, the scarf measures 25.6 x 47.25 inches (65 x 120 cm).

The wrap features a detail of LORNA SIMPSON, “Ultra Violet 1,” 2015 (collage on ink and paper, 14.6 x 18.5 inches). | © Lorna Simpson, Courtesy the artist and Hauser & Wirth

Lorna Simpson Wrap, Ultra Violet 1. | Hauser & Wirth Shop, $300

Among the many threads of Lorna Simpson‘s practice, she is best known for her collage portraits, inventive works based on images of women sourced from Jet and Ebony magazines, circa 1950s, 60s, and 70s. Simpson has produced several scarves and wraps featuring the portraits, including a large cashmere blend wrap based on “Ultra Violet 1” (2015). Made in Italy, the wrap is 90 percent modal and 10 percent cashmere, and measures 51.2 x 70.9 inches (130 x 180 cm ).

The scarf is based on LUBAINA HIMID, CBE RA, “Man in a Shirt Drawer,” 2017-18 (acrylic paint, wooden drawer and brass handles 468 × 390 × 202 mm). | Collection of the Tate. Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain, 2019). © Lubaina Himid, Courtesy the artist and Hollybush Gardens, London

Wales Bonner x Lubaina Himid “Man in a Shirt Drawer” Scarf. | Wales Bonner, $346

“Man in a Shirt Drawer” (2017-18), an iconic portrait by British painter Lubaina Himid, inspired the scarf. Himid won the Turner Prize in 2017. A collaboration between the artist and British luxury label Wales Bonner, the scarf is 100 percent silk, and measures 68 x 68 cm (about 26.5 inches square). Made in Italy.

Based on KEHINDE WILEY, Portrait of Llewellyn Doris, 2019, (oil on canvas, 238.8 x 185.4 cm / 94 x 73 inches) | © Kehinde Wiley

Kehinde Wiley Portrait of Llewellyn Doris Silk Scarf. | Kehinde Wiley Shop, $350

The scarf is inspired by a series of oval portraits by Kehinde Wiley in which his subjects don armor. Made of 100 percent silk charmeuse with a hand rolled hem, the scarf is printed on both sides and measures 36 x 36 inches (91 x 91 cm). Net proceeds benefit Wiley’s Black Rock Senegal artist-in-residence program in Accra.

GAMES & PUZZLES

The Nina Chanel Abney puzzle is inspired by Picasso’s “Girl before a Mirror,” a 1932 painting from MoMA’s collection.

Nina Chanel Abney Puzzle. | Museum of Modern Art’s MoMA Design Store, $28

The Museum of Modern Art (MoMA) commissioned the puzzle by New York artist Nina Chanel Abney. The layered image depicts the reflection of a figure gazing into a mirror against a bold yellow background punctuated with a grid of purple dots. Abney’s work offers a fresh take on “Girl before a Mirror” (1932), a Pablo Picasso painting in MoMA’s collection. The 1,000-piece puzzle measures 30 x 20 inches when it is assembled.

The puzzle is based on BENJAMIN WIGFALL, 1958 (opaque watercolor on wove paper, Sheet: 5 1/8 × 7 3/16 inches / 13.02 × 18.26 cm); Mount: 5 1/2 × 7 3/4 inches / 13.97 × 19.69 cm); Mat: 16 × 20 inches / 40.64 × 50.8 cm). | Virginia Museum of Fine Arts, Gift of the artist, Object Number: 2007.27. © Benjamin Wigfall

Benjamin Wigfall Untitled (Christmas Card Design) Puzzle. | Virginia Museum of Fine Arts, VMFA Shop, $15

The 500-piece puzzle features “Untitled (Christmas card design)” (1958) by Benjamin Wigfall (1930-2017), from the collection of the Virginia Museum of Fine Arts. Produced on the occasion of the Richmond, Va., native’s recent survey exhibition, “Benjamin Wigfall and Communications Village” (June 17-Sept. 10, 2023) at VMFA, the finished puzzle meausres 19.25 x 26.25 inches. Suggested age is 13+.

The basketball design is based on the background of KEHINDE WILEY, “John Wilmot, 2nd Earl of Rochester,” 2013 (oil on canvas, 270 x 209 cm / 106 3/8 x 82 3/8 inches). | © Kehinde Wiley

Kehinde Wiley Earl of Rochester Basketball and Plinth. | Kehinde Wiley Shop, $275

The design of the open edition leather basketball is inspired by the blue-leaf background of “John Wilmot, 2nd Earl of Rochester” (2013), a portrait featured in Kehinde Wiley‘s The World Stage: Jamaica series. A monogrammed cotton dust bag and plinth with artist’s laser-cut signature is included with the basketball. (Ships deflated.) Net proceeds benefit Wiley’s Black Rock Senegal artist-in-residence program in Accra.

The Basquiat Lifeblood Basketball is produced by round21 in collaboration with the artist’s estate. | © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

Jean-Michel Basquiat: Lifeblood Basketball. | Museum of Modern Art’s MoMA Design Store, $135

Inspired by the art of Jean-Michel Basquiat (1960-1988), the basketball features the artist’s signature and details from four of his works: “Beat Bop 1” (1983), which is in MoMA’s collection; “A Panel of Experts” (1982); “Made in Japan 1” (1982); and “Untitled” (Skull) (1983), The basketball is a collaboration between Basquiat’s estate and round21, a platform that works with artists and athletes on special edition, sports-related products. Made of composite leather, the basketball is size 7 (29.5 inches circumference) and arrives fully inflated in a limited-edition display box.

Jean-Michel Basquiat Crown Playing Cards. | Museum of Contemporary Art Chicago’s MCA Store, $18

Far from a standard deck of playing cards, this set is a tribute to the iconic and imaginative work of Jean-Michel Basquiat (1960-1988). Each card and the box feature paintings, drawings, and sketches by the artist. The poker size (63 x 88 mm) deck is designed by Theory 11.

Shantell Martin is the sixth artist to participate in the UNO Artiste Series, along with Nina Chanel Abney, Takashi Murakami, Shepart Fairey, and Jean-Michel Basquiat.

Shantell Martin x UNO Artiste Series Deck. | Mattel Creations, $25

Shantell Martin collaborated with Mattel Creations on its UNO Artiste Series. Known for her whimsical line marks, Martin created all new drawings for popular card game: “Often referred to as a language of lines, Martin’s whimsical drawings and messages are both thought-provoking and memorable. The iconic artworks shown on the card feature her cast of unique characters and bold typography…”

The puzzle is based on ALMA THOMAS, “Springtime in Washington,” 1971 (acrylic on canvas, 48 x 48 inches / 121.9 x 121.9 cm).

Alma Thomas: Springtime Circular Jigsaw Puzzle. | Studio Museum in Harlem’s Studio Store, $22

Alma Thomas (1891-1978) was inspired by nature and the organic designs of flower beds. She often imagined aerial views of floral landscapes in her paintings. Her concentric circle compositions, including “Springtime in Washington” (1971), which inspired the 500-piece puzzle, are among her most celebrated works. New from Pomegranate, the circular puzzle is 22 inches in diameter.

WALL CALENDARS

Cover art: LEZLEY SAAR, “Nella Larsen…Passing,” 2003 (acrylic on velour fabric, embellishment on lace fabric, curtain rod, 90 x 55 inches). | Published by Pomegranate

Legacy: The Art of Betye, Lezley, and Alison Saar 2024 Wall Calendar. | Amazon, $15.99

For Betye Saar, 97, and her daughters Alison Saar and Lezley Saar, art is a family affair. The Los Angeles artists have distinct practices, but often explore similar themes, including identity, history, and spirituality. The calendar features four works by each artist dating from 2014 to 2023, with the exception of a sketchbook Betye made circa 1968-70. Lezley’s painting “Nella Larsen…Passing” (2003) graces the cover.

Ernie Barnes 2024 Wall Calendar

Ernie Barnes is celebrated for his heartfelt representations of Black life in the South, the experiences of African American women, the magic of music, and the triumphs and challenges of athletes across a range of sports, including football, which he played professionally before focusing on his career as an artist. “The Sugar Shack,” his most famous painting, and a variety of other images by the artist are presented in the calendar, including “Porch Ladies,” “Lift Every Voice,” and “The Bassist,” with “The Tunesmith” gracing the cover.

Cover art: WHITFIELD LOVELL, “Kin X (My Pretty),” 2008. © Whitfield Lovell, Courtesy DC Moore Gallery | Published by Pomegranate

Whitfield Lovell 2024 Wall Calendar. | Amazon, $15.99

Inspired by photographs of anonymous African Americans dating from emancipation to the civil rights era, Whitfield Lovell‘s installations and mixed-media works explore identity, history, and heritage. The calendar focuses on the artist’s Kin series, Conté crayon drawings produced between 2008 and 2011 that pair portraits with vintage objects rich with meaning and metaphor, suggesting the personal histories of the subjects.

Cover art: MOE BROOKER (1940-2022), “Present Futures,” 2006 (mixed media and encaustic on wood panel, 48 × 48 inches / 121.9 × 121.9 cm). | © Moe Brooker. Purchased with funds contributed by Marion Boulton Stroud. Accession Number: 2006-149-1

African American Artists 2024 Wall Calendar. | Philadelphia Museum of Art Store, $26

Featuring works from the collection of the Philadelphia Museum of Art, the calendar celebrates African American art throughout the year. Beauford Delaney, Moe Brooker, Aaron Douglas, William H. Johnson, Jacob Lawrence, Odili Donald Odita, Horace Pippin, Henry O. Tanner, Alma Thomas, and Dox Thrash, are among the artists represented. The calendar is spiral bound.

Cover art: CHARLES WHITE, “Mother Courage II,” 1974 (oil on canvas, 49 3/4 × 39 7/8 inches). © The Charles White Archives, National Academy of Design, New York, N.Y. | Published by Pomegranate

African American Art 2024 Wall Calendar. | Amazon, $15.99

A selection of works by some of the most important African American artists active in the 20th century is featured in the calendar. Works by Emma Amos, Edward Mitchell Bannister, Romare Bearden, Eldzier Cortor, Allan Rohan Crite, Lois Mailou Jones, Jacob Lawrence, Archibald Motley Jr., Faith Ringgold, Alma Woodsey Thomas, Laura Wheeler Waring, and Charles White are included, drawn from a variety of institutions including the National Academy of Design, Saint Louis Art Museum, Nasher Museum of Art at Duke University, and Smithsonian American Art Museum in Washington, D.C.

Cover art: JACOB LAWRENCE, “General Toussaint L’Ouverture,” 1986. © The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York, Courtesy DC Moore Gallery | Published by Pomegranate

Jacob Lawrence 2024 Wall Calendar. | Amazon, $15.99

The Life of Toussaint L’Ouverture was the first narrative series Jacob Lawrence (1917-2000) produced. Painted on 41 panels from 1936-38, the series documented the dramatic arc of L’Ouverture’s life, from being born enslaved to becoming a general and key leader of the Haitian Revolution. Half a century later, Lawrence returned to the project, recreating the series in a suite of 15 silkscreen prints made between 1986 and 1997 in collaboration with Lou Stovall of Workshop Inc., in Washington, D.C. The images included in the calendar are drawn from the print series with the first work “General Toussaint L’Ouverture” (1986), a portrait of the legendary figure in profile, gracing the cover.

KITCHEN & HOME

A new collaboration, Williams Sonoma x Sheila Bridges Harlem Toile introduces an extensive line of products, including a set of cotton cocktail napkins

Sheila Bridges: Harlem Toile Cotton Cocktail Napkins. | Williams Sonoma, $19.95

The set of cotton cocktail napkins from Williams Sonoma x Sheila Bridges Harlem Toile, features a different design on each of the four napkins, a “scene of contemporary life that playfully satirizes both old and new cultural narratives.” The napkins are part of a new collaboration with renowned interior designer Sheila Bridges that features her Harlem Toile de Jouy design on an extensive line of home, kitchen, and bar products. The napkins are 10 inches square and made with 100 percent cotton.

A new collaboration, Williams Sonoma x Sheila Bridges Harlem Toile introduces an extensive line of products, including a double-wall ice bucket

Sheila Bridges: Harlem Toile Ice Bucket. | Williams Sonoma, $129.95

From celebrated interior designer Sheila Bridges, a new collaboration features her Harlem Toile de Jouy design on an extensive line of home, kitchen, and bar products. Williams Sonoma x Sheila Bridges Harlem Toile includes a double-wall ice bucket made of enameled and lacquered stainless steel, trimmed with polished brass. The bucket is 6 1/2 inches in diameter and 8 inches high, with a three-quart capacity. (Each ice bucket is unique, due to variations in hand craftsmanship.)

The tea towel features, WANGECHI MUTU, “Intertwined,” 2002 (watercolor with collage on paper, Image: 16 1/8 × 12 1/8 inches 40.96 × 30.8 cm). | Gift of Mary and Bob Mersky, Minneapolis Institute of Art, 2021.115.6. © Wangechi Mutu

Wangechi Mutu: Intertwined Tea Towel. | Third Drawer Down, $27

“Wangechi Mutu: Intertwined,” presenting more than 100 works across Wangechi Mutu‘s 25-year career, was on view at the New Museum in New York in the spring. The exhibition’s title work, a watercolor collage called “Intertwined,” is featured on the cotton tea towel. The project was designed and produced exclusively by Third Drawer Down in partnership with the New Museum in New York.

The mug is based on FAITH RINGGOLD, “Black Light Series #12: Party Time,” 1969 (oil on canvas, 59 3/4 x 85 1/2 inches / 152 x 217 cm). | © 2019 Faith Ringgold / Artists Rights Society (ARS), New York, Courtesy ACA Galleries, New York. Photo by Ron Amstutz

Faith Ringgold: Party Time Mug. | Museum of Contemporary Art Chicago’s MCA Store, $17.95

Produced on the occasion of “Faith Ringgold: American People,” the expansive survey exhibition previously presented at the de Young Museum in San Francisco and currently on view at the Museum of Contemporary Art, Chicago, the ceramic mug features “Black Light Series #12: Party Time” (1969), a painting by Faith Ringgold. The mug holds 15 ounces and measures 4.5 x 3.5 inches.

The trinket box features FAITH RINGGOLD, “Black Light Series #7: Ego Painting,” 1969 (oil on canvas, 76 × 76 cm / 30 × 30 inches). | Art Institute of Chicago, 2019.184. Copyright © 2019 Faith Ringgold / Artists Rights Society (ARS), New York

Faith Ringgold: Ego Painting Trinket Box. | Museum of Contemporary Art Chicago’s MCA Store, $38

Created to celebrate “Faith Ringgold: American People,” the expansive survey exhibition currently on view at the Museum of Contemporary Art, Chicago, the small trinket box features “Black Light Series #7: Ego Painting” (1969) by Faith Ringgold. The powerful painting is included in the exhibition and also covers the exhibition catalog. Made of wood and laminated wood, the box has a single drawer and measures 5.5 x 5.5 x 1.5 inches. The box is available in two additional designs.

Jean-Michel Basquiat New Wave Beach Towel. | Rome Pays Off, $120

The beach towel features “New York/New Wave,” an early work by Jean-Michel Basquiat (1960-1988), commemorating a seminal moment in the artist’s career. The painting was exhibited in a group exhibition titled “New York/New Wave,” after Basquiat’s work. Presented at P.S. 1 gallery in 1981 (now MoMA PS1), the show turned out to be a launch pad that transformed the artist’s career. The towel is 100 percent cotton terry and measures 39.3 x 64 inches (100 x 164 cm).

The name of the beach towel project (“Gimme That Sand & Sea”) reflects the titles CHRISTINA QUARLES gives to her paintings, pithy and poignant, shorthand spoken-style language with phonetic spellings that resonates with her visual images.

Christina Quarles: Gimme That Sand & Sea Towel. | Hauser & Wirth Shop, $85

The towel was created on the occasion of the recent exhibition“Christina Quarles: Come In From An Endless Place” at Hauser & Wirth Menorca, the artist’s first exhibition in Spain. Studies in color and form, Christina Quarles‘s compositions explore identity and the human the human figure. The cotton towel measures 86 x 168 cm. Another beach towel featuring Quarles work is also available (“Sorry I Missed Yew,” with sales benefitting Walk the Walk USA, a volunteer initiative that focuses on voter empowerment).

The chair features a design from LORETTA PETTWAY, “Roman Stripes Variation Quilt,” 1970 (pieced cotton twill, denim twill, plaid cotton/polyester blend twill, and synthetic knit, 7 feet 2 inches × 70 3/4 inches / 218.4 × 179.7 cm). | Philadelphia Museum of Art, 2017-229-7. © 2023 Loretta Pettway / Artists Rights Society (ARS), New York

Gee’s Bend: Loretta Pettway Mod Chair. | Philadelphia Museum of Art Store, $998

Based on the design of Loretta Pettway‘s “Roman Stripes Variation Quilt” (1970), which is in the collection of the Philadelphia Museum of Art, the chair is part of PMA x Cloth & Company: Gee’s Bend Edition. Exclusive to the museum, the furniture collaboration includes nearly 30 items and is inspired the work of five Gee’s Bend, Ala., quilt artists. Produced by Cloth & Co., a women-led, family-owned company, the upholstered furniture features digitally reproduced artwork licensed from the artists and is made on-demand in Chicago. The chair is upholstered with 100 percent cotton fabric and measures 29 inches wide, 31 inches in depth, and 35 inches high.

The ottoman features a design from ANNIE E. PETTWAY, “Flying Geese Variation Quilt,” circa 1935 (pieced cotton and wool, 7 feet 2 inches × 71 inches / 218.4 × 180.3 cm). | Philadelphia Museum of Art, 2017-229-5. © 2023 Estate of Annie E. Pettway / Artists Rights Society (ARS), New York

Gee’s Bend: Annie E. Pettway Large Round Ottoman, Philadelphia Museum of Art Store, $649

Based on Annie E. Pettway‘s “Fly Geese Variation Quilt” (circa 1935), a work in the collection of the Philadelphia Museum of Art, the ottoman is part of PMA x Cloth & Company: Gee’s Bend Edition. Exclusive to the museum, the furniture collaboration includes nearly 30 items and is inspired the work of five Gee’s Bend, Ala., artists. Produced by Cloth & Co., a women-led, family-owned company, the upholstered furniture features digitally reproduced artwork licensed from the artists and is made on-demand in Chicago. The ottoman is upholstered with 100 percent cotton fabric and measures 36 inches in diameter, 16 inches high. CT

Editor’s Note: The featured items are subject to availability and described based on each vendor’s summary. Stated prices reflect pricing at time of publication. Products sold by museum shops may be available at discounted prices for members

FIND MORE For additional ideas, see Previous Gift Guides (some items may no longer be available)

In Grounds for Sculpture’s ‘Night Forms,’ reality and simulation mesh

Nov 27, 2023 By Admin in Sculpture

Grounds for Sculpture

Missoula Art Museum to launch missing, murdered Indigenous relatives exhibition

Nov 27, 2023 By Admin in Native

MISSOULA, Mont. — The Missoula Art Museum is inviting Indigenous artists and descendants to submit art for an exhibition on Montana’s Missing and Murdered Indigenous Relatives.

Great Falls native Rachel Allen is the juror of the exhibition and will serve as the museum’s first Indigenous guest curator.

“With this position, we hope to forge new opportunities for Indigenous museum professionals and leadership in the arts while fostering new relationships, continually build the museum’s knowledge and that of our audience,” the museum said in a statement. “This is something we hope to continue annually.”

The Missoula Art Museum does not require enrollment status or blood quantum from artists submitting their work.

The deadline to submit art is Jan. 5. The exhibition will open May 3 and run through Sept. 7.