Latest news with #NationalGalleryofArt
CairoScene
14-06-2025
- Entertainment
- CairoScene
‘Calder/Hiquily: Balancing Act' Exhibit to Open at Opera Gallery Dubai
'Calder/Hiquily: Balancing Act' Exhibit to Open at Opera Gallery Dubai The exhibition will explore the thematic intersections between the works of Alexander Calder and Philippe Hiquily, both of whom are renowned for their contributions to kinetic and sculptural art. Opera Gallery Dubai is set to present 'Balancing Act', a new exhibition featuring works by American sculptor Alexander Calder and French artist Philippe Hiquily. Running from April 16th to May 4th, 2025, the exhibition will explore the thematic and formal intersections between the two artists, both of whom are widely recognised for their contributions to kinetic and sculptural art. 'Balancing Act' places the work of Calder and Hiquily in dialogue, highlighting shared artistic themes such as movement, balance, and anthropomorphic abstraction. While distinct in style and background, both artists employed playful and dynamic approaches to sculpture, engaging with the visual language of motion and spatial interaction. Alexander Calder was a pioneering figure in kinetic sculpture, best known for inventing the mobile - a delicately balanced, moving structure. His mobiles and stabiles are characterised by geometric forms and bold primary colours, underscoring his interest in spontaneity, balance, and the relationship between form and space. Over the course of his career, Calder's work was featured in major retrospectives, including at the Guggenheim Museum (1964), the National Gallery of Art in Washington DC (1998–1999), and a joint exhibition by Pace Gallery and the Palazzo delle Esposizioni in Rome (2013–2014). Calder passed away in New York in 1976 at the age of 78. Philippe Hiquily, known for his surreal metal sculptures, brought together elements of modernism, surrealism, and kinetic art. His work often integrates mechanical aesthetics, with a focus on movement and balance. Hiquily's 'Girouettes' series is a defining part of his oeuvre, reflecting his interest with dynamic structures. His work is held in numerous public collections, including the Museum of Modern Art (New York), Centre Pompidou (Paris), and the Hirshhorn Museum (Washington DC). The exhibition underscores how both artists explore the poetry of movement through different materials and methods. 'We are delighted to bring together these two masters in Dubai—a city that itself balances tradition and innovation,' said Sylvain Gaillard, Director of Opera Gallery Dubai. 'Balancing Act is not just a title—it is the very essence of the exhibition. It invites visitors to explore how movement, space, and gravity are negotiated in the work of two influential sculptors.' The exhibition will include six of Calder's works on paper, created using gouache and ink, such as Red Octopus (1971) and Fleurs (1970), alongside two of his mobiles: New Old Universe (1953) and Caged Stone on Yellow Stalk (1966). These will be exhibited alongside four of Hiquily's Girouette mobiles, including Cheng San and La Reorneadora, as well as large-scale sculptures like Grande Mimi Patte en l'air (1987). The show will also feature functional artworks by Hiquily, such as Console (2009) and Miroir aux nénettes (2003).
Yahoo
11-06-2025
- Science
- Yahoo
How the Old Masters painted animals: dragonfly wings and butterfly dust
The National Gallery of Art and the Smithsonian's Natural History Museum have been next-door neighbors in Washington, DC for nearly 90 years—but until now, they've never shared so much as a cup of coffee across the fence. That all changes this summer, as the two institutions collaborate to create a cross-pollinated art and natural science exhibition featuring selections from the art gallery's centuries-old paintings of birds, bugs, and exotic critters … along with actual examples of those creatures drawn from the Smithsonian's enormous collection of animal artifacts. The exhibit, called 'Little Beasts: Art, Wonder, and the Natural World,' focuses on a period beginning in the 1500s when artists in Northern Europe—inspired largely by strange specimens that had found their way to Antwerp, Belgium, aboard merchant sailing ships—were creating exquisitely detailed, and unprecedentedly accurate, images of creatures from the smallest insects to the largest mammals. One display case features the Smithsonian's own specimen of a Central American elephant beetle, the size of a baby's fist but armored and horned in a most terrifying (if harmless) manner. Next to it is mounted Flemish painter Jacob Hoefnagel's 1592 painting of the same species, meticulously rendered with brushes that at times consisted of a single hair bristle. Nearby is 17th-century Czech artist Wencenslaus Hollar's etching of a Tasmanian vasum ceramicum shell, impossibly spindly and surreally suspended in midair, joined by a spectacular real-life specimen from the Smithsonian's vast shell collection. And there is Hoefnagel's life-sized painting of a Southern Hawker dragonfly, highlighted with gold paint, seemingly ready to fly off its parchment page—accompanied by a real dragonfly, temporarily freed from its drawer in the Smithsonian's climate-controlled archives. (Recent studies have revealed that Hoefnagel, obsessed with accuracy, sometimes fastened actual dragonfly wings to his paintings.) These and the rest of the exhibition's works embrace a historic moment when artists—many wielding magnifying glasses—became obsessed with capturing nature in all its detail. Throughout three exhibition halls, the juxtaposition of art and artifacts reveals the astonishing amount of research and detail represented in each work. (A rare look inside the Smithsonian's secret storerooms) While it holds a prestigious spot on the National Mall, the National Gallery is not part of the Smithsonian—and the collaboration is novel for both institutions. 'We came up with the idea for this during the pandemic,' says Alexandra Libby, a curator of Northern Paintings for the museum. 'We started trading e-mails, hoping to get the Smithsonian people excited about it, explaining that these are not just pretty pictures of butterflies, but evidence that there was a real scientific level of engagement during this period. 'They were engaged from the start. They said, 'This is amazing!'' Moving from gallery to gallery, a visitor to this joint venture exhibition walks through a period when artists took the lead in creating the concept of natural history, says Brooks Rich, a curator of Old Master art at the National Gallery. 'The flourishing of interest in nature in its most minute detail that we see here really provided the foundation for the entire discipline,' he says. That breakthrough is crystalized in a display case positioned at the center of the exhibition's first room: Four diary-sized books, bound in leather, illustrated by the artist Hoefnagel. Entitled Aier, Aqua, Ignis and Terra (Air, Water, Fire, and Earth), the books contain, on fine parchment paper, 270 hand-painted images of creatures ranging from house flies to elephants with a level of detail that rivals anything a 4K TV screen will reproduce today. 'Prior to Hoefnagel, most people dismissed insects as vermin,' says Stacy Sell, the museum's curator of Northern Book Painting. 'But he undertook a sustained study of them, looking at every minute detail, and saw how beautiful they were. 'Finally, he said, 'You know, watercolor just isn't going to cut it.' So, he developed all kinds of innovative techniques to create a level of detail no one had attempted before. 'I mean, he actually painted with butterfly dust. That's pretty amazing.' (How to plan a walking tour of the best museums in D.C.) So delicate are the images in the four books, the museum almost never has them on display. In the course of the exhibition—May through November 2—the pages will be turned just three times. Perhaps the most glorious art work in the exhibition is the epic 'Noah's Family Assembling the Animals Before the Ark,' painted around 1660 by the Flemish artist Jan van Kessell the Elder. The Noahs—dressed in their Flemish finest—herd a zoofull of animals across a distinctively Northern European landscape toward a distant, barely-visible boat. Camels, turtles, monkeys, ostriches—even North American turkeys—ramble across the frame. But it's the sky that commands our attention: A riot of birds, two-by-two, winging their way to safety. 'It was such a joy to work with the Natural History Museum managers as they identified all the birds in this painting,' says Libby. 'They studied it to see what the artist got right, and why they might have gotten some things wrong.' For example, at the painting's extreme upper right, a pair of Paradisaea apoda—Greater Birds of Paradise, from New Guinea—streak into the image like plumed missiles. Besides their glorious color, their most distinctive feature is the fact that they have no legs. 'These birds were prized for their feathers, for women's hats,' says Libby. 'By the time those dead birds arrived in Europe, their legs were gone.' For a painter obsessed with getting everything just right, only one solution could satisfy both art and science: Rather than get the legs wrong, van Kessell simply left them out. (How do you find a 'lost' masterpiece?)
National Geographic
11-06-2025
- Entertainment
- National Geographic
How the Old Masters painted animals: dragonfly wings and butterfly dust
A first-ever collaboration between the National Gallery of Art and the Smithsonian examines the birth of natural history. Jan van Kessel the Elder. Noah's Family Assembling Animals Before the Ark, c. 1660 oil on panel. Photograph courtesy of The Walters Art Museum, Baltimore, Maryland The National Gallery of Art and the Smithsonian's Natural History Museum have been next-door neighbors in Washington, DC for nearly 90 years—but until now, they've never shared so much as a cup of coffee across the fence. That all changes this summer, as the two institutions collaborate to create a cross-pollinated art and natural science exhibition featuring selections from the art gallery's centuries-old paintings of birds, bugs, and exotic critters … along with actual examples of those creatures drawn from the Smithsonian's enormous collection of animal artifacts. The exhibit, called 'Little Beasts: Art, Wonder, and the Natural World,' focuses on a period beginning in the 1500s when artists in Northern Europe—inspired largely by strange specimens that had found their way to Antwerp, Belgium, aboard merchant sailing ships—were creating exquisitely detailed, and unprecedentedly accurate, images of creatures from the smallest insects to the largest mammals. One display case features the Smithsonian's own specimen of a Central American elephant beetle, the size of a baby's fist but armored and horned in a most terrifying (if harmless) manner. Next to it is mounted Flemish painter Jacob Hoefnagel's 1592 painting of the same species, meticulously rendered with brushes that at times consisted of a single hair bristle. An insect tableau created for the National Gallery of Art exhibition Little Beasts by the Department of Entomology at the Smithsonian Institution National Museum of Natural History with specimens from the collection. Photograph by James Di Loreto, Smithsonian Institution Jan van Kessel the Elder. Insects and a Sprig of Rosemary, 1653 oil on copper. Photograph courtesy of National Gallery of Art, The Richard C. Von Hess Foundation, Nell and Robert Weidenhammer Fund, Barry D. Friedman, and Friends of Dutch Art Nearby is 17th-century Czech artist Wencenslaus Hollar's etching of a Tasmanian vasum ceramicum shell, impossibly spindly and surreally suspended in midair, joined by a spectacular real-life specimen from the Smithsonian's vast shell collection. And there is Hoefnagel's life-sized painting of a Southern Hawker dragonfly, highlighted with gold paint, seemingly ready to fly off its parchment page—accompanied by a real dragonfly, temporarily freed from its drawer in the Smithsonian's climate-controlled archives. (Recent studies have revealed that Hoefnagel, obsessed with accuracy, sometimes fastened actual dragonfly wings to his paintings.) From scuba diving to set-jetting These and the rest of the exhibition's works embrace a historic moment when artists—many wielding magnifying glasses—became obsessed with capturing nature in all its detail. Throughout three exhibition halls, the juxtaposition of art and artifacts reveals the astonishing amount of research and detail represented in each work. (A rare look inside the Smithsonian's secret storerooms) Jacob Hoefnagel. Part 1, Plate 1, from the series Archetypa studiaque (Archetypes and Studies), 1592 Photograph courtesy of National Museum of Natural History, Rosenwald Collection An Elephant Beetle (Megasoma e. elephas) from the Department of Entomology collections at the Smithsonian Institution National Museum of Natural History. Photograph by James Di Loreto and Phillip R. Lee, Smithsonian Institution While it holds a prestigious spot on the National Mall, the National Gallery is not part of the Smithsonian—and the collaboration is novel for both institutions. 'We came up with the idea for this during the pandemic,' says Alexandra Libby, a curator of Northern Paintings for the museum. 'We started trading e-mails, hoping to get the Smithsonian people excited about it, explaining that these are not just pretty pictures of butterflies, but evidence that there was a real scientific level of engagement during this period. 'They were engaged from the start. They said, 'This is amazing!'' Moving from gallery to gallery, a visitor to this joint venture exhibition walks through a period when artists took the lead in creating the concept of natural history, says Brooks Rich, a curator of Old Master art at the National Gallery. 'The flourishing of interest in nature in its most minute detail that we see here really provided the foundation for the entire discipline,' he says. That breakthrough is crystalized in a display case positioned at the center of the exhibition's first room: Four diary-sized books, bound in leather, illustrated by the artist Hoefnagel. Entitled Aier, Aqua, Ignis and Terra (Air, Water, Fire, and Earth), the books contain, on fine parchment paper, 270 hand-painted images of creatures ranging from house flies to elephants with a level of detail that rivals anything a 4K TV screen will reproduce today. Collection of animal skeleton etchings on laid paper by Teodoro Filippo di Liagno Photograph by Rob Shelley, National Gallery of Art 'Prior to Hoefnagel, most people dismissed insects as vermin,' says Stacy Sell, the museum's curator of Northern Book Painting. 'But he undertook a sustained study of them, looking at every minute detail, and saw how beautiful they were. 'Finally, he said, 'You know, watercolor just isn't going to cut it.' So, he developed all kinds of innovative techniques to create a level of detail no one had attempted before. 'I mean, he actually painted with butterfly dust. That's pretty amazing.' (How to plan a walking tour of the best museums in D.C.) So delicate are the images in the four books, the museum almost never has them on display. In the course of the exhibition—May through November 2—the pages will be turned just three times. Perhaps the most glorious art work in the exhibition is the epic 'Noah's Family Assembling the Animals Before the Ark,' painted around 1660 by the Flemish artist Jan van Kessell the Elder. The Noahs—dressed in their Flemish finest—herd a zoofull of animals across a distinctively Northern European landscape toward a distant, barely-visible boat. Camels, turtles, monkeys, ostriches—even North American turkeys—ramble across the frame. But it's the sky that commands our attention: A riot of birds, two-by-two, winging their way to safety. 'It was such a joy to work with the Natural History Museum managers as they identified all the birds in this painting,' says Libby. 'They studied it to see what the artist got right, and why they might have gotten some things wrong.' For example, at the painting's extreme upper right, a pair of Paradisaea apoda—Greater Birds of Paradise, from New Guinea—streak into the image like plumed missiles. Besides their glorious color, their most distinctive feature is the fact that they have no legs. 'These birds were prized for their feathers, for women's hats,' says Libby. 'By the time those dead birds arrived in Europe, their legs were gone.' For a painter obsessed with getting everything just right, only one solution could satisfy both art and science: Rather than get the legs wrong, van Kessell simply left them out. (How do you find a 'lost' masterpiece?)
Forbes
30-05-2025
- Lifestyle
- Forbes
This Exhibit Shows How Our Relationship With Nature Was Redefined By A Dragonfly
Working as a merchant in 16th century Antwerp, Joris Hoefnagel saw the world through the medium of trade. He encountered luxurious objets d'art crafted with exotic wood and shell. But his eyes were drawn most of all to natural history specimens he considered to be God's own creations. Over several decades, he rendered them in watercolor on parchment or vellum. He called his collection The Four Elements, associating mammals with earth, birds with air, and fish with water. But it was the insects that received his greatest devotion. Without comment, he associated them with fire. Joris Hoefnagel. Animalia Rationalia et Insecta (Ignis), c. 1575/1580, bound volume of 78 drawings in watercolor and gouache. National Gallery of Art, Gift of Mrs. Lessing J. Rosenwald 1987.20.5 No explanation was needed. A rare opportunity to view pages from The Four Elements at the National Gallery of Art in Washington DC reveals an almost alchemical process by which Hoefnagel captured the preternatural iridescence of butterflies and beetles. Rendered in Hoefnagel's meticulous hand, often using brushes with just a few bristles and sometimes animated with teeny flecks of gold, the 'little beasts' (as insects were known at the time) appear to be aflame. And yet for all the magic of the painting, Hoefnagel never surrendered to fantasy. Unlike the whimsical objets d'art he handled in trade, his images are accurate enough that exhibition co-curators at the National Museum of Natural History can confidently name the species. By contemporary standards, Hoefnagel is a study in contradictions. His scientific precision was inspired by religious devotion. His artistic creations pay homage to the Creator. Closer examination reveals tensions that are more subtle but no less profound. One of the most surprising is his choice of materials. It's not just the artifice of making critters come to life with sprinkles of gold leaf. Several of the watercolors turn out to be composite images constructed in part from bits of his specimens. With Hoefnagel's help, these little beasts represent themselves. The apparent contradiction of scientific inquiry motivated by religious faith is easily resolved when you consider that science emerged from religion, and only recently sought explanations independent of faith. There's also a long history of art serving religion. Humans have often paid homage to the miraculous by emulating it. But Hoefnagel's hybrid watercolors are not so easily contextualized (even if some of the techniques were also used by other artists of the period). Since the Renaissance, objects of wonder were categorized as naturalia or artificialia. The former included crystals and shells and animal pelts. The latter were the products of artisans, who might denature naturalia by embedding specimens in lavish settings or might transform natural materials beyond recognition. Although artificialia often emulated naturalia in whimsical ways, the artifice was the source of delight. Some of the finest artifacts were just noticeably different from their inspiration, simultaneously paying homage to the artisan and the natural specimen. In concept and in practice, Hoefnagel's hybrids are the opposite. When he outfits real dragonfly wings with a watercolor body and legs, he naturalizes artificialia and vice versa. What we admire is the composite, which we see as autonomous. Hoefnagel's hybrids were feasible because his subjects were small. Little beasts were well suited to life-size depiction, making their bodies interchangeable with their rendering (especially parts of their anatomy that were essentially two dimensional). Optical devices developed in Hoefnagel's era enhanced observation, while simultaneously augmenting the sense of awe that humans have had for these diminutive life forms since antiquity. ('We make a wonder at the monstrous and mightie shoulders of Elephants' wrote Pliny the Elder in the Naturis Historia. 'We keepe a woondring at the ravenings of tygres, and the shag manes of Lions: and yet in comparison of these Insects, there is nothing wherein Nature and her whole power is more seen, neither sheweth she her might more than in the least creatures of all.') Jan van Kessel the Elder. Insects and a Sprig of Rosemary, 1653, oil on copper. National Gallery of Art, The Richard C. Von Hess Foundation, Nell and Robert Weidenhammer Fund, Barry D. Friedman, and Friends of Dutch Art 2018.41.1 Whether or not Hoefnagel's little beasts were inspired by the Naturis Historia or other ancient sources, his artworks clearly express a Christianized version of Pliny's panegyric, and provide a timely reminder of insects' significance as modern humans decimate global populations of butterflies and bumblebees. The same can be said about other works in the National Gallery exhibition, such as the 17th century panels of Jan van Kessel. But the greater significance of The Four Elements is the challenge Hoefnagel presents to the distinction between naturalia and artificialia, a dichotomy that continues to play a role in the spurious separation of humankind from the natural world. Even if the insects didn't voluntarily participate in their creation, the hybridity of Hoefnagel's composites defies classification. The works provide a vision as salient now as ever. In earth, air, water, and especially fire, we share the materials to forge a common future.
Black America Web
06-05-2025
- Entertainment
- Black America Web
The Birth Of The Black Dandy: How 250 Years Of Black Fashion Inspired The 2025 Met Gala
Black America Web Featured Video CLOSE Portrait of a Man, c. 1855. National Gallery of Art Fashion is one of the most powerful tools we have for understanding ourselves and the world around us. Nowhere is this clearer than in the story of Black American tailoring and the legacy of the Black dandy. Inspired by scholar Monica L. Miller's groundbreaking book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity , the theme of the Metropolitan Museum of Art's Costume Institute spring 2025 show is Superfine: Tailoring Black Style. The exhibition charts the evolution of the Black dandy from the 18th century to today. The story it tells is about more than suits. It's about power, pride, resistance and joy. Each year, the Met Gala takes its dress code from the institute's spring exhibition. This year's is 'Tailored for You.' So who is the Black dandy, why are they so important to fashion today, and what can we expect to see on the red carpet? 'Black dandy' is a modern term. Figures like American abolitionist Frederick Douglass (1818–95) or Haitian revolutionary leader Toussaint Louverture (1743–1803) would not have called themselves dandies, but they used style with similar effect: as a tool of resistance, self-fashioning and cultural pride. Toussaint Louverture was a leader during the widespread uprisings of enslaved people in Saint-Domingue (now Haiti) in 1791. This image was drawn in 1802. The Metropolitan Museum of Art French poet Charles Baudelaire (1821–67) first wrote about dandies in 1863, describing them as individuals who elevate style to a form of personal and aesthetic resistance. Baudelaire's dandy was not just stylish but symbolic. He was an emblem of modernity itself: a time marked by fluid identities, liminal spaces and the collapse of clear boundaries between gender, authenticity and social order. Dandyism among Black men took root in the 18th and 19th centuries in both the United States and the Caribbean. Tailoring became a way to reclaim dignity under enslavement and colonialism. Dandies take the clothing of an oppressor – aristocratic, colonial, segregationist or otherwise – and turn it into a weapon of elegance. Through meticulous style and refinement, dandies make a silent yet striking claim to moral superiority. Frederick Douglass was born into slavery, and freed in 1838. This photograph shows him in 1855. The Metropolitan Museum of Art Douglass famously appeared in immaculate Victorian suits when campaigning for abolition, consciously dressing in the same style as those who denied his freedom. Louverture used perfectly tailored French military uniforms during the Haitian Revolution against French colonial rule. In the 1920s, Harlem dandies wore fine tailoring and flamboyant colours, rejecting the idea that poverty or discrimination should dictate presentation. In perfectly tied cravats, polished shoes and sharply tailored coats, Black dandies refashion power on their own terms. Dandies also challenge the narrow rules of masculinity. Conventional menswear often demands restraint, toughness and invisibility. Dandies dare to embrace beauty, self-adornment and performance. This masculinity can be expressive, creative and even flamboyant. The luxurious silk suits and carefully groomed appearance of American Jazz pioneer Duke Ellington (1899–1974) projected glamour rather than austerity. The elegantly tailored overcoats and scarves of American poet Langston Hughes (1901–67) suggested a masculinity deeply entwined with creativity and softness. Figures in Harlem's ballrooms and jazz clubs blurred gender boundaries decades before mainstream conversations about gender fluidity emerged. A street scene in Harlem, New York City, photographed in 1943. Library of Congress In a world where Black self-presentation has long been scrutinised and politicised, tailored clothing asserted visibility, authority and artistry. Dandies transformed fashion into a political declaration of dignity, resistance and creative power. Black American tailoring practices blossomed most visibly in the zoot suits of the Harlem Renaissance, though they also had strong roots in New Orleans, Chicago and the Caribbean. As seen in the Sunday Best of the Civil Rights era, Black tailoring walked the line between resistance and celebration: beautiful but with clear political intent. In the 1970s, the Black dandy became more flamboyant, wearing tight, colourful clothes with bold accessories. He transformed traditional suits with exaggerated shapes, bright patterns and plaids inspired by African heritage. Artists popular with a white audience like Sammy Davis Jr. (1925–90), Miles Davis (1926–91) and James Brown (1933–2006) embraced the aesthetic, contributing to its widespread acceptance. Sammy Davis Jr with his first European gold record, 1976. Nationaal Archief, CC BY Meanwhile, a super stylish contingent of Black men in the Congo, La Sapeur, refined their look so spectacularly they would become the benchmark of the Black dandy for generations to come. The 1990s saw a new era of Black dandyism emerge through luxury sportswear and hip-hop aesthetics. Designer Dapper Dan (1944–) revolutionised fashion by remixing luxury logos into bold, custom streetwear, creating a distinctive Black aesthetic that bridged hip-hop culture and high fashion. Musician André 3000 (1975–) redefined menswear by blending Southern Black style with bold color, vintage tailoring and theatrical flair. Today, the tradition thrives in the style of influencer Wisdom Kaye, the elegance of LeBron James, and the risk-taking of Lewis Hamilton. Tailored for You invites guests to interpret the dandy's legacy in personal, bold and boundary-pushing ways. Whether conforming to tradition, subverting expectations or creating something entirely new, this theme is a celebration of the freedom to dress – and be – on your own terms. The Black dandy is a figure of defiance and desire, of ambiguity and brilliance, of resistance and beauty. Dandyism blurs boundaries between masculinity and femininity, artifice and authenticity, conformity and rebellion. It unsettles fixed identities and reflects broader tensions within modern life. The poet and activist Countee Cullen, as depicted by Winold Reiss around 1925. National Portrait Gallery Black dandies have shocked, amused, offended, delighted and inspired society since their inception. In the sharp defiance of Douglass' Victorian suits, the flamboyant spectacle of Harlem ballrooms, and the logo-laced rebellion of Dapper Dan's streetwear, the Black dandy has continually forced the world to reckon with the politics of presence, pride and performance. Despite being overlooked by mainstream fashion history, they've shaped the way we see elegance, masculinity and self-expression. This Met Gala and the accompanying exhibition are not just a celebration – they are a long-overdue recognition. Toby Slade, Associate Professor of Fashion, University of Technology Sydney and Dijanna Mulhearn, PhD Candidate, School of Design. Author of Red Carpet Oscars, University of Technology Sydney This article is republished from The Conversation under a Creative Commons license. Read the original article. SEE ALSO: Simone Biles Gave Back-To-Back Fashion Moments & Big Wifey Vibes At The Kentucky Derby The History Of Black Cowboy Fashion SEE ALSO The Birth Of The Black Dandy: How 250 Years Of Black Fashion Inspired The 2025 Met Gala was originally published on
