Aside from its mammoth popularity over the years, one of the best things about streetwear fashion is that it is easy to experiment with. You can wear and pair different outfits without feeling as if you’re breaking any rules. In other words, you dictate your own style, so there’s a lot of freedom and versatility in streetwear. However, this doesn’t necessarily mean that you won’t end up looking like a clown. Sorry to be harsh, but there are certain choices you can make (or fail to make), only to end up looking ridiculous!
These Summer Of Love-era sneakers were designed by artist Peter Max, who is best known for his trippy, colorful and psychedelic designs of the 1960s and ’70s. As craft became a form of cultural commentary, wearable art was used as a symbol of the counterculture’s personal and political allegiances.
These sneakers had an original sale price of $3.97, and can now be found on auction sites such as eBay selling for, on average, about $600 per pair. The back of the sneaker has a grinning red mouth across it, part of which can be seen in the above photo.
Photographed as Part of the Exhibit Minimalism / Maximalism, on Through November 16, 2019 at the Museum at FIT in Manhattan .
Teri Greeves (b. 1970) is a member of the Kiowa Native American tribe, and her culture deeply influences her work. Khoiye-Goo Mah (2004) translates in the Kiowa language as “Kiowa women,” and four Kiowa women are depicted on these sneakers: the artist’s grandmother and mother, both skillful bead workers who taught artist this traditional craft,; her aunt, the first female fancy war dancer in the state of Oklahoma, and spiritual woman, who had the honor of naming the artist.
Combs, (2016) By Hassan Sharif (All Photos By Gail)
We were first introduced to the suspended sculptures and assemblage art of Hassan Sharif in the exhibit Here and Elsewhere at the New Museum back in 2014. Right now, Alexander Gray Associates is hosting a exhibit of Sharif’s recent work, featuring sculptures and woven assemblages. Recognized as a pioneer of conceptual art and experimental practice in the United Arab Emirates over the past four decades, Sharif has transgressed traditional frameworks for art making by extending his practice to performance, installation, drawing, painting, and assemblage that integrates ordinary objects as the primary medium. The tapestry-like works in this exhibition are conceptually linked by their relationship with the human body and social structures.
Combs, Detail
For this series, the artist creates artworks from sourced inexpensive and mass-produced goods that he buys at local markets in his native Dubai. By cutting, bending, grouping, and braiding these cultural artifacts, he sheds their functionality to enhance their aesthetic and political significance. For Sharif, “the work is about consumerism. “I use cheap materials, ordinary things that are readily available in the market,” he explains.
Back to School (2015)
By weaving together, in the ancient tradition of tapestry making, ordinary objects consumed by today’s society, Sharif points both to the hyper-industrialization impacting everyday life and the abandonment of old traditions that were key to building strong bonds among the members of communities in the past. On his interest in unifying aspects of both the ancient and modern, the artist explains “I want to nurture new ways out of the old and present these in a contemporary visual and artistic context.”
Back to School, Detail
In Sharif’s body of work, the rhythmically repetitive act of weaving echoes the involuntary functions of the human body, such as swallowing, breathing, and blinking. At the same time, the materials deployed to create the works in this exhibition, including combs, nail clippers, masks, and gloves are traditionally used to modify or cover the body. Recently, Sharif has centered his production around large-scale wall sculptures that incorporate objects that as he describes, “people depend on greatly to keep up with their daily routines and activity. So long as they are alive, they keep using, exhausting, and relying on them as if they are, in one way or another, part of their own bodies.”
Masks (2016)
In Masks, Sharif creates a grid of many colored face masks which cascade towards the floor, tied to one another by their black ribbons to ultimately form an irregular fringe at the bottom of the sculpture. The artists notes that masks have “an important historical role. In the Middle East, women cover their faces with veils. In Africa [masks are] used in dances to ward off evil spirits. Hiding one’s identity has become increasingly important.”
Masks, Detail
Ladies and Gentlemen (2014)
For Ladies and Gentlemen, he assembled mass-produced and inexpensive female and male shoes, into a drape-like object that emphasizes seriality and the dislocation of functional objects. His use of shoes speaks to an interest in sexual politics across centuries and geographies; in the work, men and women occupy a common space, and are bound together with hand-painted papier maché and ropes. In this way, he refers to the intrinsic connection between individuals and society.
Ladies and Gentlemen, Detail
Sharif’s interest in visual accumulation, and in systematic production, calculations, and geometric permutations are apparent in his choice of material for Combs (2016). For this work, he assembled plastic combs in a variety of bright colors, which jut out from the wall at irregular angles creating a haphazard visual rhythm. For the artist, combs, widely used to tidy hair, exemplify the use of logic necessary in mass-production of consumer goods. As he explains, “the number of teeth, the distance between them, their length and thickness, all seem to be well calculated, and they have been so for thousands of years.” Sharif echoes the geometric precision of the combs by organizing them in a meticulous gridded pattern in space, following a calculated mathematical model of his own invention, to create a hanging tapestry.
New Works by Hassan Sharif will be on Exhibit Through May 14, 2016 at Alexander Gray Associates, Located at 510 West 26th Street, in the Chelsea Gallery District
Punching Bag (Left Background) and Artificial Leg (Right Foreground)
