tag:blogger.com,1999:blog-72161157767952706402024-03-10T23:22:53.461-04:00Hair is For PullingAttraction and aversion to hair in art and fashion.Tamsen Ellenhttp://www.blogger.com/profile/08576159911356573517noreply@blogger.comBlogger96125tag:blogger.com,1999:blog-7216115776795270640.post-73100691414416207792019-11-24T13:36:00.001-05:002019-11-24T15:49:45.061-05:00#HairyArchivesThis year the annual hashtag campaign #ExploreYourArchive features #HairyArchives day, today November 24th. There are so many wonderful posts, but my favorites are those that feature clippings of hair, from the well-known to the unknown. Below are a sampling from this year's crop:<br />
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<a href="https://twitter.com/royalsociety/status/1198555623874613248?s=20" target="_blank"><img alt="https://twitter.com/royalsociety/status/1198555623874613248?s=20" border="0" data-original-height="722" data-original-width="1002" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5OETAuZc0CswHtE7p18QY8QX96LQ2irnoht6iqb7YBy3GDs6l4a4KxQ5p0obmCaNsvJtTpHM6snxgJf-DfJaflVM1KI8uNOtTzCYfL7ODSr8xCMAYBHXdy90doC0rUmVtwxg3JMQZiOg/s400/Screen+Shot+2019-11-24+at+12.41.54+PM.png" width="400" /></a></div>
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<a href="https://twitter.com/nyccarchives/status/1198636195628101633?s=20" target="_blank"><img alt="https://twitter.com/nyccarchives/status/1198636195628101633?s=20" border="0" data-original-height="682" data-original-width="946" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9jLIzvti_S9PPsVOtl98oDmYoh5YT-Rc1HlBHTlGeLkdgSp0q7lypKHlNuMq5NbWZvmKJBi2ECRtTeElEqCNi1Sc6KWRE72M0dM1kI1_A9eqAEnIUNyvMS0VMdjMwDFYetFxCRRNf68E/s400/Screen+Shot+2019-11-24+at+12.48.02+PM.png" width="400" /> </a></div>
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<a href="https://twitter.com/LULGalleries/status/1198605988691087363?s=20" target="_blank"><img alt="https://twitter.com/LULGalleries/status/1198605988691087363?s=20" border="0" data-original-height="794" data-original-width="940" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt21G2S01wZUW1J-8cIvEPsnpILNRnLwfaAggR6znXStx5D1Hu_jtq56Uj-xNdk9u_HPSJWSqHNkTHsdQc7jBfXgRKMd1CfwCZZ-7XrDPK8piKZE0EC_o5vQrCV2Ks_r_J3i03iABZF1g/s400/Screen+Shot+2019-11-24+at+1.32.32+PM.png" width="400" /></a></div>
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<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7216115776795270640.post-66953672626174043922019-11-24T12:14:00.002-05:002019-11-24T12:20:19.392-05:00Movember 2019November is <a href="https://us.movember.com/" target="_blank">Movember</a>, the campaign that raises awareness and collects donations for men's health issues by celebrating the mustache.<br />
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<a href="https://1.bp.blogspot.com/-9_0wihhkOV8/Xdq2XngJ4gI/AAAAAAAAGXc/7fYDO8inZbw-w2FS3Pc_XLpFwDYOs8R4gCLcBGAsYHQ/s1600/1997.108.1_IMLS_SL2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="1459" height="640" src="https://1.bp.blogspot.com/-9_0wihhkOV8/Xdq2XngJ4gI/AAAAAAAAGXc/7fYDO8inZbw-w2FS3Pc_XLpFwDYOs8R4gCLcBGAsYHQ/s640/1997.108.1_IMLS_SL2.jpg" width="606" /></a></div>
This year, Hair is for Pulling's contribution is this engaging Iranian painting of <i>Hunter on Horseback Attacked by a Lion</i> from the Zand period (1750–1779). While derived from manuscript painting, this larger painting on canvas would have hung in a residence or hunting pavilion. "Such works were viewed as visual complements for poetry that the hosts, their guests, or storytellers would recite to entertain one another at convivial gatherings in intimate settings." <br />
Via the <a href="https://www.brooklynmuseum.org/opencollection/objects/157592" target="_blank">Brooklyn Museum</a> <br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-59633400709499049532019-10-01T09:23:00.002-04:002019-10-01T09:23:46.647-04:00The barber that wouldn't quitThe <i><b>New York Times</b></i> recently posted an obituary for <a href="https://www.nytimes.com/2019/09/26/nyregion/anthony-mancinelli-dead.html?nl=todaysheadlines&emc=edit_th_190927?campaign_id=2&instance_id=12573&segment_id=17387&user_id=75625a3655882c7c5f0ab14d5951cd18&regi_id=210340360927" target="_blank">Anthony Mancinelli</a>, a barber who lived to 108. The Guinness World Records recognized him as the world’s oldest working barber when he was in his 90s. He loved being a barber so much that he refused to quit hair cutting, retiring only a few weeks prior to his death due to cancer of the jaw. 1911-1919 R.I.P.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_OicSZXLZ0XK6Ug4vvkNLRPYSv5T4i5yKg8j60gQhjr7603z7_2d9XFzskeGYer6YxZd2hixF9ufvcV6xv6QQxxUN9y7rAtShVY5SIx4tRKZUlOdeViuI0UJ_AstgIyp9W6J94gPHEKw/s1600/Screen+Shot+2019-10-01+at+9.09.19+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1142" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_OicSZXLZ0XK6Ug4vvkNLRPYSv5T4i5yKg8j60gQhjr7603z7_2d9XFzskeGYer6YxZd2hixF9ufvcV6xv6QQxxUN9y7rAtShVY5SIx4tRKZUlOdeViuI0UJ_AstgIyp9W6J94gPHEKw/s640/Screen+Shot+2019-10-01+at+9.09.19+AM.png" width="603" /> </a></div>
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<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7216115776795270640.post-1999947403973255752019-06-18T11:54:00.001-04:002019-06-20T08:28:58.370-04:00Hair Rollers for the BirdsI know why the caged bird sings! It was trapped in a hair roller!<br />
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<a href="https://1.bp.blogspot.com/-GGWhFBA5L2s/XQkHoiPr9AI/AAAAAAAAGQ8/5ZlaWz0mPzoM7B6t-Lhk5bCX58KwHOxSwCLcBGAs/s1600/hair-jfk-finch-guyana-2-large-169.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="259" data-original-width="460" height="360" src="https://1.bp.blogspot.com/-GGWhFBA5L2s/XQkHoiPr9AI/AAAAAAAAGQ8/5ZlaWz0mPzoM7B6t-Lhk5bCX58KwHOxSwCLcBGAs/s640/hair-jfk-finch-guyana-2-large-169.jpg" width="640" /></a></div>
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A Connecticut man tried to smuggle 34 finches into the US from Guyana. He got caught at JFK. The poor songbirds were hidden in colorful, plastic hair rollers. <br />
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<a href="https://1.bp.blogspot.com/-7wdwxk_RNBw/XQkHt5zkCkI/AAAAAAAAGRA/4cqxtjyqAxssemNv22lnG2NBzGrfI6TzACLcBGAs/s1600/hair-Screen%2BShot%2B2019-06-18%2Bat%2B8.23.30%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1328" data-original-width="1330" height="398" src="https://1.bp.blogspot.com/-7wdwxk_RNBw/XQkHt5zkCkI/AAAAAAAAGRA/4cqxtjyqAxssemNv22lnG2NBzGrfI6TzACLcBGAs/s400/hair-Screen%2BShot%2B2019-06-18%2Bat%2B8.23.30%2BAM.png" width="400" /></a></div>
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Apparently the birds have a beautiful warble, and compete admirably in singing contests. The man hoped to sell each one for around $3,000.<br />
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The finches were discovered after the man was selected by Customs and Border Patrol officials for a random search. This is at least the third time hair-roller-finch-smuggling has been intercepted. December 8, 2018 officers discovered 70 finches, and March 3, 2018 a man was found with 20 in his carry-on. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxcKr91ejMSNSuds2gWqReq9N-e___84RnQHE0ADo1S3FX0juW9DEwr6gzDlKpjbi8y65lcF_TQvaGS6AKNjuOlZ1S4SkeQuCFNa5rYRdQA5UTsaxgfBUoY_sGzDrzZxEWTVEUS2J7sTE/s1600/hair-Singing-finches-in-curlers-640x480.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1098" data-original-width="848" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7fbiM28hxckt7NC_5GXuD-7cuGIQ1IIPI_7BRT0qFoL_f7-0E3VJlir0r13-CC-W9mEO3ubz7vWZhnwfxsRS_efeafiiKSGpfrqLLREmpjXyhNEsp7wUEjb4MxTiltcu7wbGEG8CXXI0/s200/hair-Screen+Shot+2019-06-18+at+8.22.56+AM.png" width="154" /> <img border="0" data-original-height="480" data-original-width="640" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxcKr91ejMSNSuds2gWqReq9N-e___84RnQHE0ADo1S3FX0juW9DEwr6gzDlKpjbi8y65lcF_TQvaGS6AKNjuOlZ1S4SkeQuCFNa5rYRdQA5UTsaxgfBUoY_sGzDrzZxEWTVEUS2J7sTE/s320/hair-Singing-finches-in-curlers-640x480.jpg" width="320" /> </a></div>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7216115776795270640.post-14045534608840910582019-03-06T07:39:00.001-05:002019-03-08T06:51:22.421-05:00Hair: An Illustrated History / Book ReviewI was recently invited to review a new book about hair by Susan Vincent. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYAec8vevgbmxmoOzAJcvIoGwY0TkRsGyxzZwg6o-OAlToBn_K_h1ktjH5dvOMgOWPmrGl1t1KbSPUsVytc3zCiR23FTRV3IsEyGl34gROxLsywr9L7pjGeloCCDnAk7chi0JA31_-24/s1600/Fig3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="384" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYAec8vevgbmxmoOzAJcvIoGwY0TkRsGyxzZwg6o-OAlToBn_K_h1ktjH5dvOMgOWPmrGl1t1KbSPUsVytc3zCiR23FTRV3IsEyGl34gROxLsywr9L7pjGeloCCDnAk7chi0JA31_-24/s400/Fig3.jpg" width="306" /></a></div>
<a href="https://amzn.to/2tRx3eW"><b><i>Hair: An Illustrated History</i></b></a>
(Bloomsbury Visual Arts 2018) is lavishly illustrated and well
researched. Susan Vincent focuses on how, over the past 500 years, hair
practices have participated in the creation of social identities and
fashionable ideals for both men and women. The book appears at a time when there is a growing body of scholarship on a
variety of hairy topics. Since many books on hair are compendiums of
essays, Vincent’s book stands out.<br />
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The introduction begins by looking at how visual codes of hair color, texture, and style have been used to judge character, personality, health, and overall acceptability. Following an enjoyable introduction, Vincent delves into the themes of the book and does a fine job of maintaining a lively tone throughout. While the author states clearly that her book centers on “the key ways that [hair] has been managed over the last five hundred years,” its research is mostly limited to those of European descent.<br />
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To read my full review, please visit <a href="http://fashionhistorian.net/blog/2019/03/05/book-review-hair-an-illustrated-history/" target="_blank">Fashion Historia</a>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUJJf1HBuOG5HfEophHzmrlsz5zVliW4s53kSVVCvHOLJY2toBhjaZr6WU-cd5xrd0-an4m0jBGJ0BJ-GenBijLuanG3F2ypX19plDknBOAJ3yFnHbGcpH_TkCK_mg7IQ0U2XMH1JU5rc/s1600/Fig.+1.9+-+Woman+brushing+with+Harlene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="http://2.bp.blogspot.com/-ucdFQAGAUCo/XH--kUk_Q7I/AAAAAAAAGOQ/44SuEhgW8Jkvu4y2oRQ-Mfu2QFr2RI2cQCK4BGAYYCw/s1600/Fig.%2B1.9%2B-%2BWoman%2Bbrushing%2Bwith%2BHarlene.jpg" imageanchor="1"><img border="0" height="320" src="https://2.bp.blogspot.com/-ucdFQAGAUCo/XH--kUk_Q7I/AAAAAAAAGOQ/44SuEhgW8Jkvu4y2oRQ-Mfu2QFr2RI2cQCK4BGAYYCw/s320/Fig.%2B1.9%2B-%2BWoman%2Bbrushing%2Bwith%2BHarlene.jpg" width="212" /></a> <img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWpE8HiVNFqQ0SiXErZpzmJgmrSi1nQOo7JxH9J8vjdgXSTllix3mj-D2sRcIWfZSj-Xf3r3xerROo8ZyuQfAftVmrPy3aGesOra7WFHrWwiiCgjHMaMa5I4JysUZRU55Dj3T5fKesZvg/s320/Fig.+2.4+-+Male+hairdresser+attends+a+woman.jpg" width="276" /> </div>
<span style="font-size: xx-small;">Left: Advertisement for Edwards’ Harlene, c.1890s. ‘Mama, shall I have beautiful long hair like you when I grow up?’ asks the girl, as she learns the lesson in the performance of femininity while watching her mother wield a hairbrush. Welcome Library, EPH154:20. Photo: Courtesy of the Wellcome Library, London.</span><br />
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<span style="font-size: xx-small;">Right: An early nineteenth-century male hairdresser attending a woman. Comb and scissors, the tools of his trade, are to hand in his coat pocket. The high points of his starched shirt, the seals hanging from his waist, and his fitted pantaloons, fixed with a strap beneath the instep, show him to be a modish fellow who pursues the latest fashions. Colored engraving, no date (early nineteenth century). Wellcome Library, ICV2046L. Photo: Courtesy of the Wellcome Library, London. </span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-77909556499737761262019-03-04T12:42:00.000-05:002019-03-04T12:57:30.554-05:00Laura Laine<a href="http://lauralaine.net/" target="_blank">Laura Laine</a> is a Finnish fashion illustrator who has worked with ShowStudio, <i>Vogue</i> Japan, <i>Vogue</i> Germany, Pantene, Zara, and H&M.<br />
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She frequently illustrates women with prominent strands of long hair. Her interest in hair, however, derives little from realistic hairstyles. As Laine explains in a recent interview with <a href="http://www.buro247.me/culture/insiders/laura-laine-s-in-bloom-exhibition.html" target="_blank">Buro247</a>, her intention is to use hair “as this voluminous element in the composition." It weaves into the clothing, billows around the head, and moves in engaging ways around the body. See for yourself.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi69HAXc8twXXc1aowSRZliPvYzPz14A5fVdtMd-vIm9cHgbW3L_dMU5Vj0eZU7eyOHrJQZYRZZk9nAIrHuJGpE5oowy-qQ2_bDUm5BDyny-8_RqkD-qERPatAz8GdfeRJkF1dYG-cAWK4/s1600/laine-showstudio_3_rodarte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1160" data-original-width="1600" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi69HAXc8twXXc1aowSRZliPvYzPz14A5fVdtMd-vIm9cHgbW3L_dMU5Vj0eZU7eyOHrJQZYRZZk9nAIrHuJGpE5oowy-qQ2_bDUm5BDyny-8_RqkD-qERPatAz8GdfeRJkF1dYG-cAWK4/s640/laine-showstudio_3_rodarte.jpg" width="640" /></a></div>
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This Rodarte SS16 illustration was part of ShowStudio’s 2015 <i>A Beautiful Darkness</i> exhibition.</span></div>
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<a href="https://1.bp.blogspot.com/-HStrj72gs4I/XH1gIulxtcI/AAAAAAAAGNQ/icuLZq53IsgmbL0Upupe7ShFiUuNXDsGACLcBGAs/s1600/laine-mcqueen-1449x2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1160" height="400" src="https://1.bp.blogspot.com/-HStrj72gs4I/XH1gIulxtcI/AAAAAAAAGNQ/icuLZq53IsgmbL0Upupe7ShFiUuNXDsGACLcBGAs/s400/laine-mcqueen-1449x2000.jpg" width="288" /></a></div>
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<span style="font-size: xx-small;">This specially commissioned illustration, called <i>It's Only a Game</i>, was created for ShowStudio’s 2011 <i>Illustrating McQueen</i> project. </span></div>
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<span style="font-size: xx-small;">It paid homage to a selection of fashion designer Alexander McQueen's most pivotal designs.</span></div>
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The sinuous and effusive strands lead one to associate Laine’s work with whimsy and delight. But the distorted and twisted lines also have a darkness that are reminiscent of Aubrey Beardsley and Harry Clarke. The long hair donning the women in Laine's illustrations is not just a compositional and stylistic device; it is a signature element of her work. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheao8CzmaZXL4tNTMXg_uv_MXRki-GJifIL7Y2Fl7S_5DyHJXJR1OxtWkb3__7rGv8zRpeSUJJIWM5w5-WX94zqHevAyrojGwheIt7CZphXdvX5XV3ZnPYHKbGzg25qbQFS0S7NC34cbs/s1600/laine-emma1-1449x2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="693" height="400" src="https://3.bp.blogspot.com/-3Z34CnqYbuc/XH1feBz5EXI/AAAAAAAAGNM/FFNjX0Jl1SAuecM7pDL_8_Vc_MpAs39XQCEwYBhgL/s400/laine2-marni.jpg" width="287" /><img border="0" data-original-height="1600" data-original-width="1160" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheao8CzmaZXL4tNTMXg_uv_MXRki-GJifIL7Y2Fl7S_5DyHJXJR1OxtWkb3__7rGv8zRpeSUJJIWM5w5-WX94zqHevAyrojGwheIt7CZphXdvX5XV3ZnPYHKbGzg25qbQFS0S7NC34cbs/s400/laine-emma1-1449x2000.jpg" width="287" /> </a></div>
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<span style="font-size: xx-small;">Left: Fall 2014 - Marni for ShowStudio | Right: Illustration from in <a href="https://emmamuseum.fi/en/exhibitions/for-fashions-sake/" target="_blank">Espoo Museum of Modern Art</a>’s <i>For Fashion’s Sake </i>May 3 – September 3, 2017</span></div>
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<span style="font-size: xx-small;">Both illustrations are from an editorial for Muse Mag circa 2011.</span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-20934550458543261332019-01-27T15:12:00.003-05:002019-03-04T12:43:16.780-05:00Hair Highway<div class="separator" style="clear: both; text-align: center;">
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In 2014, the art collective <a href="https://www.studioswine.com/work/hair-highway/" target="_blank">Studio Swine</a> (Azusa Murakami and Alexander Groves) created a project called <b>Hair Highway</b>.<br />
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The project documented the billion-dollar hair market in Shangdon province of China using video to show the assemblage and processing of hair for the global market. Studio Swine then used hair from that system to create a collection of polished, resin-based luxury design objects. These included vessels, decorative boxes, combs, and furniture.<br />
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To create these items, strands of hair were laid in a thin layer and colored pine resin was poured over them. When the resin hardened, carpenters cut the material into sections and glue the colored pieces back together to fashion the items.<br />
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"Hair is one natural resource that is actually increasing globally," Groves said. "We knew that China imported the most amount of tropical hardwood from slow-growth forests across Africa, and we wanted to explore the possibility of using Chinese traditional crafts with a sustainable material."<br />
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On Studio Swine’s website, the intention for<b> Hair Highway</b> is made explicit. <br />
<blockquote class="tr_bq">
<i>“Hair Highway explores the potential of human hair beyond its wildly expanding role in the beauty industry. As the world’s population increases, human hair is re-imagined as an abundant and renewable alternative to diminishing resources such as tortoise shell or tropical wood. </i></blockquote>
<blockquote>
<i>Based around the notion of the ancient Silk Road, which transported not only silk but also technologies, aesthetics and ideas between East and West, Hair Highway explores the ideas of modern day cultural cross-overs in a collection of objects inspired by Qing dynasty and 1920’s Shanghai-Deco era.”</i></blockquote>
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<a href="http://1.bp.blogspot.com/-KcF4QrUu3l0/XE4H6D-cBmI/AAAAAAAAGJ0/kBX2MhXO7qQGpUPRQ5QU3nTnPyQckCSNgCK4BGAYYCw/s1600/140715_EYE_HairHighway5.jpg.CROP.promo-large2.jpg" imageanchor="1"><img border="0" height="228" src="https://1.bp.blogspot.com/-KcF4QrUu3l0/XE4H6D-cBmI/AAAAAAAAGJ0/kBX2MhXO7qQGpUPRQ5QU3nTnPyQckCSNgCK4BGAYYCw/s320/140715_EYE_HairHighway5.jpg.CROP.promo-large2.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Qrpx3_8l6kbwne6LyOyeFpkLO5BmL-0zYBBW8g0NEY4s7BjgeCwHwHj4NHPON23yQoWxPuDlwLXAkdygcT_jKxWLpFJxFL61vyNbQRw7ifCRIA9YKVXJsp4fN0gKLAIE4mc0vI6vhBw/s1600/140715_EYE_HairHighway3.jpg.CROP.promo-large2.jpg" imageanchor="1"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Qrpx3_8l6kbwne6LyOyeFpkLO5BmL-0zYBBW8g0NEY4s7BjgeCwHwHj4NHPON23yQoWxPuDlwLXAkdygcT_jKxWLpFJxFL61vyNbQRw7ifCRIA9YKVXJsp4fN0gKLAIE4mc0vI6vhBw/s320/140715_EYE_HairHighway3.jpg.CROP.promo-large2.jpg" width="320" /></a><br />
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Employing hair for design work is not new, with one famous example being its use by Victorians to craft items as mourning jewelry and sentimental wreathes. However, given the problems of hair collection in countries like India <span style="font-size: xx-small;">(1)</span>, this project feels a bit naïve in its straight celebration of the hair trade. That being said, the resin hair objects are quite beautiful and certainly evoke the aesthetics of the Deco-era.<br />
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Is it possible that if the atrocities conducted during the process of hair collection are resolved it could be used as a regenerative and ecologically sustainable material in this age of diminishing natural resources?<br />
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<span style="font-size: xx-small;">1. “There’s no shortage of stories of women and children being attacked for their hair — robbed by gun or knifepoint in Venezuela, India, South Africa, Ukraine, Myanmar, and elsewhere — and held down as thieves forcibly cut off their ponytails.” <a href="https://www.refinery29.com/en-us/2018/06/200036/human-hair-extensions-ethical-sourcing" target="_blank">Refinery29 06/2018</a></span><br />
<span style="font-size: xx-small;">or<span style="font-size: xx-small;"> see “Hair, Devotion and Trade in India,” by Eiluned Edwards in <i>Hair: Styling, Culture and Fashion</i> edited by Geraldine Biddle-Perry and Sarh Cheang, p159.</span></span><br />
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<span style="font-size: xx-small;"><span style="font-size: xx-small;">Images are from Swine Studio website as well as from <a href="https://www.designboom.com/design/studio-swine-hair-highway-07-01-2014/gallery/image/studio-swine-hair-highway-3/" target="_blank">Design Boom</a> article.</span></span><br />
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7216115776795270640.post-86007748758487423082018-07-04T11:32:00.000-04:002018-07-04T11:34:29.608-04:00Pink Combs and Brushes<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Sr5nRqiqQxY/WzzmY1LocSI/AAAAAAAAGDk/0hjvv3fJivox5PYZ3UEJNp0Y2JqIe60FACLcBGAs/s1600/2018-07_refugee-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1186" data-original-width="1600" height="474" src="https://3.bp.blogspot.com/-Sr5nRqiqQxY/WzzmY1LocSI/AAAAAAAAGDk/0hjvv3fJivox5PYZ3UEJNp0Y2JqIe60FACLcBGAs/s640/2018-07_refugee-1.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;">Photograph by Tom Kiefer, 2012. Via the <i>New York Times</i></span></div>
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For over 10 years Tom Kiefer, a Customs and Border Protection center janitor, <a href="https://www.nytimes.com/2018/07/02/arts/immigrant-belongings-border-photos.html" target="_blank">collected items</a> confiscated by Border Patrol agents from migrants crossing the United States border with Mexico.<br />
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Combs, brushes and mirrors were considered nonessential and possibly dangerous, he said. <br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-37644525324736800222018-07-04T11:22:00.001-04:002018-07-04T11:32:59.891-04:00Emotional Healing Through Hair<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUWFVVBieePUbfxagcZYRhqncxef7mrQNiVeg10Rw3yeNHW0qIFn_QL_4qXoW5HEQLE50mfx36_FO8vqHbWsFQZaYjQGDX7-Gktr-_7-Gh0BrR291iK31v5x4jJb7NFZ0zJLk3Jf06fo/s1600/2018-07_refugee-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUWFVVBieePUbfxagcZYRhqncxef7mrQNiVeg10Rw3yeNHW0qIFn_QL_4qXoW5HEQLE50mfx36_FO8vqHbWsFQZaYjQGDX7-Gktr-_7-Gh0BrR291iK31v5x4jJb7NFZ0zJLk3Jf06fo/s640/2018-07_refugee-2.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;">Photograph by Gabriella Angotti-Jones.</span></div>
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So many of us have been touched by the plight of mothers and
fathers being separated from their children after coming to the United States
seeking asylum. In New York, one story stands out. A Guatemalan woman named
Yeni Gonzalez was detained in Arizona, but her children were being held in New
York. Her bond was raised by a GoFundMe campaign, and her travel across the
country to be reunited with her children was facilitated by a relay of cars
taking her leg-by-leg over 2000 miles.“The day Ms. González was released, the women braided her hair and, defying orders not to touch or embrace, they lined up to hug her goodbye.”
The organizer of the GoFundMe page told reporters that more
than anything, Gonzalez can't wait to comb her little girl's hair. <span style="font-size: xx-small;">1. </span><br />
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The full story of her journey is recounted in this <a href="https://www.nytimes.com/2018/07/03/nyregion/migrant-mother-reunited-children.html">New York Times</a> story.<span style="font-size: xx-small;"> </span><br />
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<span style="font-size: xx-small;">1. https://patch.com/new-york/bushwick/s/gglk5/guatemalan-mom-reunites-with-kids-in-harlem-after-ice-separation
</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-32620633125707874562018-03-31T19:10:00.000-04:002019-03-04T12:43:46.562-05:00Banned Hair: The Case of Dreadlocks / Dredlocs<blockquote class="tr_bq">
<span style="font-family: "times new roman"; font-size: 12.0pt;">“Bob
Marley is the person who taught me to trust the universe enough to respect my
hair.” ~ Alice Walker </span></blockquote>
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<a href="https://2.bp.blogspot.com/-av2f3D7GLm8/WsAIOZYuCyI/AAAAAAAAGBQ/MGjyhyt4PoAGO7VlyGzK13T6bh0QK0WbwCLcBGAs/s1600/alice_waters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="624" height="424" src="https://2.bp.blogspot.com/-av2f3D7GLm8/WsAIOZYuCyI/AAAAAAAAGBQ/MGjyhyt4PoAGO7VlyGzK13T6bh0QK0WbwCLcBGAs/s640/alice_waters.jpg" width="640" /></a></div>
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In 2016 the 11th U.S. Circuit Court of Appeals <a href="https://www.essence.com/2016/09/20/judge-ban-dreadlocks-workplace-discrimination" target="_blank">ruled</a> that it was not discriminatory to make hiring and firing decisions based on whether someone has dreadlocks.<br />
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The suit, brought by the Equal Employment Opportunity Commission against Catastrophe Management Solutions, argued that dreadlocks are a “racial characteristic” and that using them to deny the hiring of someone is
inherently discriminatory and a violation of the Civil Rights Act of 1964’s Title VII.<br />
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The court of appeals ruled that hair is not an “immutable physical characteristic,” that a person’s appearance is, in
this respect, changeable and therefore not protected. I suppose this is true, seeing as today all sorts of folks can don a head of locs regardless of race or ethnicity. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUnMF4IIpZcJHhQDVLeP9G9atjiQhJhtmKrozCurGiMsprWOFLDHvO77vojkRYKzzPY9S2i6cCQIva7vH_xz8EV164nW3GsTo-979fiKERC0AjznCaRkv2jP3K4aTECG_P4RrkRPhPFNA/s1600/Sadhu_Va%25CC%2582ra%25CC%2582nasi%25CC%2582.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUnMF4IIpZcJHhQDVLeP9G9atjiQhJhtmKrozCurGiMsprWOFLDHvO77vojkRYKzzPY9S2i6cCQIva7vH_xz8EV164nW3GsTo-979fiKERC0AjznCaRkv2jP3K4aTECG_P4RrkRPhPFNA/s640/Sadhu_Va%25CC%2582ra%25CC%2582nasi%25CC%2582.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;">Image of a Sadhu in Varanasi, India, 2009. Via <a href="https://commons.wikimedia.org/wiki/File:Sadhu_V%C3%A2r%C3%A2nas%C3%AE.jpg" rel="nofollow" target="_blank">Wikimedia</a> by Pierre-Emmanuel BOITON</span></div>
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Matted hair is a feature of Hindu sadhus and also familiarly associated with Rastafari, who adopted the style in the 1950s as an authentic expression of their faith and to reinforce their non-conformist ideology.<b><span style="color: red;"><span style="font-size: xx-small;">1.</span></span></b> For the Rastafari, dredslocs were potent symbol of both one’s spiritual commitment and cultural resistance.<b><span style="color: red;"><span style="font-size: xx-small;">2.</span></span></b><br />
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<a href="https://2.bp.blogspot.com/-kqZxNTJ0eis/WsAINmKtPHI/AAAAAAAAGBo/0xUI89KG09QtFSahf5yl98OdZlhlVJ-cwCEwYBhgL/s1600/Anglea_Davis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1045" data-original-width="1600" height="417" src="https://2.bp.blogspot.com/-kqZxNTJ0eis/WsAINmKtPHI/AAAAAAAAGBo/0xUI89KG09QtFSahf5yl98OdZlhlVJ-cwCEwYBhgL/s640/Anglea_Davis.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;">Angela Davis. Photo by Andrew Stawicki, 1988, Toronto Star Archives</span></div>
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During the 1980s a number of prominent African Americans (such as Basquiat, Tracy Chapman, Angela Davis, Whoopi Goldberg, and Alice Walker) brought attention to the style, contributing to its adoption by the mainstream. There was pushback at the time to this “Americanization of dredlocs,” notably in a 1991 <i>Essence</i> editorial entitled “The Dreaded Decision” by Naadu Balnkson. Did the fashionability of dreds come at the expense of their religious and cultural significance? Criticism was leveled at black Americans for secularizing a religious practice, and at those outside the African American community for cultural appropriation.<b><span style="color: red;"><span style="font-size: xx-small;">3.</span></span></b>
<br />
<br />
This 2016 court decision shows that regardless of whether dredlocs are considered ‘mainstream’ or not, they continue to be used as an excuse to discriminate, harass, intimidate, and oppress.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSV4sChXiHBcjHUs4twRjrfYD8I7JNk1NHlSkrVa4dVmI4gh_6qgs2_uD6QFS_21Xbsy-_cubnDbJ4L0yKh0s4FI28AGDT3v69Ku3tKeDBo3AUee2S1o9kPN6jSBb_YVNt4GJ5hQ6liG4/s1600/Headdress2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="427" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSV4sChXiHBcjHUs4twRjrfYD8I7JNk1NHlSkrVa4dVmI4gh_6qgs2_uD6QFS_21Xbsy-_cubnDbJ4L0yKh0s4FI28AGDT3v69Ku3tKeDBo3AUee2S1o9kPN6jSBb_YVNt4GJ5hQ6liG4/s200/Headdress2.jpg" style="cursor: move;" width="158" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaBq4Me7FqN2sEvE2Rf8uY7LtCIPkPpCQ177EWVBU95YqV0IUbtZJ2II3v-dB_ZBzVuLkEbbWRz1l9uFM2D8VPVLrja5ehgd3b_ro4dtrGueZKz2chw5WlhcynfDUvwm5smDiyhUF1SYk/s1600/tignon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="312" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaBq4Me7FqN2sEvE2Rf8uY7LtCIPkPpCQ177EWVBU95YqV0IUbtZJ2II3v-dB_ZBzVuLkEbbWRz1l9uFM2D8VPVLrja5ehgd3b_ro4dtrGueZKz2chw5WlhcynfDUvwm5smDiyhUF1SYk/s200/tignon.jpg" width="145" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1ntuFNGd2Sw0BdA0TkWMG5kNvKFiC0kpguL5y_2YezUesu4JSxTgcsNISOmnoQJtoYhVcZY5xnXZbkSQKc53elz08nqK3TAi96V4kYetJIFfkJm6l4C0A6p5uzzH_tnnq2HqZK1EtdE/s1600/tignon2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="513" data-original-width="416" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1ntuFNGd2Sw0BdA0TkWMG5kNvKFiC0kpguL5y_2YezUesu4JSxTgcsNISOmnoQJtoYhVcZY5xnXZbkSQKc53elz08nqK3TAi96V4kYetJIFfkJm6l4C0A6p5uzzH_tnnq2HqZK1EtdE/s200/tignon2.jpg" width="161" /></a></div>
<div style="text-align: right;">
<span style="font-size: xx-small;">L: François Fleischbein, Portrait of Betsy (his housekeeper, a free woman of color), 1837. The Historic New Orleans Collection, 1985.212 / M: <a href="https://b-womeninamericanhistory19.blogspot.com/2009/05/tignon-laws-in-louisiana.html" target="_blank">Source</a> /<br />R: Jacques Guillaume Lucien Amans, <i>Creole in a Red Headdress,</i> circa 1840. The Historic New Orleans Collection, 2010.0306</span></div>
<br />
Afro hair has historically been demeaned -- an affront to white American culture. Laws against the public expression of natural, Afro hairstyles go back at least as far as the late 1700s in New Orleans, when women of African and multiracial heritage were banned from wearing their natural hair in public by Tignon laws.<span style="color: red;"><b><span style="font-size: xx-small;">4.</span></b></span> These sumptuary laws required Creole women to wear a headcovering (a tignon) and were implemented to curtail the growing influence of the free black population.<b><span style="color: red;"><span style="font-size: xx-small;">5.</span></span></b>
<br />
<br />
In <a href="https://scholarship.law.duke.edu/cgi/viewcontent.cgi?article=1119&context=djglp" rel="nofollow" target="_blank">The Hair Dilemma</a>, an academic paper published by the <i>Duke Journal of Gender Law & Policy</i> in 2007, the authors draw attention to other litigation around Afro hairstyles including McManus v. MCI Communications Corp. (2000), in which McManus, a Black woman, argued that she was fired for wearing her hair in braids and dreadlocks; Hollins v. Atlantis Co. (1999), in which the plaintiff who came to work with her hair in “finger waves” claimed that her employer’s policy prohibiting “eye catching” hairstyles was discriminatory; and Rogers v. American Airlines, Inc. (1981), where a Black woman was fired for wearing her hair in braids. “These cases demonstrate how “ethnic” hairstyles are not welcome in the corporate world.’<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-fv1D9yu6IHI/WsAIOh0HCyI/AAAAAAAAGBw/ptqZaWVWvP0ey_kH0F0T0jocBKhYGx9TACEwYBhgL/s1600/tiana.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" data-original-height="751" data-original-width="635" height="320" src="https://4.bp.blogspot.com/-fv1D9yu6IHI/WsAIOh0HCyI/AAAAAAAAGBw/ptqZaWVWvP0ey_kH0F0T0jocBKhYGx9TACEwYBhgL/s320/tiana.jpg" title="http://www.klassykinks.com/tiana-parker/" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="http://www.klassykinks.com/tiana-parker/">http://www.klassykinks.com/tiana-parker/</a></span>
</td></tr>
</tbody></table>
In 2013 seven-year-old Tiana Parker was sent home for coming to her Tulsa, Oklahoma school with dredlocs. The school claimed it went against their dress code, which stated, “hairstyles such as dreadlocks, afros, mohawks, and other faddish styles are unacceptable.”<br />
<br />
And in Tennessee, you must have a license (acquired at great time and cost) to braid hair or face stiff fines, as reported just this week at <a href="https://www.forbes.com/sites/instituteforjustice/2018/03/13/tennessee-has-fined-residents-nearly-100000-just-for-braiding-hair/#5984ad68174c" rel="nofollow" target="_blank">Forbes.com</a>. Author Minh-Ha T. Pham notes, “White designers like Marc Jacobs put fake dreadlocks on white models and make tons of money - all without permission - but Black women doing Black people's hair are being heavily fined for not having a license.”<br />
<br />
Such legislation and work/school policies shame and degrade women for their hair. This institutional racism can lead to internalized racism, whereby women are made to feel their Afro hair is unkempt or unattractive. In order to conform to Western hair ideals and white standards of beauty, these women endure chemical straighteners or expensive weaves or extensions.
<br />
<br />
<div class="MsoNormal">
However, social awareness can change policy. Tiana’s school <a href="https://www.today.com/parents/school-barred-7-year-olds-dreadlocks-changes-dress-code-policy-8C11122821" target="_blank">reversed their policy</a> shortly after the student transferred. And interestingly, while the Army has long outlawed dredlocs<span style="font-size: x-small;"> (<a href="https://www.army.mil/e2/c/downloads/337951.pdf" target="_blank">Army Regulation 670–1</a>, 2014 policy stating: Any style of dreadlock (against the scalp or free-hanging) is not authorized. Braids or cornrows that are unkempt or matted are considered dreadlocks and are not authorized)</span>, a <a href="http://s3.amazonaws.com/becketpdf/Army-Directive-2017-03-Policy-for-Brigade-Level-Approval-of-Certain-Requests-for-Religious-Accommodation.pdf" target="_blank">2017 Army directive</a> countered that prohibition with the following language:<br />
<div style="margin-left: 30px;">
Female soldiers may wear dreadlocks/locks in accordance with the guidance in
paragraph 3-2a(3)(f) for braids, cornrows, and twists.</div>
<br />
One Army Captain noted, via a <i><a href="https://www.nytimes.com/2017/02/10/us/army-ban-on-dreadlocks-black-servicewomen.html" target="_blank">New York Times</a></i> article, “It caused a lot of unnecessary stress. It was an exhausting 14 years.”<br />
<div style="margin-left: 30px;">
Even when she worked to stay within the regulations, there was constant scrutiny by higher-ups, she said, adding that black women felt as if they were “walking targets” because the regulations were subject to interpretation. </div>
</div>
<br />
But, without a doubt, written and unwritten rules about “grooming” and “dress codes” serve as means to discriminate and devalue Blackness. These rules have allowed schools, corporations, and even the United States military to distort social norms and limit the beauty of Blackness by condemning hairstyles such as cornrows, braids, twists, and dreadlocks.<br />
<br />
Hair “not only symbolizes the self but, in a very real sense, it <i>is</i> the self since it grows from and is part of the physical human body.”<span style="color: red;"><b><span style="font-size: xx-small;">6.</span></b></span><br />
<br />
<br />
<hr />
<span style="font-size: x-small;">1. Barry Chevannes in <i>Rastafari and Other African-Caribbean Worldviews</i>, Rutgers University Press, 1997, p77 and p82) <br />In the late 1940s a Rastafari group called the Youth Black Faith believed leaving hair uncombed was the truer reading of the scriptures. (The Nazarite Vow in the book of Numbers states: “'All the days of his vow of separation no razor shall pass over his head. He shall be holy until the days are fulfilled for which he separated himself to the LORD; he shall let the locks of hair on his head grow long.” http://biblehub.com/numbers/6-5.htm)<br />Chevannes asserts that Rastafari embraced dredlocs to maintain associations with the unkempt and outcast and in opposition to White and mainstream Jamaican cultural identity. Another historical interpretation is that dredlocs were adopted by Rastafari “out of admiration and reverence for the fearless resistance of the Kikuyu soldiers of the Mau Mau rebellion in Kenya.” (see <i>Hair Story</i> page 121)<br /><br />2. I use the spelling dredlocs over dreadlocks, in deference to those who ascribe the word’s derivation as being from the description of arriving slaves as “dreadful.” However, Chevannes explains that dreadlocks comes from The Dreadfuls (or the Warriors), named for those more aesthetic and disciplined. “The term <i>Dreadful</i> and <i>Warrior</i> reflected the manner in which the ascetics behaved: constantly ‘at war’ with the neglectful, in whom they inspired dread.” p84<br /><br />3. Ayana D. Byrd and Lori L. Tharps, <i>Hair Story: Untangling the Roots of Black Hair in America</i>, St. Martin’s Griffin, 2014, page 123.<br /><br />4. The word tignon, pronounced tiyon, was a regional term in New Orleans for headscarf. It derived from the French word <i>chignon</i> which, in the late 18th century, referred to a hairstyle where the hair was pulled back in twists or knots.<br /><br />5. The tignon laws were intended to “force the free women of color to symbolically reestablish their ties to slavery by wearing the kerchief, the garment traditionally worn by slave women to signify their status as workers. (<a href="https://books.google.com/books?id=HSKsSihlN7IC&pg=PA62&dq=sumptuary+laws+tignon&hl=en&sa=X&ved=0ahUKEwinstj8mOXZAhXRtlkKHVnKDToQ6AEILzAB#v=onepage&q=sumptuary%20laws%20tignon&f=false" target="_blank"><i>Plaçage</i> and the Louisiana <i>Gens de Couleur Libre</i>: How Race and Sex Defined the Lifestyles of Free Women of Color</a>” by Joan M. Martin in <i>Creole: The History and Legacy of Louisiana's Free People of Color</i> edited by Sybil Kein, p. 62.)<br /><br />6. Anthony Synnott, ‘Shame and Glory: A Sociology of Hair,’ <i>British Journal of Sociology</i>, 38 (3), p404.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-83101994925182807502017-04-09T11:26:00.000-04:002019-01-27T13:47:04.595-05:00The Art of the Wig<div style="text-align: center;">
“An undescript head of hair is the most difficult thing to accomplish.” </div>
<br />
Raffaele Mollica has been making wigs since the 1970s. <a href="https://nyti.ms/2p8xXiN" target="_blank"><i>The New York Times</i></a> stepped into his studio, where he weaves "the hair one strand at a time" to create pieces that sell for thousands of dollars. “It’s tremendous labor and all that labor is art.”<br />
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<br />
<div align="center">
<iframe allowfullscreen="true" frameborder="0" height="321" id="nyt_video_player" marginheight="0" marginwidth="0" scrolling="no" src="https://graphics8.nytimes.com/video/players/offsite/index.html?videoId=100000005023834" title="New York Times Video - Embed Player" width="480"></iframe></div>
<br />
<br />
In their accompanying piece about wig-making in New York City, <i><a href="https://www.nytimes.com/2017/04/07/nyregion/new-york-city-wigmakers.html" target="_blank">The New York Times</a></i> tells us about other <i>artistes</i>, such as Nicholas Piazza. It is the story of a fascinating but dying world – one that I have wondered about for some time because I have walk past the numerous, cubbyhole shops selling human hair in midtown for years.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizqcociHYxG8TNg1iwJfVvAK9-L9Q9OAzqwY5c5G7BpLlJ9y8YOzH3BvjE0I4mTRLeYgF0AfoKN0qavP28IFlVZJLqhcy9q2wNMlaNbGXUedkIMRdQ-nPc33O2qaJRfT97iqIT0hBuCWA/s1600/09WIGMAKERS1-superJumbo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizqcociHYxG8TNg1iwJfVvAK9-L9Q9OAzqwY5c5G7BpLlJ9y8YOzH3BvjE0I4mTRLeYgF0AfoKN0qavP28IFlVZJLqhcy9q2wNMlaNbGXUedkIMRdQ-nPc33O2qaJRfT97iqIT0hBuCWA/s400/09WIGMAKERS1-superJumbo.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="caption-text" style="background-color: white; color: #666666; font-family: , "georgia" , "times new roman" , "times" , serif; font-size: 13px; font-style: normal; font-weight: 300; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Wigs at Nicholas Piazza’s studio in Manhattan.</span><span style="background-color: white; color: #666666; display: inline; float: none; font-family: , "georgia" , "times new roman" , "times" , serif; font-size: 13px; font-style: normal; font-weight: 300; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span><span class="credit" itemprop="copyrightHolder" style="background-color: white; color: #999999; display: inline-block; font-family: , "georgia" , "times new roman" , "times" , serif; font-size: 0.6875rem; font-style: normal; font-weight: 400; letter-spacing: normal; line-height: 1rem; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="visually-hidden" style="border: 0px; clip: rect(0px 0px 0px 0px); height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Credit</span>Demetrius Freeman for The New York Times</span></td></tr>
</tbody></table>
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<br />
It's great to see the writer included the deeper, political story of hair by referencing the work of Emma Tarlo and the FTC's brief regulatory guidelines (1970-1995) on labeling hair.<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-61685595280423692582017-01-11T07:03:00.000-05:002017-01-11T07:03:01.991-05:00Fleas in My Hair<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjffAekPPVpA3MvAiJ6b107ppg_9P0N94gLqkEEjulLwsFzw7Jy0rKCT9CD1LBxLVUg6kK_qlzsmTyEG0wIPM3z_0cry2IHHkbs4Eo4QcW18Jr1Pf7thjJLg_63z52urBcuiJ_-Qwo801s/s1600/flea-hair-nurses1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjffAekPPVpA3MvAiJ6b107ppg_9P0N94gLqkEEjulLwsFzw7Jy0rKCT9CD1LBxLVUg6kK_qlzsmTyEG0wIPM3z_0cry2IHHkbs4Eo4QcW18Jr1Pf7thjJLg_63z52urBcuiJ_-Qwo801s/s640/flea-hair-nurses1.jpeg" width="492" /></a></div>
<div style="text-align: right;">
<span style="font-size: xx-small;">WWII U.S. Army Corp Nurses Washing Their Hair, 1945.<br />from the collection of U.S. Army nurse Joy Lillie at <a href="http://www.historygrandrapids.org/photo/1580/wwii-us-army-corp-nurses-washi" target="_blank">Grand Rapids.Historical Commission </a><br />"Joy went for 30 days without taking a bath when she first arrived."</span></div>
<div style="text-align: right;">
<span style="font-size: xx-small;"> </span></div>
</div>
<div style="text-align: center;">
<br />
<span style="font-size: large;">"I do not mind not washing for a week or more, but I do hate getting fleas in my hair." </span><br />
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
Clare Hollingworth, <br />
the war correspondent who broke the news of the outbreak of World War II, in her memoir. <br />
Ms. Hollingworth died at 105 on Tuesday, January 10, 2017. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-76794195934569447902016-07-17T15:56:00.000-04:002016-07-17T15:59:27.954-04:00Hair by Sam McKnightThere is another exhibition on hair coming. (I failed to write up the one in <a href="http://centraalmuseum.nl/en/visit/exhibitions/hair-human-hair-fashion-and-art/" target="_blank">Utrecht</a> earlier this year, but will one of these days....) This one, <i>Hair by Sam McKnight</i>, will feature fashion photographs!<br />
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<a href="https://1.bp.blogspot.com/-csonMGaTZTg/V4vcUed-7YI/AAAAAAAAFE0/TjEt3GphpasMmUMkgGk6KftJ88rFOb5rQCLcB/s1600/2016-07-sam-mcknight01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-csonMGaTZTg/V4vcUed-7YI/AAAAAAAAFE0/TjEt3GphpasMmUMkgGk6KftJ88rFOb5rQCLcB/s640/2016-07-sam-mcknight01.jpg" width="506" /></a></div>
<br />
The exhibition will be on view at the <a href="http://www.somersethouse.org.uk/visual-arts/hair-by-sam-mcknight" target="_blank">Somerset House</a> in London from 2 November 2016 – 12 March 2017. Here's the press release. Of course, I question the claim I've formatted in boldface below. I predict a bunch of fashion photos on the wall with some brief didactic text introducing the exhibition. Call me cynical.<br />
<br />
<blockquote class="tr_bq">
This autumn, Somerset House is proud to present <i>Hair by Sam McKnight</i>,
a major exhibition celebrating the master hairstylist’s remarkable 40
year career, from the late 1970s to the current day. An integral part of
the fashion industry, Sam has been instrumental in helping to develop
the images of Kate Moss, Linda Evangelista, Christy Turlington, Naomi
Campbell and Princess Diana among many others. He is one of the first
session stylists to have carved out a career solely within fashion,
having worked on hundreds of fashion editorial shoots, advertising
campaigns and catwalk shows. He has shot over 100 covers for British
Vogue alone, as well as numerous other magazines and worked with most
international fashion designers from Chanel to Vivienne Westwood.<br />
<br />
The exhibition will unveil the little-known creative process behind the
craft of hair styling within fashion and explore the relationships
between McKnight and key, long-term collaborators; photographers such as
Nick Knight and Patrick Demarchelier, models including Kate Moss,
Stella Tennant and Christy Turlington, stylist Lucinda Chambers, and
designer Karl Lagerfeld.<br />
<br />
This will be the first exhibition of its kind, <b>looking at hair from a
new perspective and contextualising its wider cultural significance and
the role of the session stylist within fashion.</b> It will include some of
the most iconic images in popular culture and some of fashion’s most
memorable looks, from Princess Diana’s short, slicked back style to
Madonna’s <i>Bedtime Stories</i>, and Tilda Swinton channelling David
Bowie, tracing different movements and hairstyles, from nostalgic to
androgynous, romantic to sexy, red to platinum, cataloguing the
transformative nature of hair within the image.<br />
<br />
Exhibiting pieces from Sam’s extensive archive, gathered over his 40
year career, the exhibition will feature photography, magazines, catwalk
and behind-the-scenes footage, private photographs and full outfit
looks as well as commissioned wigs and hairpieces. Grouped into thematic
sections, the exhibition will explore process, relationships and
collaboration, movement, transformation, the shoot and the catwalk.
Throughout the exhibition a visual timeline will trace not only Sam’s
career from the late 1970s to today, but also track changing styles
through time; exploring the relationship between fashion shoots and the
street in influencing contemporary hair styling.<br />
<br />
To be published at the same time as the exhibition, there will be a book by the same name, <i>Hair by Sam McKnight</i> with
texts by Tim Blanks, Alexander Fury, Amanda Harlech, Nick Knight,
Camilla Morton, Anna-Marie Solowij, Jerry Stafford and commentary by Sam
McKnight featuring images spanning his entire career. Richly
illustrated, it features photographs by leading fashion photographers
and styles commissioned by Vivienne Westwood, Balmain, Chanel, and many
others. A unique reference book that offers a glamorous tour through
the past forty years and a style bible for glorious looks, the book is
published by Rizzoli and priced at £35.00.<br />
<br />
The exhibition is curated by Shonagh Marshall and exhibition design is by Michael Howells.</blockquote>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-53554941165644071682016-07-02T12:58:00.002-04:002016-07-17T15:57:19.219-04:00Cutting Hair<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-lHMNoTZUt18/V3ftoyzSF9I/AAAAAAAAFBM/bDaEh72G08cE7x-MOfATG3hdY1rAuf5UACLcB/s1600/cutting-hair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-lHMNoTZUt18/V3ftoyzSF9I/AAAAAAAAFBM/bDaEh72G08cE7x-MOfATG3hdY1rAuf5UACLcB/s640/cutting-hair.jpg" width="500" /></a></div>
<div style="text-align: right;">
<span style="font-size: xx-small;">Photographer Wallace Kirkland - "Cutting hair" - 1947. Public domain image.</span></div>
<br />
Every summer from 1912 until 1963, children from the steamy and
congested streets of Chicago's Near West Side ran and played amidst the
wildflowers and trees at the Joseph T. Bowen Country Club. Located on 72
acres of forest, field, and ravine near Waukegan, Illinois, the Bowen
Country Club was the summer camp of the world famous Hull-House social
settlement house. Financed by philanthropist and social activist Louise
deKoven Bowen, the camp sought to provide a sojourn in the country as a
necessary antidote to the stresses of city life. Prominent Chicagoans
donated funds to build sleeping cottages and children and mothers were
invited to the camp for two-week rotations. Days were packed with
activities such as swimming in the camp's circular pool, team and
individual sports contests, classes in folk or rhythmic dance, games,
parties, and art lessons. After a hearty meal in the Commons dining
room, a campfire and sing-a-long often ended the day.<br />
<br />
~ Via <a href="http://collections.carli.illinois.edu/cdm/ref/collection/uic_bcc/id/516" target="_blank">University of Illinois at Chicago Library</a> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-67803637329064963832016-07-01T11:10:00.000-04:002016-07-15T12:58:32.782-04:00David HammonsWhile some of the best known works by artist David Hammons are ephemeral performances (like <a href="http://greg.org/archive/2013/08/06/stop_and_piss_david_hammons_pissed_off.html"><i>Pissed Off</i></a> <span style="font-size: x-small;">1981</span> or his <a href="http://www.moma.org/collection/works/127864?locale=en"><i>Body Prints</i></a> made by rolling his greased body on paper), Hammons spent a great deal of his career making art from found materials, including hair.<br />
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Hammons was one of a number of African-American artists creating assemblages in Los Angeles in the 1960s and '70s. (Others of note included Betye Saar and John Outterbridge.) Primarily using found materials, such as
discarded chicken bones or barber shop hair clippings, Hammons's work rejected the 'clean' aesthetic of <a href="http://www.theartstory.org/movement-minimalism.htm">American Minimalism</a> and embraced an aesthetics of refuse. <br />
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<img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNBNPHqtQbmeJjT5z5JOBOxa92XlIcJ5tnRWprlV6JveCuvaOMijWH8oT9mL_KW_5lEXNV4i9xIRHZOkD00mmIiPA2yXfGt7uJmHJK6K2N0HS51WrOeBs3UHxNWmdvQHEjuClvA2A43qY/s640/92.128a-u_hammons_imageprimacy_compressed_740_905.jpg" width="640" /></div>
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<span style="font-size: xx-small;"><i>Untitled</i> - 1992 - human hair, wire, metallic mylar, sledge hammer, <br />plastic beads, string, metal food tin, panty hose, leather, tea bags, and feathers<br />- Whitney Museum of Art, <a href="http://whitney.org/WatchAndListen/Tag?context=sculpture&play_id=429">92.128a-u</a></span></div>
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<i>"The artist has often been characterised as a sophisticated junk
dealer who breathes new life into paper bags, bottle caps, frizzy hair,
snowballs, rocks, broken appliances, old clothes, rugs, grease and
half-eaten ribs." <span style="color: magenta;"><span style="font-size: xx-small;">1.</span></span></i></blockquote>
The detritus Hammons collects is specifically selected "to evoke aspects, attitudes and sensibilities of black American culture.” <span style="color: magenta;"><span style="font-size: xx-small;">2.</span></span> His spider-like sculpture, <i>Untitled</i> <span style="font-size: x-small;">1992</span>, consists of African-American hair wrapped around wires, that emulate the look of dreadlocks. There is no actual body represented, only a reference to the body, created by amassing discarded, kinky hairs. Artists that utilize human hair in their work evoke, consciously or unconsciously, the uncanny by re-contextualizing something with which we are so intimately familiar.<br />
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<i>Pieces of hair inevitably fall beneath and around the work, evoking
natural processes of change and decay. Like much of Hammons’s art, </i>Untitled<i> summons an uncanny sensation of the strangeness that often lies just below the surface of the familiar. <span style="color: magenta;"><span style="font-size: xx-small;">3.</span></span></i> </blockquote>
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Hammons frequently uses the visual trope of hair as a marker of African American racial identity. This is evident in his rock heads, works that combine a head-sized stone with hair collected from the floors of black barbershops and affixed to the stone in a manner resembling a head of hair. Art historian Blake Gopnik notes that "in its obvious echoes of Brancusi’s smooth forms, it takes modernism’s Africa fetish and reclaims it for black America." <span style="font-size: x-small;"><span style="color: magenta;"><span style="font-size: xx-small;">4.</span></span> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhycPmgoz9fszfAU8UFHPxa3_urVomI9p_Wuk_KxUVspFKqfkJaBZKI-rsKB9x8sRvFE3VT2SwH6ypi2Sm5qcmbhKCo1gcX7VCG8gSL6bo81SsLflKOjE9LJ2C4e_Ls7voumUO6W85Rhg4/s1600/col-ham-01029copy_905.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhycPmgoz9fszfAU8UFHPxa3_urVomI9p_Wuk_KxUVspFKqfkJaBZKI-rsKB9x8sRvFE3VT2SwH6ypi2Sm5qcmbhKCo1gcX7VCG8gSL6bo81SsLflKOjE9LJ2C4e_Ls7voumUO6W85Rhg4/s400/col-ham-01029copy_905.jpg" width="337" /></a></div>
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<span style="font-size: xx-small;"> <i>Untitled</i> (Rock Head) - 1998 - stone, hair, and shoe polish container<br />- from the collection of the Fondation Cartier pour l’art contemporain, Paris </span></div>
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Much of Hammons's work circles around representation<span style="font-size: x-small;">,</span> addressing a "politics of visibility, of who and what can be seen and explained."<span style="color: red;"> </span>According to artist Lorraine O’Grady, “Hammons tries to make art in which white people can’t see themselves.” <span style="color: magenta;"><span style="font-size: x-small;"><span style="font-size: xx-small;">5.</span></span> </span> <br />
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<i>Old dirty bags, grease, bones, hair … it’s about us, it’s about me. It isn’t negative. We should look at these images and see how positive they are, how strong, how powerful. Our hair is positive, it’s powerful, look what it can do. There’s nothing negative about our images, it all depends on who is seeing it and we’ve been depending on someone else’s
sight … We need to look again and decide.</i> <span style="font-size: x-small;">~ David Hammons, 1977</span> <span style="color: magenta;"><span style="font-size: xx-small;">6.</span></span></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbLqh-as_W7wXzU6ufsdE6LZNBSnLMljiWE46iz3Iqrhj22JnxPxDMb1YWsFnKUqlYgqde3Z5sfCa3f9DNMWGik1beWEPsYdePWpHQ_mKisRWLv3VQ4AOngOdBG-viPg14fIFySpBypTI/s1600/risdm-Rock+Head%252C+2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbLqh-as_W7wXzU6ufsdE6LZNBSnLMljiWE46iz3Iqrhj22JnxPxDMb1YWsFnKUqlYgqde3Z5sfCa3f9DNMWGik1beWEPsYdePWpHQ_mKisRWLv3VQ4AOngOdBG-viPg14fIFySpBypTI/s400/risdm-Rock+Head%252C+2000.jpg" width="332" /></a></div>
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<span style="color: red;"><span style="font-size: xx-small;"> <span style="color: black;"><i>Rock Head - </i>2000 - stone, hair, metal stand - RISD Museum, <a href="http://risdmuseum.org/art_design/objects/1431_rock_head">2001.31.1</a></span><span id="goog_405614898"></span><span id="goog_405614899"></span> </span></span></div>
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If the hair on his rock heads clearly addresses racial identity, using hair on these balanced monoliths also nods to something more universal <i>—</i> the delicate dance of that which decays (the ephemeral) with that which appears to live on forever (the eternal).<br />
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While Hammons predominately employs hair for its symbolic, rather than personal, value <i>—</i> using African American hair from anonymous sources <i>—</i> in one of his earlier artworks, <i>Flight Fantasy</i> <span style="font-size: x-small;">1978</span>, he used his own hair to offer a "critique of the dislocation of the black body in American society." <span style="color: magenta;"><span style="font-size: xx-small;">7. </span></span><br />
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<span style="font-size: xx-small;"><i>Flight Fantasy</i> - 1978 - phonograph record fragments, hair, clay, plaster, feathers, bamboo, colored string. Walker Art Center, <a href="http://www.walkerart.org/collections/artworks/flight-fantasy">1995.24</a></span></div>
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Hammons's work often offers sight-gags <i>—</i> visual one-liners that riff off dominant cultural signifiers. "He's distorting all of these stereotypes to produce something which is a critique of the way this community has been seen." <span style="color: magenta;"><span style="font-size: xx-small;">8.</span></span> One of his most powerful works in this vein is <i>Hair Relaxer</i>, a visual pun that plays with ideas of power, privilege, art history, sex, and ideals of beauty. <br />
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In <i>Hair Relaxer, </i>African American hair rests-reclin<i>es-relaxes</i> on a recamier <i>—</i> an item of furniture associated with western European luxury, and by extension privilege and power. <span style="color: magenta;"><span style="font-size: xx-small;">9.</span></span> It's an ironic statement since the black struggle against oppression and injustice can
never rest. <i>Hair Relaxer</i> addresses many contested positions for African Americans in art history, culture, and society. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwZIaJ0BTVlTdkzVWl_qQ_MR6JP5U-XjlLT43w9ZXZU34mKufHIMPwFxrah7-iZCsiUa9BYZSWypGTSGompke0r0Xxhi4APlQBbs8nWnRlXYl5XQG3SRVJhVw1Fj3mICoZKkli_MrQsAA/s1600/Hair+Relaxer%252C+1998.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwZIaJ0BTVlTdkzVWl_qQ_MR6JP5U-XjlLT43w9ZXZU34mKufHIMPwFxrah7-iZCsiUa9BYZSWypGTSGompke0r0Xxhi4APlQBbs8nWnRlXYl5XQG3SRVJhVw1Fj3mICoZKkli_MrQsAA/s1600/Hair+Relaxer%252C+1998.jpg" /></a></div>
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<span style="font-size: xx-small;"> <i>Hair Relaxer,</i> 1998 - chaise-longue and human hair.</span></div>
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This item of furniture also recalls a specific painting by Jacques-Louis David<i>—</i>a painting of <a href="https://en.wikipedia.org/wiki/Portrait_of_Madame_R%C3%A9camier">Juliette Récamier</a> who was considered one of the great beauties of her day.
The painting, from 1800 depicts Juliette reclining on a divan and epitomized an ideal of feminine elegance. It inspired painters and poets, and came to be riffed-on by artists, such as <a href="http://www.gallery.ca/en/see/collections/artwork.php?mkey=45518">Magritte</a> and Manet, in particular. <span style="color: magenta;"><span style="font-size: xx-small;">10.</span></span> In ironic homage, Manet's <i>Olympia</i> <span style="font-size: x-small;">1863</span> was famously provocative for the sexually aggressive gaze of its reclining odalisque, despite how she hid her public hair with her hands (<a href="http://hairisforpulling.blogspot.com/2011/08/art-snatch.html">addressed in an earlier blog post</a>). Hammons joins the art-historical-parody party, arranging curly hairs in the seam of the recamier <i>—</i> down its crack, so-to-speak—playing with the cultural inappropriateness of publicly visible pubic hair.<br />
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But <i>Hair Relaxer </i>is far more than part part of an art-historical running joke about beauty ideals. African
Americans have long endured exorbitant pain trying to accommodate Caucasian standards of beauty. Hair
straightening treatments (relaxers) use toxic lye and cause great pain and suffering.<br />
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<i>I endured all of that pain, literally burning my flesh to have it look like a white man’s hair. I had joined the multitude of Negro men and women in America who are brainwashed into believing that the black people are “inferior” — and white people “superior” — that they will violate and mutilate their God-given bodies to try and look “pretty” by white standards.</i> ~ Malcolm X <span style="color: magenta;"><span style="font-size: xx-small;">11.</span></span></blockquote>
Like most of David Hammons's artworks, <i>Hair Relaxer</i> works on many parallel tracks to address a shared black experience and situate it against and within both black and white cultures. Hammons "works off familiar, highly charged iconography ... and his puns conjure up some
of the more contradictory and even painful aspects of contemporary black
life." <span style="color: magenta;"><span style="font-size: xx-small;">12.</span></span> <br />
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In a 1986 interview, the art historian Kellie Jones asked David Hammons why he makes art. Because, Mr. Hammons offered, art is about symbols and “outrageously magical things happen when you mess around with a symbol.” <span style="color: magenta;"><span style="font-size: xx-small;">13. </span></span> Hair, which is imbued with magical properties from cultures throughout time and place, is a significant medium for Hammons and serves as a versatile fiber for art-making.<br />
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For further reading about David Hammons, I invite you to explore the Mnuchin Gallery website, where the recent exhibition, <i>Five Decades</i> (March 15 - May 27, 2016) generated many <a href="http://www.mnuchingallery.com/exhibitions/david-hammons_1" target="_blank">articles about the artist</a> and his body of work. <br />
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<span style="font-size: x-small;">1. Coco Fusco, “Wreaking Havoc on the Signified”, <a href="http://www.frieze.com/article/wreaking-havoc-signified">Frieze online</a>, May 7, 1995.<br />2. ibid.</span><br />
<span style="font-size: x-small;">3. Collections record from the <a href="http://collection.whitney.org/object/8275">Whitney Museum of Art</a>.</span><br />
<span style="font-size: x-small;">4. <span style="font-size: xx-small;">Blake Gopnik on Art, <a href="http://blakegopnik.com/post/87896510326" target="_blank">Tumbr</a>, </span><span style="font-size: xx-small;">Jun 5, 2014.</span></span><br />
<span style="font-size: x-small;">5. From </span><span style="font-size: x-small;">Andrew Russeth, “Looking at Seeing: David Hammons and the Politics of Visibility”, </span><span style="font-size: x-small;"><span style="font-size: x-small;"><a href="http://www.artnews.com/2015/02/17/david-hammons-and-the-politics-of-visibility/" target="_blank">ARTnews</a>, </span>February 17, 2015.</span><br />
<span style="font-size: x-small;">6. From the label text from the exhibition <i>Art in Our Time: 1950 to the Present</i>, <a href="http://www.walkerart.org/collections/artworks/flight-fantasy" target="_blank">Walker Art Center</a>, September 5, 1999 to September 2, 2001.</span><br />
<span style="font-size: x-small;">7. From the label text for David Hammons, <i>Flight Fantasy</i> (1978), from the exhibition <i>Black History Month</i>, <a href="http://www.walkerart.org/collections/artworks/flight-fantasy" target="_blank">Walker Art Center</a>, February 1999.</span><br />
<span style="font-size: x-small;">8. Philippe Vergne, curatorial comment, <a href="http://www.walkerart.org/collections/artworks/flight-fantasy" target="_blank">Walker Art Center</a>, September 1999. </span><br />
<span style="font-size: x-small;">9. Other names for this item of furniture are a divan or a chaise lounge. </span><br />
<span style="font-size: x-small;">10. </span><span style="font-size: x-small;"><span style="color: black;"><span style="font-size: x-small;">Philippe Segalot, <a href="https://issuu.com/phillipsdepury/docs/cb_ny_nov_final/58" target="_blank">Carte Blanche</a>, Phillips auction house, November 8, 2010. </span> </span><br />11. </span><span style="font-size: x-small;">Malcolm X, <i>The Autobiography of Malcolm X</i><span style="color: magenta;"></span>, New York 1965, p. 64.</span><br />
<span style="font-size: x-small;">12. </span><span style="font-size: x-small;">Coco Fusco, “Wreaking Havoc on the Signified”, <a href="http://www.frieze.com/article/wreaking-havoc-signified">Frieze online</a>, May 7, 1995.</span><br />
<span style="font-size: x-small;">13. Holland Cotter, "David Hammons Is Still Messing With What Art Means", <i><a href="http://www.nytimes.com/2016/03/25/arts/design/david-hammons-is-still-messing-with-what-art-means.html" target="_blank">New York Times</a>,</i> March 24, 2016 </span><br />
<br />Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-7216115776795270640.post-41588787016005365792016-06-17T12:31:00.000-04:002016-06-18T16:41:11.636-04:00Bygone Beehive My husband says everything great and wonderful comes out of Chicago. Hometown pride, of course. So it wouldn't surprise him at all to learn that the beehive was the creation of a Chicagoan, Margaret Vinci Heldt, who <a href="http://www.nytimes.com/2016/06/14/us/margaret-heldt-hairdresser-who-built-the-beehive-dies-at-98.html">passed away</a> Friday, June 10 at the age of 98.<br />
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<a href="https://www.flickr.com/photos/dotpolka/7938665/in/photolist-GFTx-4LU3Wp-vKVLk-8GtjSx-3QkLT-jRa8H-2BdVs4-H8eLye-5JzZR-jAR3G-dnYcrS-e7ot4o-8RneEX-84jLZo-nW2m77-75o88P-ythYN-mWafR-b4AC9-7X7sQ4-4yY643-492io-nxFawo-bS9wzg-9Zc4nv-dbd3Xy-9uk4xM-8hDBht-cVwAjw-ag3x8p-6j3hJ-oTGqdt-yti5Y-3Q5rp-492kv-8DiQPk-jEXya-9ei5Q4-6zqCyk-NuqJA-ythPM-74e9jM-7KCMJK-8jCRuY-6roMdQ-jRaEo-mWah2-7GA4xW-ytics-JS7tZ" target="_blank"><img alt="https://www.flickr.com/photos/dotpolka/7938665/in/photolist-GFTx-4LU3Wp-vKVLk-8GtjSx-3QkLT-jRa8H-2BdVs4-H8eLye-5JzZR-jAR3G-dnYcrS-e7ot4o-8RneEX-84jLZo-nW2m77-75o88P-ythYN-mWafR-b4AC9-7X7sQ4-4yY643-492io-nxFawo-bS9wzg-9Zc4nv-dbd3Xy-9uk4xM-8hDBht-cVwAjw-ag3x8p-6j3hJ-oTGqdt-yti5Y-3Q5rp-492kv-8DiQPk-jEXya-9ei5Q4-6zqCyk-NuqJA-ythPM-74e9jM-7KCMJK-8jCRuY-6roMdQ-jRaEo-mWah2-7GA4xW-ytics-JS7tZ" border="0" height="640" src="https://4.bp.blogspot.com/-_ZEpu6TJP8k/V1_1v8SPXpI/AAAAAAAAE-M/yWCvZlTjRxI_WBeMWhGY8m_XtwF4orOMACLcB/s640/7938665_0570fde81d_o.jpg" width="426" /><span id="goog_1809462989"></span></a><span id="goog_1809462990"></span></div>
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<span style="font-size: xx-small;"> dotpolka - <i>beehive</i> - 2005 -Flickr / <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/" target="_blank">CC BY-NC-ND 2.0</a> unmodified</span></div>
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<a href="http://chicago.suntimes.com/news/margaret-vinci-heldt-creator-of-lofty-beehive-hairdo-dies-at-98/" target="_blank"><img alt="http://chicago.suntimes.com/news/margaret-vinci-heldt-creator-of-lofty-beehive-hairdo-dies-at-98/" border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRL1ZPYjZ_3KkuNtDHfccVhtxC4GrIbFIxlIHJq1CsHgo8NtZRaymQ03FJ2WHxjYB8PpGabrYOnxjk11XXuYu9n8_Sy4AzCmNm1agTNen-Njb09r_BqLgV8mdeZeZWCb6ewy-U_XC-AKk/s640/xvinciheldt1.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;">Caryn Rousseau/Associated Press</span></div>
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Margaret invented the beehive in 1960, when she was asked by <i>Modern Beauty Shop </i>magazine to create a look to mark the new decade. The bouffant was already a popular style for women, but Heldt's beehive took the bouffant to new heights. <br />
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'They told me: "We want you to come up with something really different."' Her invention was published in the February, 1960 issue.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWcyT-Al82HtYUdOCHRKavKIMSZxxp6bAGjB5nbaJyqd3e5wD_Uv4ATpLqR32dE5az-J3NJguyPn2WRdcwqTKu_srBRUVjAKaz-N9xCupeh3yxnUFVhmoDLRs_tNZNBhKqs5-IMj49ys/s1600/Vinci-Heldts-beehive-featured-in-February-1960-issue-of-Modern-Beauty-Salon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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<a href="http://blog.chicagohistory.org/index.php/2012/09/chicago-created-the-beehive/" target="_blank"><img alt="http://blog.chicagohistory.org/index.php/2012/09/chicago-created-the-beehive/" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWcyT-Al82HtYUdOCHRKavKIMSZxxp6bAGjB5nbaJyqd3e5wD_Uv4ATpLqR32dE5az-J3NJguyPn2WRdcwqTKu_srBRUVjAKaz-N9xCupeh3yxnUFVhmoDLRs_tNZNBhKqs5-IMj49ys/s400/Vinci-Heldts-beehive-featured-in-February-1960-issue-of-Modern-Beauty-Salon.jpg" width="278" /></a><a href="https://2.bp.blogspot.com/-GrdoGBJAbdc/V2QL22vTvyI/AAAAAAAAE_M/2por-0oPyKAhk4PW3aIqbYQsF7-hsFwSACLcB/s1600/1.573574feb60.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-GrdoGBJAbdc/V2QL22vTvyI/AAAAAAAAE_M/2por-0oPyKAhk4PW3aIqbYQsF7-hsFwSACLcB/s320/1.573574feb60.jpg" width="232" /></a></div>
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The beehive, nor the bouffant, could have been possible without the postwar invention of aerosol hair spray. The hairstyle requires backcombing the hair and setting it. <a href="http://www.dailymail.co.uk/femail/article-1343664/Oh-beehive-Meet-woman-created-buzz-inventing-Sixties-hairdo.html" target="_blank">According to Heldt</a>, it was a salon favorite because "it would hold its shape for a week between appointments." <br />
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“I started building up height from a basic updo by winding hair over Pepsi cans, back-combing at first and then – inspiration, I spiraled a layer of hair smoothly around the form. This was then followed by a major session of hair spraying to hold it all in place.” <span style="font-size: xx-small;"><a href="http://glamourdaze.com/2015/12/when-beehive-hairdos-ruled-the-earth.html">Glamourdaze.com</a></span> </blockquote>
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<a href="http://blog.chicagohistory.org/index.php/2012/09/chicago-created-the-beehive/" target="_blank"><img alt="http://blog.chicagohistory.org/index.php/2012/09/chicago-created-the-beehive/" border="0" height="640" src="https://1.bp.blogspot.com/-HHBfxVCAD_U/V2QiVnxI1eI/AAAAAAAAFAc/mmeYF7qM67g5Nu-vaMVTZ1EJ-PCzNI1aQCLcB/s640/Unexpected005.jpg" width="456" /></a></div>
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<a href="http://www.dailymail.co.uk/femail/article-1343664/Oh-beehive-Meet-woman-created-buzz-inventing-Sixties-hairdo.html" target="_blank"><img alt="http://www.dailymail.co.uk/femail/article-1343664/Oh-beehive-Meet-woman-created-buzz-inventing-Sixties-hairdo.html" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUzV29G03VIOKVUW4VKFtcCKW1wRMnx6gAx0Ey5kyqT8Y8mTHYxpCxb92KJBeI-mHVYleOvpd0rscp63l8ner72ZkeU2eFkfvWknkTN7C6A_UgeG5DpuC9HCSwA-LbbhYY4APfBmoEPHU/s1600/article-1343664-0CA2C0CC000005DC-373_306x387.jpg" /></a></div>
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<span style="font-size: xx-small;">Via <a href="http://www.dailymail.co.uk/femail/article-1343664/Oh-beehive-Meet-woman-created-buzz-inventing-Sixties-hairdo.html" target="_blank">Daily Mail UK</a></span></div>
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What's so interesting is that the hair-do was not inspired by the honeycomb house for bees, but rather by a hat – a black, velvet fez-style cap.<br />
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“I always would look at that little hat and say ‘Someday, I’m going to create a hairstyle that would fit under the hat, and when you take the hat off, the hairstyle would be there.’”<span style="font-size: xx-small;"> <i><a href="http://www.nytimes.com/2016/06/14/us/margaret-heldt-hairdresser-who-built-the-beehive-dies-at-98.html">New York Times </a></i></span></blockquote>
The cap was decorated with two beads resembling bees, and the hairstyle was ultimately named by the magazine's editor who felt the bee beads fit the 'do. While that hat has yet to make its way to a museum, Heldt's “Lady Bee” hair mannequin is in the collection of the <a href="http://blog.chicagohistory.org/index.php/2012/09/chicago-created-the-beehive/" target="_blank">Chicago History Museum</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHCC4ga4EHg1TLtPzQQJHlXS68NQMNVRklT-jy0a23QXn9SjQeok7naaUrIIHGIKflbPMWFwoMztAQ-zCtUyCiv_PCkpeLvPcznqsd7lm8s9Sot4T38AjUqF-X4hI6hGZA766F5py_AZA/s1600/Unexpected0101.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHCC4ga4EHg1TLtPzQQJHlXS68NQMNVRklT-jy0a23QXn9SjQeok7naaUrIIHGIKflbPMWFwoMztAQ-zCtUyCiv_PCkpeLvPcznqsd7lm8s9Sot4T38AjUqF-X4hI6hGZA766F5py_AZA/s640/Unexpected0101.jpg" width="524" /></a></div>
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The hairstyle might have germinated in Chicago, but it certainly became an international sensation.<br />
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<a href="https://4.bp.blogspot.com/-igIi-cskATw/V2QR7Sc7peI/AAAAAAAAE_c/kcbwO364EKIXrOakiHjHFjvtdUBD9Pl0gCLcB/s1600/2997bbb12342e7385f76a6413c5cb774.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-igIi-cskATw/V2QR7Sc7peI/AAAAAAAAE_c/kcbwO364EKIXrOakiHjHFjvtdUBD9Pl0gCLcB/s400/2997bbb12342e7385f76a6413c5cb774.jpg" width="312" /></a><a href="https://3.bp.blogspot.com/-ypEscjQAZ4c/V2QR71yC79I/AAAAAAAAE_w/qzoRsuJ4gt8OvuTnhE3epABeRx3XqlqwgCKgB/s1600/ronettes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-ypEscjQAZ4c/V2QR71yC79I/AAAAAAAAE_w/qzoRsuJ4gt8OvuTnhE3epABeRx3XqlqwgCKgB/s400/ronettes.jpg" width="246" /></a></div>
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<span style="font-size: xx-small;"> L: Dusty Springfield, 1966 NME Pollwinners Concert / R: Ronettes, 1963</span></div>
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<a href="https://2.bp.blogspot.com/-3zRgDusk3wc/V2Qe3QVhjHI/AAAAAAAAFAE/k2qFYLzdTCMD_tKP9xkmxUsubBHw0eTvwCLcB/s1600/o-AUDREY-HEPBURN-570.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-3zRgDusk3wc/V2Qe3QVhjHI/AAAAAAAAFAE/k2qFYLzdTCMD_tKP9xkmxUsubBHw0eTvwCLcB/s640/o-AUDREY-HEPBURN-570.jpg" width="480" /></a></div>
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<span style="font-size: xx-small;"> Audrey Hepburn, <i>Breakfast at Tiffany's</i>, 1961</span></div>
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7216115776795270640.post-63719027617849319202016-06-11T16:58:00.000-04:002016-06-18T09:16:18.633-04:00Artistic hair cut<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmK2ajajcxkOh1dMlH6hetqwuDpYGPIzjl8Ctn1N9npo0vulz8IxGfX9doQMnpvfaP_1H3TBO78her_BLKnYGcIZ9zjLJiVZRHNwjlUlhHF3vpZqwey2xNqVAPalZ63QBPkcJqQIo_yGM/s1600/AAA_polljack_6304.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmK2ajajcxkOh1dMlH6hetqwuDpYGPIzjl8Ctn1N9npo0vulz8IxGfX9doQMnpvfaP_1H3TBO78her_BLKnYGcIZ9zjLJiVZRHNwjlUlhHF3vpZqwey2xNqVAPalZ63QBPkcJqQIo_yGM/s640/AAA_polljack_6304.jpg" width="640" /></a></div>
Jackson Pollock cutting his father's hair, 1927. From the <a href="http://www.aaa.si.edu/collections/items/detail/jackson-pollock-cutting-his-fathers-hair-3865">Archives of American Art.</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-58048509389882593842016-03-08T17:58:00.003-05:002016-06-18T09:16:44.086-04:00Hair Extensions ~ '50s StyleThe 1950s did colored hair extensions too, you know.....What fun!<br />
"It all goes to show, a woman's hair is her crowning glory"
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Hair Extensions Back On 50s<br />
Posted by <a href="https://www.facebook.com/all.about.fashion.world/">Fashion World Magazine</a> on Tuesday, October 6, 2015</blockquote>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7216115776795270640.post-45566371171025678792016-01-10T17:47:00.000-05:002016-06-18T09:17:00.986-04:00Pétrole Hahn Hair Tonic <div class="separator" style="clear: both; text-align: center;">
<a href="http://www.prodimarques.com/sagas_marques/petrole-hahn/petrole-hahn.php">Pétrole Hahn</a> hair tonic was sold beginning in 1885. </div>
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Here are some of their art deco and other vintage print ads.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Q-cvJrKBv-frWIzzd-IpbbemmA2eeidQadjnfEatU1g0FRpzUIoN9lYT6y5Ezi_AreEmxZb6Wd53A3wTqNGTj2z2XqOE8FUTh_mVyYC5nzN3fb2ovci1y_lUkVrZQ4URGUgojrVlEPQ/s1600/Pe%25CC%2581trole_HAHN.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Q-cvJrKBv-frWIzzd-IpbbemmA2eeidQadjnfEatU1g0FRpzUIoN9lYT6y5Ezi_AreEmxZb6Wd53A3wTqNGTj2z2XqOE8FUTh_mVyYC5nzN3fb2ovci1y_lUkVrZQ4URGUgojrVlEPQ/s640/Pe%25CC%2581trole_HAHN.jpg" width="640" /></a> </div>
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<span style="font-size: xx-small;">Pétrole Hahn advertisement, <i>L’Illustration</i>, February 9, 1918, page 2. <a href="https://commons.wikimedia.org/wiki/Template:PD-1923" target="_blank">Public domain image</a>. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuQXvdMVwBt75r_RLHTUZ5j8dgWU84xa1DF5nUzTXKScKoVkuxKa-TPcBroc9YcKTu8X2z9_eDouYpRqycbyIB5tFdZWoy-D-HKixwJ7leUEkPYUE_-GrvHDAm2mslzEFCvXNGxdOhSmQ/s1600/Advertisments%2527s+artwork+titled+Petrole+Hahn+Hair+Designs+%25231.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuQXvdMVwBt75r_RLHTUZ5j8dgWU84xa1DF5nUzTXKScKoVkuxKa-TPcBroc9YcKTu8X2z9_eDouYpRqycbyIB5tFdZWoy-D-HKixwJ7leUEkPYUE_-GrvHDAm2mslzEFCvXNGxdOhSmQ/s640/Advertisments%2527s+artwork+titled+Petrole+Hahn+Hair+Designs+%25231.jpg" width="612" /></a></div>
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<span style="font-size: xx-small;">Pétrole Hahn advertisement, from </span><span style="font-size: xx-small;"><span style="font-size: xx-small;"><i>Les Feuillets d'Art</i>, </span>1920.</span></div>
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<a href="http://2.bp.blogspot.com/-vMgIRaQJc04/VpKzJCW2bGI/AAAAAAAAEKw/ke4OtkDM1S4/s1600/Ad-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-vMgIRaQJc04/VpKzJCW2bGI/AAAAAAAAEKw/ke4OtkDM1S4/s640/Ad-.jpg" width="443" /></a></div>
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<span style="font-size: xx-small;">Pétrole Hahn advertisement, pochoir from <i>Les Feuillets d'Art</i></span><span style="font-size: xx-small;"><span style="font-size: xx-small;">, </span>1920.</span><br />
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<a href="http://1.bp.blogspot.com/-xJgadcseY_A/VpLbP1aU-_I/AAAAAAAAEMw/k0_aaQRAONk/s1600/charles-martin-le-pe%25CC%2581trole-hahn-arre%25CC%2582te-la-chute-des-cheveux.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-xJgadcseY_A/VpLbP1aU-_I/AAAAAAAAEMw/k0_aaQRAONk/s1600/charles-martin-le-pe%25CC%2581trole-hahn-arre%25CC%2582te-la-chute-des-cheveux.jpg" /></a></div>
<span style="font-size: xx-small;"><span style="font-size: xx-small;">Pétrole Hahn advertisement, “arrête la chute des cheveux,” illustration by <a href="https://fr.wikipedia.org/wiki/Charles_Martin_%28dessinateur%29">Charles Martin</a>, unknown date. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSAbet_Qzq80PpYEbQ0g1qOJh9_C0Bjq7c9I6TyfG8anmDJN3pjB53IlWcW_yniMlxMtBUoa3R0LBOnDLZKRSkZkJ-ZGHxrkWFg9n1QYnUZd4U4wuZqf159VZZHI4goDfiMrMhMitoGFo/s1600/il_570xN.863510768_kwhb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSAbet_Qzq80PpYEbQ0g1qOJh9_C0Bjq7c9I6TyfG8anmDJN3pjB53IlWcW_yniMlxMtBUoa3R0LBOnDLZKRSkZkJ-ZGHxrkWFg9n1QYnUZd4U4wuZqf159VZZHI4goDfiMrMhMitoGFo/s640/il_570xN.863510768_kwhb.jpg" width="476" /></a></div>
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<span style="font-size: xx-small;">Pétrole Hahn advertisement, <i>L’Illustration</i>, December 6, 1930.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivOavI5W8H0sGlJgSE1SYRrFzps8HBkyxRh9s46tSBDLcfjQc9L_AHUGG36joD4QnAtcYWcGKY0FakD0LSnSZg2qgqKMf6WMksn9DOoxPyHzKCugT9j5QnE1Q_t8m7Zefbk0hs3yU7-eE/s1600/0628c939bdb4380d67b030bcc831f404.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivOavI5W8H0sGlJgSE1SYRrFzps8HBkyxRh9s46tSBDLcfjQc9L_AHUGG36joD4QnAtcYWcGKY0FakD0LSnSZg2qgqKMf6WMksn9DOoxPyHzKCugT9j5QnE1Q_t8m7Zefbk0hs3yU7-eE/s640/0628c939bdb4380d67b030bcc831f404.jpg" width="473" /></a></div>
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<span style="font-size: xx-small;"><span style="font-size: xx-small;">Pétrole Hahn advertisement, designed by <a href="http://www.antiques.com/classified/Art--paintings--prints--frames-/Vintage-Posters/ART-DECO-POSTER-1930-PETROLE-HAHN-WILQUIN-CLASSIC-BEAUTY">Andre Wilquin</a>, circa 1930.</span> </span></div>
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<a href="http://1.bp.blogspot.com/-tAhGBQv93KY/VpK34fpjK1I/AAAAAAAAEK8/jiDcDskvISc/s1600/81776_zoom_2015-11-21T0125.jpg.1000x1000_q85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="536" src="https://1.bp.blogspot.com/-tAhGBQv93KY/VpK34fpjK1I/AAAAAAAAEK8/jiDcDskvISc/s640/81776_zoom_2015-11-21T0125.jpg.1000x1000_q85.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;"><span style="font-size: xx-small;">Ellen Auerbach, Grete Stern, Studio Ringl & Pit, <i>Pétrole Hahn</i>, 1931. <br />Collection <a href="https://www.sfmoma.org/artwork/83.35" target="_blank">SFMOMA</a>. © Ringl & Pit, courtesy Robert Mann Gallery. (1)</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2TOBKMKYyyGrD-UFpP1OmE1Ndqo9F4LQY4j_o53WZBpYfcpNTVCiHpMILe9W3TVl1a3alMUzlltgVupJwUMWQQ5B9pMbvfGa6yKQpfykuCROt3ZI3FChAP7-wGxircIse6nbMnZG7ba8/s1600/dora-maar-petrol-hahn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2TOBKMKYyyGrD-UFpP1OmE1Ndqo9F4LQY4j_o53WZBpYfcpNTVCiHpMILe9W3TVl1a3alMUzlltgVupJwUMWQQ5B9pMbvfGa6yKQpfykuCROt3ZI3FChAP7-wGxircIse6nbMnZG7ba8/s1600/dora-maar-petrol-hahn.jpg" /></a></div>
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<span style="font-size: small;"> </span><span style="font-size: xx-small;"><a href="https://en.wikipedia.org/wiki/Dora_Maar" target="_blank">Dora Maar</a> and Pierre Kefer, "Étude publicitaire pour Pétrole Hahn." Original silver gelatin glass negative plate.<br />Centre Pompidou, Musée National d’Art Moderne, 1934. (2)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQgbawfwKWKyseDXzWMYLHpowH8ICmXD7xBJvlRBGFe5qTr8c7ZBVQxRIvH9kQSPr41FjlJmQJmoROI7yFAfCuIIaz_soZxqoseJrq9z4VxPjO9Tnpf1vhn37Hnb1UHBs0V3yk5UJv_CY/s1600/1e57a4de-ba2b-4509-8ca2-2100cd0eac3a_g_570.Jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQgbawfwKWKyseDXzWMYLHpowH8ICmXD7xBJvlRBGFe5qTr8c7ZBVQxRIvH9kQSPr41FjlJmQJmoROI7yFAfCuIIaz_soZxqoseJrq9z4VxPjO9Tnpf1vhn37Hnb1UHBs0V3yk5UJv_CY/s1600/1e57a4de-ba2b-4509-8ca2-2100cd0eac3a_g_570.Jpeg" /></a></div>
<span style="font-size: small;"> </span><span style="font-size: xx-small;"><a href="https://en.wikipedia.org/wiki/Dora_Maar" target="_blank">Dora Maar</a>, </span><span style="font-size: xx-small;"><span style="font-size: xx-small;">ferrotyped</span>, </span><span style="font-size: xx-small;"><span style="font-size: xx-small;">1935</span>. (3)</span><br />
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<span style="font-size: xx-small;">1. The Jewish Women's Archive interviewed the
photographers Ellen Auerbach and Grete Stern about their image which was
used as an ad for Pétrole Hahn hair lotion. It combined a nightgown,
mannequin head, and a real hand, but the photographers later
forgot whose hand was in the photo and which one took the photograph. </span></div>
<div style="text-align: left;">
<span style="font-size: xx-small;">2. Dora Maar's surrealist advertising work in the early 1930s, included this image of a boat sailing through an ocean of hair.</span><br />
<span style="font-size: xx-small;">3. </span><a href="http://www.mutualart.com/Artwork/study-for-petrole-hahn/F8DEF4DBB4A22946#/69643A353737382C73656C65637465643A74727565"><span style="font-size: xx-small;">www.mutualart.com</span></a></div>
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</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7216115776795270640.post-49943144156371613252016-01-10T14:14:00.000-05:002016-06-11T15:02:09.735-04:00Marks of the Genuine Man<div style="text-align: right;">
<span style="font-size: xx-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoqDTIXRW2sulDN1h61mD-dIaRNVJ5Fu-QJy5TmMKfvL8fpCNwZqufm95rkm4GdOt3ML0G-zupZ39a_cAYUzmkkL3L2GH75LtGe9ggcxnT1kRk9FSplEOTeK15-OzzFriIVrVg3ZYMrvg/s1600/4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="512" id="BLOGGER_PHOTO_ID_5605918761106207234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoqDTIXRW2sulDN1h61mD-dIaRNVJ5Fu-QJy5TmMKfvL8fpCNwZqufm95rkm4GdOt3ML0G-zupZ39a_cAYUzmkkL3L2GH75LtGe9ggcxnT1kRk9FSplEOTeK15-OzzFriIVrVg3ZYMrvg/s640/4.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" width="640" /></a></span><span style="font-size: xx-small;"><span class="style1">Boru O'Brien O'Connell - </span></span><span style="font-size: xx-small;"><i>Marks of the Genuine Man (Emerson)</i> - c-print - 2008</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-37784846424785975412015-12-27T21:15:00.000-05:002016-01-07T07:35:56.308-05:00A Striking Beard: circa 1540-46 <br />
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<a href="http://1.bp.blogspot.com/-_h01iOTr_p4/VoCatqQYKYI/AAAAAAAAD7Y/VbqRrvszGtY/s1600/2007BN4084_jpg_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-_h01iOTr_p4/VoCatqQYKYI/AAAAAAAAD7Y/VbqRrvszGtY/s640/2007BN4084_jpg_l.jpg" width="502" /></a></div>
<blockquote class="tr_bq">
"This plaque of Limoges painted enamel on copper bears a portrait of
Jacques de Genouillac, known as Galiot, Seigneur d'Assier (1465-1546) as
an old man. The plaque was painted by Leonard Limosin (ca.1505-1575/7) whose work
was, and still is highly valued for its originality, diverse subject
matter, artistic merit and technical skill." ~ <a href="http://collections.vam.ac.uk/item/O128849/plaque-limosin-leonard/" target="_blank">Via the Victoria & Albert Museum</a></blockquote>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-55338964420907230732015-12-18T14:33:00.001-05:002016-01-07T07:36:32.863-05:00May The Force of Hair Be With You<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTXJGN78cHuzfDlkunxtaBtZscokun8t1DDJLjq4u3ItjwyM1Vlfcu6GjSBv1U6dOtJfLg4zDLlnkOwy8ogHnze43uicZJP0FXlJgHAfoFSE-L6iv-HLWXuw4-z-NjwwT-xKT3CQ2o9pg/s1600/12299123_10153711232553382_5498764102398640702_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTXJGN78cHuzfDlkunxtaBtZscokun8t1DDJLjq4u3ItjwyM1Vlfcu6GjSBv1U6dOtJfLg4zDLlnkOwy8ogHnze43uicZJP0FXlJgHAfoFSE-L6iv-HLWXuw4-z-NjwwT-xKT3CQ2o9pg/s640/12299123_10153711232553382_5498764102398640702_n.jpg" width="640" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-88860641270693974392015-12-18T13:52:00.000-05:002016-01-07T07:36:47.678-05:00When Facial Hair Gets Political<div style="text-align: center;">
“Any boy can become president — unless he’s got a mustache.” ~ Thomas A. Dewey</div>
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Yesterday <i><a href="http://www.nytimes.com/2015/12/17/fashion/paul-ryans-beard-triggers-a-style-debate.html" target="_blank">The New York Times</a></i> posted an article about how the new Speaker of the House Paul Ryan growing a beard has caused a stir. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJtWk-Oep-vqh1eEkYBgR3RiLsF0-VaeBZ1TkqWxwkt6x_XtcegUpk0ET0iLnvmOi_OU1YnZNQjr8xibzcT0QHMLwugs7_bnMRdhuKyH_1Lf7NEAlu6SFrRHcFegAA2G9rLfwqewbcZvY/s1600/Screen+Shot+2015-12-18+at+9.44.53+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="586" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJtWk-Oep-vqh1eEkYBgR3RiLsF0-VaeBZ1TkqWxwkt6x_XtcegUpk0ET0iLnvmOi_OU1YnZNQjr8xibzcT0QHMLwugs7_bnMRdhuKyH_1Lf7NEAlu6SFrRHcFegAA2G9rLfwqewbcZvY/s640/Screen+Shot+2015-12-18+at+9.44.53+AM.png" width="640" /></a> </div>
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<a href="https://www.instagram.com/p/-uTcuPsQL3/" style="color: black; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">Waiting on confirmation from the House Historian, but apparently, I’m the first Speaker to sport a beard in about 💯 years.</a></div>
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A photo posted by Speaker Paul Ryan (@speakerryan) on <time datetime="2015-11-30T21:08:28+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Nov 30, 2015 at 1:08pm PST</time></div>
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<script async="" defer="" src="//platform.instagram.com/en_US/embeds.js"></script>
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The power of hair as a vehicle to assert oneself in the world and to convoy unspoken values of any given age is undeniable. But who holds the answers to unlock these hidden <span data-dobid="hdw">hirsute</span> rules? According to Tammy Haddad, a Washington media consultant and former political director of MSNBC, even
though Mr. Ryan’s job “is the center of the entire political system, the beard shows that he’s not of Washington, he’s not part of
the system.”</div>
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Did the beard always hold such outsider status? Perhaps not, but sporting facial hair <u>was</u> often seen as a political act. <a href="http://www.christianitytoday.com/ct/2013/september/wars-over-christian-beards.html?share=GcNwk5OSRquwcV3k%203nZ1THuh4lags2b" target="_blank">Beards among clergy</a> were once serious, symbolic matters that at various times Church leaders either required or banned! And let us not forget that even clergy were not immune to the whims of fashion in their day.<br />
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Beards were fraught with shifting meaning in lay culture as well, as this <a href="http://www.theatlantic.com/national/archive/2014/01/the-racially-fraught-history-of-the-american-beard/283180/" target="_blank">2013 article from <i>The Atlantic</i></a> points out. Considering a beard? It might serve you well to know your history.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt2xUfA9Zls0MFr3eamEzh3uiU3cJQBFDSr-_KltZKYFkY_3FudJEW28CgV_nPzIigVyv2fJSE1Jm4ACc8inPDmSTsWo5s0n33QHlQhACi3mXgtd1xquPec6wlaMW1G5zLHLvkbvFPtrA/s1600/38f0d4c2e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt2xUfA9Zls0MFr3eamEzh3uiU3cJQBFDSr-_KltZKYFkY_3FudJEW28CgV_nPzIigVyv2fJSE1Jm4ACc8inPDmSTsWo5s0n33QHlQhACi3mXgtd1xquPec6wlaMW1G5zLHLvkbvFPtrA/s640/38f0d4c2e.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;">"A Barber's Shop at Richmond, Virginia," from <i>The Illustrated London News</i>, March 9, 1861</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE_N_I-c-zXLr6MmOLBwnl2blFtpqjv8eDuZtRLnz21IVQ9QFEal7ZKxGKxeSnnMUCo3En7jjQ9NWDdmYNtuLWU6frLsJ8MbOrtTV8o6m7ZSbakIUG3URTyyXJICHPIjd6O5NuHB0I0s0/s1600/52a9114c7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE_N_I-c-zXLr6MmOLBwnl2blFtpqjv8eDuZtRLnz21IVQ9QFEal7ZKxGKxeSnnMUCo3En7jjQ9NWDdmYNtuLWU6frLsJ8MbOrtTV8o6m7ZSbakIUG3URTyyXJICHPIjd6O5NuHB0I0s0/s640/52a9114c7.jpg" width="640" /></a></div>
<div style="text-align: right;">
<span style="font-size: xx-small;"> An 1853 <i>Punch</i> magazine sketch satirizes the "beard
movement," an old lady is approached by helpful railway guards and
<br />"concludes she is attacked by Brigands."</span> </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-62531956093361622552015-12-12T19:00:00.000-05:002016-01-10T14:02:42.909-05:00Build Your Own WigThe Victorian & Albert Museum has produced a fun, interactive site that allows you to build an 18th-century wig, complete with bows, flowers, and a ship. <a href="http://www.vam.ac.uk/designawig/" target="_blank">Make your own today!</a><br />
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<a href="http://2.bp.blogspot.com/-pTkG2-wiKpg/Vmy0HxiueYI/AAAAAAAADyo/3_cmND7whfI/s1600/Screen%2BShot%2B2015-12-12%2Bat%2B6.55.23%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="570" src="http://2.bp.blogspot.com/-pTkG2-wiKpg/Vmy0HxiueYI/AAAAAAAADyo/3_cmND7whfI/s640/Screen%2BShot%2B2015-12-12%2Bat%2B6.55.23%2BPM.png" width="640" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7216115776795270640.post-50988501549673488532015-12-04T11:45:00.000-05:002016-01-10T14:02:55.230-05:00Holiday Hair'Tis the season.....<br />
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<a href="http://2.bp.blogspot.com/-AGPnnkJzMMw/VmHC8s_xYVI/AAAAAAAADqk/rfK2SFt42u0/s1600/990fd32c568c0ecc3cef388cc59b7d74-fbpost.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="384" src="http://2.bp.blogspot.com/-AGPnnkJzMMw/VmHC8s_xYVI/AAAAAAAADqk/rfK2SFt42u0/s640/990fd32c568c0ecc3cef388cc59b7d74-fbpost.jpg" width="640" /></a></div>
<br />Unknownnoreply@blogger.com0