Celebrity Coverage
‘In an Effort to Be Held’ Reflects Detroit’s Thriving Art Community – Essence
Photos by Joseph Tiano. Courtesy of Library Street Collective and Shepherd.
When Shepherd opened its doors in Detroit’s Little Village in May of this yr, its goal was to educate, uplift, and supply diverse resources to the encompassing area in addition to the humanities community at large. Co-founded by Anthony and JJ Curis of Library Street CollectiveThis Romanesque-style constructing is a logo of possibility and houses the work of a number of the most influential artists of this generation. On August 3, the gallery will host an exhibition curated by Allison Glenn, her first since being appointed artistic director of Shepherd’s.
The upcoming exhibition explores emerging narratives and materials, and showcases over twenty artists working in a wide range of media. In creating a gaggle exhibition, Glenn reflects on the influences that inspired the direction. “I’m constantly taking notes from photographs, and sometimes I’ll photograph things that I see as trends, and that’s something I’ve been tracking for the past year,” she explains.
“Artists who are thinking in some way about surface, process, form, very active ways of wrapping, pouring, dyeing silk, and then more surreal ways of painting, like Ilana Savdie’s work,” Glenn continues. “When I took on this role, there were two exhibitions on the calendar, so I knew I had to work pretty quickly, and I thought this would be a great exhibition to start really thinking about these very embodied implications of the materials that artists are looking at.”
Many of the artists within the project explore history through methods reminiscent of transfer, collage, and casting. Kennedy Yanko, Ed Clark, and Angel Otero refer to the paint, film, silicone, and nylon they use as “skins,” while artists like Cameron Harvey push the boundaries of their bodies, sometimes comparing the human form to objects in nature and the like. Surfaces, materiality, spirituality, and mythology are further explored within the work of Wangechi Mutu, Naudline Pierre, and Paul Verdell, amongst others.
The works of the 2 artists within the exhibition might be available to the general public for a yr. Genevieve Gaignard’s work might be displayed on a series of billboards in Beltwhile a 26-foot, illuminated sculpture by Zak Ové might be displayed on the Shepherd campus, just down the road from the previous church. Ové’s installation resonates with Glenn in a special way, especially because it’s her first project since accepting a position on the gallery. “I wanted to bring it to Detroit because Mothership speaks to the city, and borrowing Zak Ové’s sculpture is a metaphor for that homecoming,” Glenn tells ESSENCE.
“The work in particular references the mud masks of Mali,” he adds. “There are Vévé symbols in the trunk, which refer to the culture of the African diaspora in Haiti, the Cadillac lights refer to Motor City consumerism, Western design, and of course it is a literal and lasting signal of the future.” But most significantly for Glenn, it also references the long-lasting Parliament Funkadelic concept album, which was recorded at United Sound Systems in the guts of the town. The Wayne State University graduate says, “I thought about going back to Detroit and coming back to a Mothership of sorts just felt like a beautiful feeling.”
Highlighting the work of Gaignard and Ové also speaks to a broader conversation about providing more accessible viewing opportunities in public spaces, but additionally constructing foundations that can thrive for years to come. The Shepherd, and Little Village on the whole, is far more than simply an artist’s haven, it’s a project that’s invested within the neighborhood through which it’s situated.
“That’s what Detroit is known for, the city of neighborhoods,” Glenn says. “It’s in the neighborhood, it’s not building something new, it’s using what already exists. That’s definitely going to be the ethos of our work. Nothing I do is isolated, it’s deeply collaborative with my collaborators, and I’m really looking forward to working with other organizations and finding ways to create really meaningful artistic experiences together.”
on view at Shepherd in Detroit’s Little Village from August 3 to October 12, 2024.
Celebrity Coverage
How Diana Ross’s Halloween look was created Uche Moxama – essence
Courtesy of Cindy Romero
Halloween is the perfect time of 12 months to advertise an icon. This 12 months, for instance, Beyoncé morphed into funk rock star Betty Davis and Coco Jones referenced Donna Summer’s album covers. And for the content creator Uche Moxamrecreation of the 1969 Diana Ross film.I’ll wash this guy out of my hair” on the duvet, the immediate answer was “yes.”
“I grew up listening to great artists: Whitney, Diana, Donna Summer, the list goes on,” Moxam tells ESSENCE. “Not only were they the powerhouse of their decade, but they also provided representation of beautiful, strong and talented black women who were rarely represented in the media at the time.”
For a protracted time, Moxam had been waiting for the suitable moment to rework into Diana Ross’s mountain of curls (as if released from a set of very large curlers) from the GIT Broadway special. However, probably the most iconic a part of the look was also probably the most difficult to create. “The biggest challenge was supposed to be the hair,” she says, contacting a hair stylist Alan Schober.
“Alana managed to arrange each bundle of hair individually and artistically to achieve the effect shown in Diana’s film,” he says. “I wanted the hair texture to be three-dimensional, not just using Photoshop or a black board.” Using a 65-inch cardboard as a base and more bundles of hair than she could count interwoven with Moxam’s real hair, Schober turned her costume right into a masterpiece.
“I focus on a natural look [for everyday beauty] but Halloween is truly a time to become someone else,” she says.
However, Uche Moxam’s makeup veered away from Ross’s neutral lip with glazed lips and cheeks sculpted with blush, becoming an icon in its own right. “I’ve been wanting to bring it to life for some time and this year I managed to do it.”
Celebrity Coverage
The best beauty moments of Halloween 2024 – essence
@janellemonae / Instagram
Celebrities have been known to bring creative costumes every Halloween. From area of interest cosplay to Heidi Klum’s annual Halloween party with high-budget SFX makeup and rugged references, stars never fail to live as much as their past looks. And last night turned out to be no different.
For example, when Janelle Monaé called a surreal version of ET, it took a team of five SFX artists to create the life-size costume. Lizzo has 4 looks starting from red body paint to scissored skin: the set includes an Ozempic pack, a honey bunny, Edward Scissorhands, and a never-rejected face card.
Although Doja Cat as a sunflower is a reference to the 2001 video game, Halloween will not be limited to fictional characters. Beyoncé took on the persona of funk-rock singer Betty Davis, Winnie Harlow referenced Diana Ross, and Coco Jones referenced Donna Summer’s album covers. Meanwhile, Megan Thee Stallion proved that Halloween lasts all 12 months long by dressing up within the anime cosplay she probably would ever wear.
Below, ESSENCE rounds up our favourite beauty moments from Halloween 2024.
Celebrity Coverage
WNBA earnings are rising, but will they be enough? The real story behind the numbers – the essence
LAS VEGAS, NEVADA – OCTOBER 06: A’ja Wilson #22 of the Las Vegas Aces brings the ball up the court against Betnijah Laney-Hamilton #44 of the New York Liberty in the first quarter of Game 4 of the 2024 WNBA Playoffs Semifinals at Michelob ULTRA Arena on October 6, 2024 . in Las Vegas, Nevada. The Liberty defeated the Aces 76-62, winning the series three games to 1. NOTE TO USER: User expressly acknowledges and agrees that by downloading and/or using this image, User consents to the terms of the Getty Images License Agreement. (Photo: Ethan Miller/Getty Images)
When Angel Reese signed with the Chicago Sky and was chosen seventh overall in the 2024 WNBA draft, it entered a league completely different than five years ago. The compensation landscape has modified dramatically – but let’s be honest about whether these changes are truly transformational or simply an incremental step towards what these athletes deserve.
The raw numbers tell the story of progress. 2024 WNBA season boasts the highest earnings in the history of the leagueand top players will be capable of earn as much as $241,984. Supermax pay has increased 94% since 2019, when the league’s elite players reached $121,500. Even minimum wage for newbies increased to $64,154 – greater than double the amount in 2019. But that is where it gets complicated. While The WNBA salary cap has reached $1.4 million per team in 2024, The NBA salary cap is $140 million. Yes, you read that right. And before anyone makes the “but revenue” argument, let’s acknowledge that even after accounting for differences in league revenue, WNBA players receive about 33% of the league’s revenue, while NBA players receive about 50%.
For most WNBA players, to make it work, meaning playing year-round. According to AP, about 50% of players also compete abroad during the WNBA off-season. Stars like Breanna Stewart and A’ja Wilson can fetch top dollar in each markets, but this double duty comes at a value – physical fatigue, time away from family and the mental strain of never really having an off-season season.
Marketing dollars tell a totally different story. League Collective labor agreement for 2020 included provisions for increased marketing opportunities, but in 2023, only a handful of players have signed deals with major brands. Meanwhile, Caitlin Clark’s NIL valuation has reached $3.1 million before she even declared for the WNBA draft – highlighting each the potential and the disparity in how women’s basketball talent is valued.
The racial dynamics are particularly striking. In the league where over 60% of gamers are black womenthe conversation around fair pay is not only about gender – it’s about racial equality in sports. When we discuss WNBA salaries, we’re talking about undervaluing the work of Black women, and it is a story that reverberates far beyond the basketball court.
The league has taken steps in the right direction. The latest CBA introduces progressive elements similar to fully paid maternity leave, improved travel accommodations and potential income sharing opportunities. These changes come after years of player activism, led by women like Angel McCoughtry and Nneka Ogwumike who weren’t afraid to demand higher.
But let’s be clear, higher than before does not imply ok. When the WNBA minimum salary is barely above median household income in the USwe’re not only talking about the gender pay gap – we’re talking about the fundamental devaluation of girls’s skilled sport.
The query is not whether WNBA players should be grateful for these raises. The query is why, in 2024, we still have to make the case for fair compensation for skilled athletes who consistently produce world-class results, drive civil conversations, and encourage the next generation of athletes.
Pay rises are the starting, not the end. As viewership increased, the 2024 WNBA Finals saw: Viewership increase by 115%. in comparison with the previous 12 months – the pace of real changes is gaining momentum. The numbers are growing, yes, but until they reflect the true value these athletes bring to the game, our work isn’t done.
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