#Crwn art

[artfulhorror]

Do not go gentle into that good night by Ceri Richards, 1965

[powertaco]

Sands of Vacuo, and Plundering the Tomb

Double update @sparrowhawk-station providing the adorable art.

Ruby, Maria, and their wayward skitarii do their best to keep alive, and ahead of their pursuers as Weiss organizes a rescue party.

Team CRWN takes stock of themselves as a gruesome scene is revealed at the hospital. What is left for those that remain?

[ewesless]

Some Songs I'd Recommend Simeon and Barbatos

Simeon: Futurepop Genre (Damaged, Let Me be your Armor, Bravery - Assemblage 23 // Künstliche Welten, Kein Zurück, - Wolfsheim // When is the Future, Beloved, - VNV Nation // Mourn, We're in this Together - Apoptygma Berzerk // Lightbringer - Covenant //

Barbatos: As You Sleep, Parasitic, Afferte Mihi Mortem, Crwn Thy Frnctr, Take My Hand as I Take My Life - Psyclon Nine (I feel pretty awful about these, but it's art. He would also look super hot dressed like Nero Bellum. I think Nero is unattractive, but he does dress cool) He would look even hotter dressed like Sascha Konietzko of KMFDM (again unattractive but super cool clothes 🫠 FML I love Industrial and Rivet Head fashion)

[iyazure]

[freshthoughts2020]

[georginaephotography]

CRWN Magazine Issue 2 Release & Creative Reception

Brooklyn, NY

February 2018

Photo Credit: Georgina Edionseri

[nycejonez]

“One life, One love, so there can only be 1 king 👑 “ -Nas- - #newprofilepic #King #la #photooftheday #LosAngeles #Grafitti #Art #Crwn #Crown #HipHop #Travels (at Los Angeles, California) https://www.instagram.com/p/Bu3-qaylFJp/?utm_source=ig_tumblr_share&igshid=1w08cz115ja9k

[blackcrwnmedia]

Conductor’s Manifesto

Conductor gives us a piece of his mind in the lyric video for his song “Healing Session”.

Conductor gives us a piece of his mind in video for his song “Healing Session”. Conductor gives us a piece of his mind in video for his song “Healing Session”. The Healing Session visual features dope sketches from artist Sia Sativaa (IG @artoftheindigo) who also created the single cover art. Healing Session music & video is produced by Conductor Maine & Black Crwn Media. You can find links to…

[bjedioux]

OPM RISING: Fresh Blood 5/6✨ CRWN - R&B, Soul #Art #Sketch #Drawing #CRWN #OPM #Music #OriginalPilipinoMusic #Design #Duotone #illustration #Bjedioux

[note-a-bear]

THE BEARD AWARDS NEED TO RECOGNIZE BLACK ACHIEVEMENTS

How to ensure diversity wasn't a one-time thing

Nicole Taylor

September 26, 2018

Photo: Lade Ademu-John

Something was different at the 2018 James Beard Awards. More women, more people of color, and more diverse voices were recognized than ever before. But the question of whether this was evidence of more profound change taking place in our industry remained unanswered. As a leading organization of the food movement in the U.S., we wanted to do more to support equity in the industry and access to its highest honors.

For advice, we reached out to some of the most thoughtful, vocal members of our community to share their opinions about how the Beard Foundation could improve. Today we begin by publishing the first of a series of four op-eds that resulted from this outreach, and will continue to post throughout the week.  

As we digest the writers’ suggestions, we intend to operationalize several changes which we believe will have a substantive impact on the Awards and the industry. We will share changes to the policies and procedures for the 2019 James Beard Awards ahead of the “Open Call for Entry” on Monday, October 15, 2018. This is the beginning of a process, not the end, and we know there is much more work we can all do to ensure everyone has an equal opportunity to thrive.

--

One night last May, I lay in bed re-reading Uplift the Race: the Construction of School Daze by Spike Lee and Lisa Jones, when a friend watching the Beard Awards ceremony live on Twitter texted me the names of the winning restaurants and chefs. I had been reading about how Spike Lee made the movie School Daze on a budget, how he was part of this cultural renaissance, and when I saw the year’s winners—with chefs Nina Compton, Edouardo Jordan, Rodney Scott, and Dolester Miles on the list—it felt like a whole new renaissance was bubbling up.

Days before at the Journalism Awards, wins by Michael Twitty, Osayi Endolyn, and the ghost of Princess Pamela had also given a universal “I see you” to black writers and cooks who toil in isolation. A time capsule was unburied. Generations of bakers whisking frothy buttermilk, men whacking down pecan or pimento trees for firewood, and dandy butlers polishing silver trays rose from our African diaspora graves. The 2018 James Beard Awards signified that black cooks, black writers—both dead or alive—mattered.

The wonderment of this year’s achievements shouldn’t be a once-in-a-blue-moon occasion. Why had this moment taken so long to come? There are two major reasons: the first is that the Beard Award categories—and the types of restaurants and publications nominated—don’t reflect the realities of today’s dining and media scenes.

My own infatuation with eating out started in Atlanta in the early 2000s. Swiping my orange-and-black Discover card at Canoe, Atlanta Fish Market, Two Urban Licks, and Pura Vida was a pastime. Rolling the names of those restaurants off my tongue denoted a certain level of cosmopolitan aptitude. At that time, black fine-dining chefs like Todd Richards, Duane Nutter, and the late Darryl Evans were Atlanta stars, but few people were paying attention. Back then, the only path to gain recognition as a chef was to work in a white tablecloth, fine-dining restaurant—the kind of restaurants with a high barrier to entry for young chefs. Fast forward 20 years later, and chefs Omar Tate, Greg Collier, Kia Damon, and Mike and Shyretha Sheats have gone out on their own, creating different kinds of spaces where excellence and creativity converge. In Charlotte, Brooklyn, Athens, and Tallahassee, supper clubs and pop-ups have replaced white tablecloth experiences. Not only are these sorts of eating experiences more representative of how people eat and consume food culture, but they’re a lot easier and less expensive for entrepreneurial chefs to launch. These are the sorts of spaces where the Beard Awards should look for nominees.

The media landscape has undergone a similar evolution. I’m a digital subscriber to the Charleston, South Carolina–based The Local Palate, to New York Magazine, and to the New York Times. I no longer receive mainstream glossies via snail mail. There were times when friends would gift me niche publications like Edible Hawaii; now they bring back titles like Whetstone and Crwn. I consume culinary podcasts and Instagram for savory rhubarb recipes, food books for tips on growing windowsill herbs, and articles on food apartheid. A movie night is inhaling United Shades of America’s “The Gullah” and Ugly Delicious’s “Fried Chicken” episodes. The definition of professional food writer has shifted—having a staff gig no longer denotes success. By the time magazines like Bon Appétit have published a piece on a restaurant trend, we’ve already heard about it on our favorite food podcast. Indie media makers are the new voices. Times have changed. The Beard Awards should reflect these changes.

There’s another reason that moments like this past year’s are so scarce, and one look at the people who are choosing the nominees and winners gives us a major clue: out of the 54 Beard Award committee members, fewer than six are black. If power is measured by who occupies a seat at the table, a person who looks like me has little influence.

To ensure the ongoing recognition of black achievements by the Beard Awards, we must take a closer look at the term limits and selection process of the individuals who make up each of the committees that select the nominees and winners of the award categories: broadcast media, books, journalism, design, and restaurant and chef awards.

As it stands, the committees or recognition programs are often brimming with individuals serving multiple three-year terms. The current bylaws state that “members serve staggered terms of one to three years” but doesn’t address what happens if members move from committee to committee. According to the James Beard Foundation governance structure, an additional group (bringing the total to eight) oversees the Awards program as a whole; this committee consists of the chairperson of each Awards category, members of the Foundation’s Board of Trustees, and members at large. A bylaw change to address the makeup of these groups will help to foster a permanent shift in voters and nominees.

In recent years, organizations like the Grammys and Academy Awards have addressed similar issues, after receiving criticism for the lack of diversity on their ballots (thanks in part to the #oscarssowhite campaign). In 2016, the Academy of Motion Picture Arts and Sciences modified membership to mix up the pool of voters. This past May, the Recording Academy created a diversity and inclusion task force to “examine barriers affecting women and underrepresented voices”; the group includes former chairman and CEO of BET Networks Debra Lee and hip-hop artist Common.

I’m a believer that institutional knowledge anchors the ship. Our professional community needs infinite wisdom, plus a new leadership overhaul. Equality means making the system fair, and equity means transferring power. All of our collective culinary past and our future should see themselves reflected in the backbone of the James Beard Foundation Awards’s governing body: entrepreneurs from small rural towns; Caribbean souls planted in port cities; mature Southern black women; an East Coast–born man living in the Pacific Northwest; catering chefs running grassroots organizations: a food scientist turned stay-at-home mom.

The clock starts now.

--

Do you have thoughts about how the culinary industry and/or the James Beard Foundation can be more inclusive? Please share your feedback with us atawards@jamesbeard.org.

Editor’s Note: Nicole Taylor has previously served as a judge for the James Beard Foundation Book Awards.

Nicole A. Taylor is a food writer based in Brooklyn, New York. She has written for Food & Wine, Esquire, and the New York Times. Nicole serves on the advisory board of EATT (Equity At The Table), a database for food-industry professionals featuring only women/gender non-conforming individuals and focusing primarily on POC and the LGBTQ community. Find her on Twitter

[artfulhorror]

Three Reclining Figures by Henry Moore. Source

[dpaigeportfolio]

CRWN promo covert art for independent artist Ex featuring Neon. DM me for prices on covert art.

[thedragonlover]

HEY IT’S TIME FOR ANOTHER CALLOUT POST

Remember @crwn-juls ??? Yeah uhhhh that bitch is awesome but doesn’t believe it. How dare you doubt my sincerity of compliments you corned beef, you absolute cuttlefish. 

YOU! ARE! AMAZING!!!

YOUR ART IS MWAH!!! AMAZING AND STUPENDOUS AND ALWAYS FULL OF CRAZY COOL IDEAS!

YOUR SENSE OF HUMOR IS FANTASTIC AND YOU NEVER FAIL TO BRIGHTEN MY DAY!

YOU ARE A GREAT FRIEND AND I HOPE THAT THINGS KEEP ON GETTING BETTER AND BETTER FOR YOU!

And if it doesn’t, well then I’m just gonna have to fly over there and kick some ass until it does. Or I could skip the middle man and just kidnap you over for an extended spring break. Like uhhhh a four seasons break or something.

YOU DESERVE ALL OF THE LOVE AND COMPLIMENTS, AND I WILL HAPPILY PROVIDE!!!

[gyrabanian]

oh as you may notice moving here on out, i’ve changed my art moniker from crwn to puppypresident

i’ll be signing all my art as such from now on

[poonamhennaart]

Make your hand more and more pretty with natural henna. #dulhanmehndi #tattoo #design #henna #dulhan #photoshoot #party #mehndi #hennaartist #hennapro #asianwedding #hennatattoo #bodyart #mendi_inspire #hennaart #mehndiparty #nice #naturalhenna #bride #ncwedding #weddings #bridalshower #hennapowder #gold #art #ncbrides #southasianbridenc #artwork #greensboro #style (at Greensboro, North Carolina) https://www.instagram.com/p/CRwn-9VBew7/?utm_medium=tumblr

[culturedsociety]

Culture Talks with zoë vickers

zoë is an empyrean whom enjoys long walks on the beach and when she returns to her blanket, something classic happens that connects her to nature. One may say that this serendipitous odyssey is most known in fantasies, yet she embodies this reality today. zoë vickers gives you a glimpse of her journey as a vintagephile & creative development powerhouse.

Born in the Midwest (between Ohio {Columbus & Toledo} + Chicago, Illinois), her childhood reflected mainly on art & style with her fondest memories including vintage + thrift shopping. On a typical Saturday, zoe would find myself venturing out to Sally’s (a colloquial term for the Salvation Army) to find hidden gems as it pertains to fashion, found objects, books, shoes, records etc. At this point, her love for style was born.

zoë’s inspiration came from her granny, Rachel Lee Cox, and the enchantment of constantly creating, educating, and refining; helped her to develop a style and aesthetic that is truly, her own. When one sees photos of zoe’s work or attends her events, you will see a strong interest in not only, her personal style, but the essence of her community now and one’s within her coterie. The early start of zoë’s career led to a road assisting style shoots for the likes of Wiz Khalifa, The Cool Kids and others to styling Samuel L. Jackson for Ebony Magazine.

Her eventful journey all started from the long walks on the beach as an empyrean. As a freelance creative, zoë has cultivated extensive experience in vintage fashion styling, visual campaign management, art direction, brand image development, style archival services & event styling. Her work has been featured in publication titans from WWD, ELLE, CRWN, Lucky, and InStyle Magazine. The client roster includes Opening Ceremony, Samuel L Jackson, Vera Wang, Band of Outsiders, Wiz Khalifa, The Cool Kids, Essie Canada, Michael Bastian, HBO, Sophie Theallet, Harlem's Fashion Row and Yigal Azrouel.

Currently, zoë is focused more on her personal collective, vintagephiles. In order to be a vintagephile, one must denote fondness & flawlessly execute all things vintage. This multidisciplinary platform is being polished further to be able to share these stories globally. vPh provides the opportunity to collaborate and provide an outlet for vintage curators/collectors, particularly people of colour, as a way to cultivate culture & share the true definition of curated nostalgia.™

Connect with zoë: website Instagram vintagephiles

Grow this Channel & Circulate the energy of LOVE by donating: Paypal Cash app Venmo

With Love,

Rebecca Muñoz