{"id":26716,"date":"2018-08-14T01:49:30","date_gmt":"2018-08-14T05:49:30","guid":{"rendered":"https:\/\/stockx.com\/news\/?p=25522"},"modified":"2018-08-14T15:53:36","modified_gmt":"2018-08-14T19:53:36","slug":"supreme-ss18-art","status":"publish","type":"post","link":"https:\/\/stockx.com\/news\/supreme-ss18-art\/","title":{"rendered":"Supreme SS18 Art and Artists In Review"},"content":{"rendered":"

Supreme’s SS18 line includes the works of seven artists: George Braque, Paul Cezanne, Erte, Richard Estes, Nan Goldin, Lee Quinones, and Leonardo Da Vinci. What at first seems like an act of obscurantism from Supreme’s assemblage of artists, is, in fact, a masterful comment on the purpose and practice of streetwear: making and unmaking history and memory.<\/p>\n

The choice of artists featured in Supreme’s SS18 collection provides a masterclass in exploring this theme.<\/p>\n

\"StockX_Image\"<\/a><\/p>\n

George Braque<\/h5>\n

 <\/p>\n

Each of these artists worked within and against the artistic aesthetics of their historical moment. Each of these artists looked at conventions of history and memory and decided to do something different.<\/p>\n

\"StockX_Image\"<\/a><\/p>\n

Erte<\/h5>\n

 <\/p>\n

From the beginning, Supreme has repurposed works of art in subversive ways, highlighting the tensions between history, memory, and identity. From appropriating Barbara Kruger’s propaganda art to fracturing Mona Lisa’s inscrutable smile, works of art and artists from the mainstream to the margins have been featured on Supreme clothing.<\/p>\n

\"StockX_Image\"<\/p>\n

Barbara Kruger, “Untitled (I shop therefore I am)”\u00a0 (1983) \/\/ artnet.com<\/h5>\n

\"supreme<\/a><\/p>\n

<\/h6>\n

This is what surprises us about Supreme; This is what we admire about Supreme. Still.<\/p>\n

History of Streetwear<\/h2>\n

In a 2017 interview<\/a>, streetwear and sneaker icon Jeff Staple said of streetwear’s roots: “I like to call it independently created stuff. It wasn’t streetwear yet. It was just people hustling, doing their own thing without any business or financial gain. Just expression.”<\/p>\n

Streetwear, according to Staple, was developed by people creating outside the marketplace, in pursuit of personal expression unencumbered by economic constraints or history. But as Marx made plain, “history is nothing but the actions of men in pursuit of their own ends.” Or as Staple put it, “just people hustling.” So, of course, you can’t escape history, but you can try and make the official record square with your personal memory.<\/p>\n

Modern streetwear developed out of the 1970s’ urban youth subcultures, primarily hip-hop and skateboarding, that put a premium on the intersection of popular culture and personal expression. From the Mighty Zulu Nation, the Funky 4 + 1, and the Cold Crush Brothers, to skateboarding collectives and teams such as Z-Boys, Alva Posse, and the Bones Brigade, the art, culture, and style that developed out of the flux of these subcultures helped create streetwear.<\/p>\n

Of all the artists in Supreme’s SS18 line, Richard Estes, Nan Goldin, and Lee Quinones’s work most fully engage with streetwear’s exploration of the link between history, memory, and identity.<\/p>\n

All three artists share the impulse to unmake and remake the world around them.<\/p>\n

One Subway Train at a Time<\/strong><\/h2>\n

For Lee Quinones, the act of creating art has always been a search to create “without a reference to art history,” Lee says on his website<\/a>, ” because this [graffiti art] was art history in the making.” Lee views his art as generative of a brand new form of urban expression coming from historically marginalized communities.<\/p>\n

Lee Quinones came of\u00a0age during the 1970s, becoming one of the most influential artists to emerge from New York’s explosion of hip-hop culture and graffiti art. Beginning in 1974 when he painted his first subway piece, he was creating, train by train, a new kind of art.<\/p>\n

\"supreme<\/p>\n

Lee Quinones, “Stop the Bomb” (1979) \/\/ Henry Chalfant<\/h6>\n

 <\/p>\n

In the 1980s, Lee transitioned from the trainyards to the galleries, helping to push graffiti and hip-hop further into the mainstream. Without the pioneering work of Lee and other graffiti writers of his era, street art, hip-hop culture, and streetwear would not exist.<\/p>\n

So it makes sense that Supreme featured Lee’s work for SS18. Supreme turned Lee’s iconic 1980 mural painted at NYC’s Corlears Junior High School, “The Lion’s Den,” into a trucker jacket, shirts, and shorts.<\/p>\n","protected":false},"excerpt":{"rendered":"

Supreme’s SS18 line includes the works of seven artists: George Braque, Paul Cezanne, Erte, Richard Estes, Nan Goldin, Lee Quinones, and Leonardo Da Vinci. What at first seems like an act of obscurantism from Supreme’s assemblage of artists, is, in fact, a masterful comment on the purpose and practice of streetwear: making and unmaking history […]<\/p>\n","protected":false},"author":28,"featured_media":28585,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[],"tags":[],"brands":[],"series":[],"verticals":[],"class_list":["post-26716","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nSupreme SS18 Art and Artists Under Review: Making and Unmaking History<\/title>\n<meta name=\"description\" content=\"Supreme SS18 art and artists reflect Supreme's history and the history of streetwear. 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