Hush Puppies Releases Spring/Summer 2018 Footwear Collection

Embracing its carefree spirit 60 years since it launched, Hush Puppies presents its Spring/Summer 2018 collection offering pops of color, eye-catching prints, and on-trend textures. In 1958, Hush Puppies introduced the world to a new kind of footwear – shoes with casual style and an easygoing attitude made to relax in. Now, Hush Puppies is a global brand, a household name and a cultural icon that embodies the lighthearted spirit of its beloved basset hound. It is the go-to footwear, accessory, and apparel brand that delivers the right mix of timeless style and dependable comfort.

Hush Puppies Logo

Hush Puppies Logo. Visit (PRNewsfoto/Hush Puppies)

The iconic footwear, accessory, and apparel brand encourage women and men to enjoy all of life’s moments, starting with the perfect pair of shoes at

Sixty years ago, we created a shoe that injected a casual approach to fashion – a style that has continued today,” says Richard Prenderville, Chief Marketing Officer, Hush Puppies. “This year, we are celebrating the carefree spirit that has powered the brand since 1958 by encouraging consumers to live life off the leash in our stylish and comfortable collections.




Unbelievable Comfort:

Fresh feminine silhouettes, the Dreamy Collection provides unrivaled comfort with DRM² Cushion™ footbed for step-in softness and effortless wear and movement.

  • Chrysta Xband Slide ($89.95) – chic go-anywhere style
  • Minam Meaghan ($99.95) – the all-season perfect pump

It’s All In The Details:

Trending details are woven throughout this collection, from textures and prints to intricate laser-cut perforations and chic combinations of studs and lattice work.

  • Malia Perf Slide mule ($99.95)
  • Malia Baja Perf ($99.95)
  • Phoebe Ladder Stud ($89.95)

This best-selling bootie returns in eye-catching designs, including embossed buttery soft leather.

  • Cyra Catelyn bootie ($99)

Built with ZeroG® technology, the ultra-lightweight outsole of the Chowchow collection features a dog tread design for a fun nod at the Hush Puppies’ basset hound.

  • Lace-ups – Chowchow WT Oxford ($99.95); Chowchow Chukka ($109.95)
  • Slip-ons – Chowchow Loafer ($99.95)




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Hip-Hop Photo Collection on Display in “Represent” Exhibition at the Smithsonian’s National Museum of African American History and Culture

Represent: Hip-Hop Photography,” the Smithsonian’s National Museum of African American History and Culture’s latest exhibition, is currently on display on the second floor in the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA) gallery. “Represent” is on view through May 3, 2019.

In 2015, the museum acquired Bill Adler’s Eyejammie Hip-Hop Photo Collection, making it the largest hip-hop photography collection at the National Museum of African American History and Culture. Adler, a music historian and former publicist for Def Jam Records, has written about, advocated for and studied hip-hop. Adler amassed the Eyejammie Collection after closing his New York art gallery, which was one of the first galleries in the nation to focus solely on hip-hop photography. The museum’s collection includes over 400 photographs from almost 60 photographers, including world-renowned image makers Harry Allen, Janette Beckman, Michael Benabib, Anthony Pereira and Jamel Shabazz, among many others images of a young Nas in front of the Queensboro Bridge, the 1990s rap duo Black Sheep with the World Trade Towers in the background, LL Cool J during his first performance in the basement of Benjamin Franklin High School in New York, early images of Public Enemy and photographs of female artists such as MC Lyte, Salt-N-Pepa, Yo-Yo and Queen Latifah are among some of the highlights of the collection.


The Smithsonian’s National Museum of African American History and Culture

Inspired by the four elements of hip-hop – DJ’s, MCs, breakdancers and graffiti – “Represent” showcases photographs from the Eyejammie Hip Hop Photography Collection that illustrate the early days of hip-hop and its rapid expansion to a cultural phenomenon in the mid-to-late 1990s. Photos showing some of hip-hop’s iconic figures and moments are paired alongside other images from the museum’s photography collection to explore how different social movements, historic figures, art, culture, and dance have influenced the musical genre. For example, artist Queen Latifah’s photograph is paired with an image of 1920s blues entertainer Gladys Bentley. The paring, or diptych, illuminates similarities between the two entertainers who often dealt with media speculation on their appearances.

In addition to photographs, the exhibition includes three short film excerpts from pivotal movies that chronicle hip-hop culture Wild Style (1983), Graffiti Rock (1984) and Stretch and Bobbito: Radio That Changed Lives (2015). A few objects that further demonstrate hip-hop’s relevance are also on display, including an unmastered pre-release cassette tape of Nas debut album Illmatic, a rare studio demo cassette tape of Mobb Deep’s second album, The Infamous, and an original New York City MTA subway door featuring graffiti tags by some of the city’s most prolific artists. CAAMA’s large interactive table displays an additional 170 images from the Eyejammie Hip-Hop Photography Collection.

To showcase a sampling of the Eyejammie Collection through this exhibition exemplifies the Smithsonian’s commitment to continue telling the important story of hip-hop’s cultural and historical significance,” said Rhea Combs, curator of photography and film, and director of CAAMA. “The pairing of photographs will challenge our visitors to view hip-hop within the context of a long-standing tradition of black creative achievement. It also reminds us that hip-hop is based upon rearticulating other arts that are constantly changing over time.

The Earl W. and Amanda Stafford Center for African American Media Arts showcase the National Museum of African American History and Culture’s dynamic image collection through changing exhibitions of still and moving images, publications, and public programs. The CAAMA resource center and digital archive foster and support scholarship through publications and programs focused on the role, meaning, and influence of images by and about African Americans and other people of African descent.

Christie’s To Offer 22 Masterpieces by Richard Diebenkorn

Property Sold to Benefit The Donald and Barbara Zucker Family Foundation

This May, Christie’s will offer 22 Masterpieces by Richard Diebenkorn: Property Sold to Benefit The Donald and Barbara Zucker Family Foundation. The selection will be sold across Christie’s Evening and Day Sales of Post-War and Contemporary Art on May 17 and 18. Leading the group is Richard Diebenkorn’s iconic Ocean Park #126, 1984. With an estimate of $16-20 million, the painting is positioned to realize a new world auction record for the artist. The present group demonstrates superb focus, as it traces the artist’s creative trajectory from abstraction and figuration to the seminal Ocean Park series.

Richard Diebenkorn, Ocean Park #126

Richard Diebenkorn, Ocean Park #126

Refined over the course of four decades, Richard Diebenkorn’s body of work is distinguished by an effortless elegance that disguises the complexity and sophistication of its creation. Shimmering planes of saturated color are infused with the heady atmosphere specific to the West Coast. Beginning with his earliest work, Diebenkorn sustained virtuosity in not one, but many different styles, from the gestural Abstract Expressionist paintings of his Sausalito, Albuquerque, and Berkeley series, to the Bay Area Figurative movement, and finally, the consummate splendor of Ocean Park. This unsurpassed collection of paintings and works on paper beautifully illustrates each of the artist’s distinct forays into a different pictorial vernacular.

Leading the collection is Richard Diebenkorn’s consummate canvas, Ocean Park #126 (estimate: $16,000,000-20,000,000), left, and in-situ, left. Painted in 1984, the present canvas stands out as one of the pinnacles of this now iconic series. In this monumental canvas—arguably the best of his career—the viewer is engulfed by its immense scale and broad passages of luminous color. Standing before the painting, one has the uncanny sensation of being warmed; its inner light has a radiating effect. Raking diagonals evoke the sparkling view of the ocean as seen through the window on a sun-filled California afternoon. Coming as it did on the heels of two decades of refinement, the three predominate hues of crystalline blue, orange-tinged yellow and delicate pink play off each other like a beautiful melodic chord. “One of the greatest things about [his] work is his use of color, which is spectral or prismatic,” the artist Wayne Thiebaud has said of Diebenkorn’s work. “There are always at least two yellows, two reds, two blues so that the warm and cool alternation or juxtaposition of the colors enlivens the work. …and they tend to develop what’s called color chords, much like the three notes on a piano.” Ocean Park, 1984, is positioned to realize a world auction record for the artist.

The earliest work represented by the group is Sausalito, which was painted in 1949 (estimate: $500,000-700,000). With this painting, Diebenkorn lays out the foundation of a style that would sustain him for many years to come. Evocative of landscape without figurative depiction, this early canvas evokes the hue of the hillside town on the Bay, with wisps of cloud-like forms rolling in off the water. Already in this remarkable prescient work, the architecture of Diebenkorn’s mature style has crystallized; its wide swathes of atmospheric color are bordered by a muscular yet graceful line amid bursts of bright color.

Moving into the next decade, Berkeley #25 ($700,000-1,000,000), is a triumphant example of the artist’s eponymous series painted in 1954. Executed with a gestural force that rivals even Jackson Pollock and Willem de Kooning, Diebenkorn’s thickly-loaded brush links together the loosely-geometric planes of brushy color. Touches of pale blue and mossy green hint at the luminous hues that would become his signature palette—evocative of sun-dappled vistas, leafy green hills and the pellucid waters of the San Francisco Bay. In this sophisticated arrangement of color, gesture, and form, Diebenkorn is both at the full height of his Abstract Expressionist powers.

In the mid-1950’s, Diebenkorn became associated with the Bay Area Figurative Movement, and continued to work in a representational mode for the next ten years. In lush evocations of the female form, such as Nude—Elbow on Knee, painted in 1961 ($800,000-1,200,000), he continued many of the pictorial innovations of the prior series but nestled them within an intimate portrayal of the human figure. This important painting was recognized early on as a significant one within the artist’s newly developed oeuvre. It was included in a watershed exhibition of the artist’s work at the de Young Museum in San Francisco in 1963, where it featured alongside such masterpieces as Girl Looking at Landscape (Whitney Museum of American Art, New York) and Girl on a Terrace (Neuberger Museum of Art, Purchase).

The linear structure that buttresses the organic curvature of the nude in Nude—Elbow on Knee opened up and blossomed several years later, when the artist again switched course in the midst of a successful series to begin his most beloved body of work, the Ocean Park paintings, with the Ocean Park #126 of 1984 as the definitive example. Refined and polished over several decades, Diebenkorn’s work reached a glorious culmination with the Ocean Park series that he began in 1967 and continued, until his death in 1993.

Sara Friedlander, International Director, Specialist Head of Post-War and Contemporary Art, remarked: For the past thirty years, the Zucker’s have lived with Richard Diebenkorn’s entire career in their living room. This exceptionally rare exploration of one artist in such depth represents a Diebenkorn retrospective and touches on virtually every moment of his life as he moved across America. Diebenkorn’s deeply personal vision and exploration of both abstraction and figuration cement him as one of the most important American artists of the 20th Century.”