{"id":2172,"date":"2024-07-15T13:22:45","date_gmt":"2024-07-15T05:22:45","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2172"},"modified":"2024-07-15T13:22:45","modified_gmt":"2024-07-15T05:22:45","slug":"the-inextricable-histories-of-jewelry-and-hip-hop-as-seen-through-the-bling-of-tupac-slick-rick-missy-elliott-and-cardi-b","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-inextricable-histories-of-jewelry-and-hip-hop-as-seen-through-the-bling-of-tupac-slick-rick-missy-elliott-and-cardi-b\/","title":{"rendered":"The Inextricable Histories of Jewelry and Hip-Hop, As Seen Through the Bling of Tupac, Slick Rick, Missy Elliott, and Cardi B"},"content":{"rendered":"

It is a rite of passage for many young Black girls to receive their first piece of gold jewelry. It serves as a keepsake of their family, of where they come from, of who they are, and it typically becomes a staple in their own jewelry collections. Many people across the Black diaspora recognize jewelry as a symbol of identity as well as a signifier of wealth and success. While gifting jewelry has been practiced for centuries across many cultures, today, some of the most iconic and coveted jewelry comes directly from the influence of \u00a0ip-hop<\/a>\u00a0culture, inspired both by the genre\u2019s most famous artists and everyday people.<\/p>\n

The recently opened exhibition \u201cIce Cold: An Exhibition of Hip-Hop Jewelry\u201d at the\u00a0American Museum of Natural History<\/a>\u00a0in New York (on view through next January) aims to chart this story, unraveling jewelry\u2019s undeniable role in how early hip-hop artists and their audiences chose to present themselves in a world that refused to accept and acknowledge them and how that five-decade legacy continues to impact contemporary fashion, style, and representations of wealth and status, especially in the Black community.<\/p>\n

Curated by Vikki Tobak, a journalist and author of a book that lends the exhibition its title, with record executive Kevin \u201cCoach K\u201d Lee and filmmaker Karam Gill, \u201cIce Cold\u201d features iconic pieces worn and designed by hip-hop pioneers since the 1970s, including Roxanne Shant\u00e9\u2019s nameplate necklace, Notorious B.I.G.\u2019s Jesus Piece, and Tyler the Creator\u2019s Bellhop Chain.<\/p>\n

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The Notorious B.I.G. commissioned this Jesus pendant in the mid-1990s from Tito Caicedo of Manny\u2019s New York. Caicedo made three copies for Biggie, all cast from the same mold as the artist\u2019s proof shown here.<\/span>PHOTO ALVARO KEDING\/\u00a9AMNH<\/cite><\/figcaption><\/figure>\n<\/div>\n

Located in the museum\u2019s new Halls of Gems and Minerals,\u00a0<\/em>the exhibition is a mesmerizing display of 68 pieces of legendary chains, rings, grills, and more. Set to a soundtrack of tracks by Queen Latifah, Biz Markie, and Outkast, among others, the display is accompanied by photographs of hip-hop\u2019s \u201ciciest\u201d artists from Tupac to Gucci Mane, Missy Elliot to Cardi B. With section titles like \u201cHey Young World,\u201d \u201cIn Our Lifetime,\u201d and \u201cCode of the Streets,\u201d the exhibition aims to track hip-hop\u2019s evolution, showcasing the jewelry that best defined each distinct period.<\/p>\n

\u201cAdorning ourselves and presenting ourselves to the world is a very human thing,\u201d Tobak told\u00a0ARTnews.<\/em>\u00a0\u201cWhen it comes specifically to hip-hop culture and Black culture, it takes on all these additional layers. Hip-hop developed its very own jewelry language that used a lot of elements of the music and things that inform the music, like remixing, customization, and having something that nobody else has. All of that, hip-hop did bigger and better than anyone.\u201d<\/p>\n

T-Pain\u2019s \u201cBig Ass Chain,\u201d for example, is a testament to this idea: weighing more than 10 pounds, it is beset with nearly 200 carats of diamonds. As is Erykah Badu\u2019s 22-karat gold Ma\u2019at grill set, inspired by the eponymous ancient Egyptian goddess, or even Slick Rick\u2019s trademark platinum-and-diamond crown and eyepatch by Tanya Jones of Lucki Crowns. Extravagant and expensive jewelry, custom-made and designed for hip-hop artists, showed audiences that they were deserving and capable of reaching unimaginable wealth and success, regardless of their backgrounds.<\/p>\n

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Installation view of \u201cIce Cold: An Exhibition of Hip-Hop Jewelry,\u201d 2024\u201325, at American Museum of Natural History, New York.<\/span>PHOTO ALVARO KEDING\/\u00a9AMNH<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u201cI think a lot of hip-hop artists and people in the culture refer to jewelry as a trophy,\u201d Gill said. \u201cI think it\u2019s a form of expression. It\u2019s a celebration. It\u2019s a storytelling device. This is something that\u2019s prevalent throughout cultures around the world. And I think hip-hop, as it does with everything really, just kind of took that and expanded what it could be artistically, visually, and symbolically.\u201d<\/p>\n

And even though hip-hop culture, popularized by historically underrepresented Black and Latinx communities, expanded the possibilities of jewelry, Gill, who directed a related four-past documentary also titled\u00a0Ice Cold<\/em>, said that double standards imposed onto people of color have affected how hip-hop jewelry has been perceived, even today.<\/p>\n

\u201cWhether it\u2019s hip-hop jewelry, or it\u2019s Elizabeth Taylor\u2019s collection, jewelry is used for a variety of purposes,\u201d he said. \u201cIt\u2019s used for projecting success. It\u2019s used for celebrating moments and for unifying groups of people. And those common usages of jewelry are consistent across the world whether you\u2019re white, Black, or Brown.\u201d<\/p>\n

\u201cIce Cold\u201d also acknowledges the contributions of jewelers who have become hip-hop legends in their own right. Pieces by giants like Ben Baller and Jacob \u201cThe Jeweler\u201d Arabo glint under spotlights behind tall glass cases, frozen in time. Their collaborative partnerships with hip-hop artists gives further evidence of how jewelry and hip-hop aesthetics evolved hand in hand, always with a demand to be seen.<\/p>\n

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\"Designed<\/div>\n<\/div>
Johnny Nelson,\u00a0Fingers of Def four-finger ring<\/em>, 2018, from \u201cMount Rushmore\u201d series, depicting, from left: Biggie, Tupac, Ol\u2019 Dirty Bastard, and Easy-E.<\/span>PHOTO ALVARO KEDING\/\u00a9AMNH<\/cite><\/figcaption><\/figure>\n<\/div>\n

Brooklyn-raised jeweler Johnny Nelson, whose pieces are featured in \u201cIce Cold,\u201d said he sees his work as a love letter to the symbiotic relationship between jewelry, hip-hop, and the Black diaspora. His 2018\u00a0Fingers of Def Four-Finger Ring,<\/em>\u00a0depicting Biggie, Tupac, Ol\u2019 Dirty Bastard, and Easy-E in 14-karat gold, pay tribute to some of the genre\u2019s most influential artists as part of his \u201cMount Rushmore\u201d collection of multi-finger rings, elevated forms of brass knuckle weapons and now symbols of power in hip-hop,.<\/p>\n

Nelson\u2019s appreciation for hip-hop music and culture can also be seen in works like his 14-karat gold\u00a0Women in Hip-Hop and R&B Necklace<\/em>\u00a0(2021), featuring Missy Elliott, Lauryn Hill, Beyonc\u00e9, Queen Latifah, Mary J. Blige, and Erykah Badu. (Related pieces by Nelson including necklaces, rings, and hair adornments, were featured in designer Kerby Jean-Raymond\u2019s 2019 Pyer Moss \u201cCollection 3\u201d fashion show.)<\/p>\n

\u201cI feel like they all show their light in hip-hop in various ways and they all bring something different to the table,\u201d Nelson said of the women featured in these pieces. \u201cThey\u2019re all powerful in their own right, and they\u2019re all legends.\u201d<\/p>\n

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\"Designed<\/div>\n<\/div>
Johnny Nelson,\u00a0Women in Hip-Hop and R&B Necklace<\/em>, 2021, showing Missy Elliott, Lauryn Hill, Beyonc\u00e9, Queen Latifah, Mary J. Blige, and Erykah Badu.<\/span>PHOTO ALVARO KEDING\/\u00a9AMNH<\/cite><\/figcaption><\/figure>\n<\/div>\n

A former hip-hop artist himself, Nelson was inspired by LL Cool J, among other artists, to create and wear his own jewelry. His dedication to his craft is rooted in an understanding that the connection between jewelry and Black communities is not simply a surface level mode of adornment. In a country that has historically and systematically oppressed Black people, denying them opportunities to generate or maintain generational wealth, Nelson views wearing jewelry as much as a daily ritual as a celebration of how much the community has overcome and continues to fight against.<\/p>\n

\u201cYou gotta look like money to get money, even if you don\u2019t have it,\u201d he said. \u201cYou\u2019ve got to act like you got some bread. It\u2019s manifestation too. It\u2019s our sign of showing up and showing out. It\u2019s already in us.\u201d<\/p>\n

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A Lego pendant, designed for A$AP Rocky by Alex Moss X Pav\u0113, 2022.<\/span>PHOTO ALVARO KEDING\/\u00a9AMNH<\/cite><\/figcaption><\/figure>\n<\/div>\n

Shirley Neal<\/a>, author of the forthcoming book\u00a0AfroCentric Style: A Celebration of Blackness & Identity in Pop Culture<\/em>, believes that it\u2019s important to trace this innate understanding of jewelry and its role in society to centuries-old African traditions.<\/p>\n

\u201cLike a lot of cultures, our African ancestors have adorned themselves with jewels as symbols of wealth for centuries,\u201d she said. \u201cI\u2019m proud that many African American hip-hop artists are astute enough to look beyond the symbolism of jewelry as \u2018bling bling,\u2019 just to draw attention, or just as a measure of wealth. Instead, many see it as their birthright.\u201d<\/p>\n

Still, despite hip-hop\u2019s contribution to the jewelry and fashion industries, there is a need for diversity among those who profit from the creation and sale of jewelry.<\/p>\n

\u201cThe industry that I\u2019m in wasn\u2019t built for us,\u201d Nelson said. \u201cIt takes from the culture because people buy from other people that don\u2019t give back to our culture. We\u2019re so used to being the consumers, so I think it\u2019s good to show my people that we can produce also.\u201d<\/p>\n

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\"This<\/div>\n<\/div>
A 14-karat gold piece, designed for Ghostface Killah by Jason Arasheben, ca. 1990s.<\/span>PHOTO ALVARO KEDING\/\u00a9AMNH<\/cite><\/figcaption><\/figure>\n<\/div>\n

Throughout hip-hop\u2019s history, the culture\u2019s founders were faced with adversity and rejection that drove them to succeed by any means necessary. From Ghostface Killah<\/a>\u2019s Eagle Bracelet to the famous Roc-A-Fella chain, to Public Enemy\u2019s leather medallion, jewelry in hip-hop and among the Black diaspora represents more than money or pride. Instead, it is a symbol of perseverance and a tool for manifestation and a sense of self-determination.<\/p>\n

\u201cJewelry is so much deeper and ingrained in the fabric of American society than we even realize,\u201d Gill, the exhibition\u2019s co-curator, said. \u201cWhen you start to realize what it actually means to people outside of hip-hop, I think you can start to realize that it\u2019s powerful.\u201d<\/p>\n

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Source: https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

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