What in the Weekend with Nikki Woods

Naomi Harris makes her debut in the new James Bond movie "Skyfall."

Tonya Pendleton,
BlackAmericaWeb.com, and Nikki Woods, The Tom Joyner Morning Show
Thursday, November 8, 2012

Baby, it’s cold outside, if you live in the parts of the country where winter is finally in full swing. But there’s lots to warm you up. R. Kelly is on tour, as are Joe and the recently released from jail, Lyfe Jennings. (Welcome back, Lyfe.) If you missed it, BET’s got the re-air of one of it’s most popular award shows “Black Girls Rock,” and for football bans in the Chi, there’s plenty to cheer for as the 7-1 Bears take on the Houston Texans on national television this weekend. And we know you Bond fans have been waiting for “Skyfall” out this weekend.  Here’s what else is happening around your way.

Obama Tears Up While Addressing Campaign Staff (Video)

Before heading back to the White House on Wednesday, President Obama made a stop at campaign headquarters in Chicago to address his campaign staff after Tuesday night’s big victory.

The president gave an emotional thanks to the staff, tearing up as he expressed his gratitude for their support and dedication to the reelection effort.

“I’m really proud of all of you,” Obama said. “What you guys accomplished will go on in the annals of history.”



This is Our Moment – Again

Tom Joyner
The Fly Jock

This is our moment, not  just because we won, but the way we won. There’s a lesson in last night’s victory for all of us.

If you have a good plan or a good idea or a good dream, you set a goal and keep your eye on the prize. You are not taken off of your game by haters, doubters and naysayers. You surround yourself with people who believe in you. And you don’t stop until you succeed.

There were so many times during this race where we all could have believed that it was no longer worth the fight. Voter suppression, voter intimidation, long lines, trickery … but we didn’t quit.  Like soldiers, we marched forward together. We stood up and were counted in the crucial battleground states and the states that mathematically had little impact.

When you lived through adversity, or your parents or grandparents have, you don’t run from it. You run toward it. And through it.

So, now we know for sure that we count. We matter. We have power.  We are game changers. We can elect presidents, governors and senators, school boards and block club captains. We can make a difference. We won’t always win, but we will always be a force.

Black people, young people, Latino, the disabled, gays … these are the people that gave President Obama the push he needed. This is what America looks like, whether you like it or not, and now it can’t be denied. The Republicans have some work to do. And so do we.

But right now, it’s okay to bask in the victory.  Just don’t lose your job doing it.

I’m exhausted, but it’s a good tired — the tired you feel when you’ve completed a task, when you’ve crossed the finished line, when you’ve done what someone said you were too weak to accomplish.

I think this Facebook post from Keisha Cook sums it up nicely:

Mr. Joyner,

Thank you kindly for 866-MY-VOTE-1.  My sister, who is a disabled vet, waited in line for an hour. Once she made it to the front, she was informed that she was not on the list to vote there! Mind you, she has voted there for the last three elections. She became frustrated and upset. I encouraged her not to give up! I remembered that you had a hotline, and I gave her the number. She was informed that her designated voting place had been changed! She was able to go home and get some comfortable shoes, food and water and head back out there!

Keisha’s sister didn’t give up, and neither did we.

Dusable Museum Mission

Mission Statement

To collect, preserve and display artifacts and objects that promote understanding and inspire appreciation of the achievements, contributions, and experiences of African Americans through exhibits, programs, and activities that illustrate African American history, culture and art. Visit the following pages to learn more about the museum:

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Home

Dusable Museum Founders Day 2012!

Together let’s celebrate the birthday and legacy of Dr. Margaret Burroughs, internationally acclaimed artist, educator, writer, and renowned founder of the DuSable Museum of African American History! This day-long celebration features tribute performances by the Congo Square Theatre ensemble, a special screening of the documentary “Curators of Culture,” arts and crafts workshops and spoken word inspired by the artistry of Dr. Burroughs, and a series of special anecdotal presentations by those who have been impacted by the great Dr. Burroughs.

Founders Day 2012 is presented in partnership with the DuSable Museum Women’s Board; the DuSable Museum Education Council; the South Side Community Arts Center; and the DuSable High School Alumni Association.

All activities are FREE!

Date:

Sunday, November 11, 2012

Time:

11:59am – 4:59pm

Cost:

All activities are FREE

Read more….

Gather at the Table :: The Healing Journey of a Daughter of Slavery and a Son of The Slave Trade

Gather at the Table

The Healing Journey of a Daughter of Slavery
and a Son of the Slave Trade

By Thomas Norman DeWolf and Sharon Leslie Morgan

Foreword by Joy Angela DeGruy, PhD

Sharon Morgan and Thomas DeWolf, the authors of “Gather at the Table” will speak candidly about racism and the unhealed wounds of slavery.

Excerpts From The Book:

“I don’t spend a lot of time around white people. They scare me,” confesses Sharon Leslie Morgan, a black woman from Chicago’s Southside. Despite her trepidation, Morgan, a descendent of slaves on both sides of her family, agrees to embark on a journey toward racial reconciliation with Thomas Norman DeWolf, a white man from rural Oregon and a descendent of the largest slave-trading dynasty in early America.

In Gather at the Table, DeWolf and Morgan speak candidly about racism and the unhealed wounds of slavery. “The legacy of slavery,” they write, “is a combination of historical, cultural, and structural trauma that continues to touch everyone in American society today.” Schools, neighborhoods and churches are as segregated as ever, they note. Health disparities between black and white people remain significant and African Americans are overrepresented in prisons and underrepresented in colleges. Racism is more subtle now that in the past, but it still exists, the authors argue. “To be blunt,” DeWolf writes, “it is clear to me that systems remain in place in the United States that benefit white people and inhibit everybody else.”

About the Authors:

Thomas Norman DeWolf, author of Inheriting the Trade, is featured in the Emmy-nominated documentary film Traces of the Trade, which premiered at the Sundance Film Festival and on the acclaimed PBS series POV. DeWolf speaks regularly about healing from the legacy of slavery and racism at conferences and colleges throughout the United States.

Sharon Morgan is a marketing communications consultant and a nationally recognized pioneer in multicultural marketing. An avid genealogist, she is the webmaster for OurBlackAncestry.com and is a founder of the Black Public Relations Society.

http://gatheratthetable.net/

 

Oprah’s Favorite Recipes (Yep, She Really Cooks!)

The sun streams in through Oprah’s kitchen windows; birds chirp in the garden. Outside, a spring mix of flowers. Inside, Oprah is making lunch for her longtime beau, Stedman Graham, expertly assembling his favorite sandwich from a recipe she created herself. It’s a multilayered affair, rich with fresh tomato and avocado, dripping with melted cheese and sautéed scallions, anchored by savory smoked turkey. This is a lovely moment, one you might even call intimate — except for the 30-person camera crew surrounding them.

Knowing that Oprah delights in cooking — and by all accounts is quite fantastic at it—we asked her to share a few of her secrets, including the Love Sandwich. Don’t worry, you won’t need heart-shaped bread. That was a sweet touch that came from O food stylist Rori Trovato. And we know the sandwich was delectable. On the night before the shoot, Rori followed Oprah’s recipe and made a beautifully grilled, heart-shaped stunner. She placed it on a plate and left it in the kitchen. In the morning, the plate was still there. And the Love Sandwich? Gobbled in the night by persons unknown. All that remained were a few scattered crumbs.

The next morning, Rori made another one, shown here. To learn the true source of the Love Sandwich’s irresistibility, read on.

O: How often do you cook?

Oprah: I’ve had chefs over the years who have come to work for us, and what we’ve learned is it’s much easier for me to just do it myself on the weekends. So when Stedman and I are alone, I basically do all the cooking.

O: How would you describe yourself in the kitchen?

Oprah: I’m absolutely an improvisational cook — a makeshift cook. I don’t like looking at recipes, and even if I do use one, I will adjust it to whatever feels right to me. It’ll be based on what is here, and what is in the garden. So it’s gonna involve some kind of herb — basil is my favorite — and usually some kind of grain or pasta. I tried ginger herb rice the other day because that’s all I had.

O [to Stedman]: Is Oprah a good cook?

Stedman: Chefs don’t have anything on her.

Oprah: Well, chefs do — I mean…

Stedman: But you’re a fantastic cook. You put a lot of love in the work you do, and it crosses over into the food you make. Anything she cooks I really enjoy eating, and I appreciate it very much.

O: Which brings us to the Love Sandwich. How did you create it and why?

Oprah: One day there was some pepper Jack cheese in the refrigerator, and there was some turkey in there, and there were some avocados on the table. It became the Love Sandwich because I first started making it just for Stedman. I’ve only made it for a couple of other people, so if you’ve had me make the Love Sandwich for you, you have to be somebody I really care about. I think anything that you do should be done with the utmost care — it’s like giving a part of yourself. So when I’m sautéing the little scallions and I’m slicing the avocado and making sure — because he likes his tomatoes thin—that the tomatoes are perfectly thin, it’ll all be done with love. That’s why we call it the Love Sandwich.

Get the recipe for Oprah’s Love Sandwich

Stedman: She makes great pancakes, too. She makes great eggs, she makes great steaks — I mean, you could go on and on and on. She’s just an exceptional cook and an exceptional person.

Oprah: Thank you, honey.

Stedman: And all the work she does and the effort she puts into anything she does…

Oprah: Thank you! Big time! Hey, honey, what do you think is the best thing I’ve ever made?

Stedman: The best thing you made was when you marinated the chicken overnight — how’d you do that?

Oprah: With the herbs. I went to the garden and I picked herbs, and then I pulverized the herbs, and then I rubbed the herbs on the chicken, and then let it sit overnight, and then sautéed the chicken in a skillet with the herbs.

Stedman: Fantastic.

Oprah: Remember when I did the rosemary rice?

Stedman: The rosemary rice was a hit.

Oprah: The rosemary rice was a hit! You just get fresh rosemary and clip it and stir it up in the rice. It’s as easy as that.

Stedman: Your homemade blueberry pancakes are fantastic. They’re to die for.

Oprah: Yep. And I also make my own blueberry syrup. To go on the blueberry pancakes. Wasn’t that good that morning?

Stedman: No, she’s good. She’s good.

Oprah: Sometimes we’re sitting here in beautiful California and Stedman’s eating grits and catfish, and I’ll say, “I do believe you’re the only person in California who’s having grits and catfish right now.” Certainly in Montecito.

Stedman: I’m a lucky guy. No question.

Stedman Graham is the author of IDENTITY: Passport to Freedom.

News Inside The News

Thursday, November 1, 2012 – 10:15pm
Black America Web

News Inside The News takes a look at the first Obama Romney debate and answers the question; What could president Obama have done differently. Take a look and see if you agree. Mind you that this is no attempt to imitate Barack Obama. All my impressions sound just like me.

 

ANALYSIS: Obama Could Lose Without Black, Latino, Youth Vote

Michael Cottman
Senior Writer, Blackamericaweb.com

Six days before Election Day, with President Barack Obama returning to the campaign trail after taking a break to oversee relief efforts from Hurricane Sandy, two new polls show that African Americans, young adults, and first-time Latino voters will be critical to Obama’s re-election to the White House.

This week, in the final stretch of a deadlocked race, Jeremy Bird, the Obama campaign’s national field director, said the campaign is turning its attention to the African American vote.

“The African American community is solidly and overwhelmingly behind President Obama, because they know he is fighting for all of us, not just some of us,” Bird told reporters this week.

“Our campaign has been committed to organizing in the African American community for years, with our Barbershop and Beauty Salon program, congregation captains, and HBCU summits (Historically Black Colleges and Universities),” he added.

Bird said that over the last four years, the Obama campaign has recruited and trained members of the community to own and run the campaign in their neighborhoods.

“Now that voting has begun, we’re seeing it at polling places across the country,” Bird said. “The pictures and the numbers tell the same story: African Americans are committed to doing everything they can to re-elect the president.”

Obama returns to the campaign trail on Thursday with stops in Wisconsin, Colorado and Las Vegas. And this weekend, Obama will crisscross the country asking for votes from coast to coast. On Saturday, Obama will deliver remarks at grassroots events in Mentor, Ohio; Milwaukee, Wisconsin; Dubuque, Iowa and Bristow, Virginia. On Sunday, the president will campaign in Concord, New Hampshire; Ft. Lauderdale, Florida; Cincinnati, Ohio and Aurora, Colorado.

Meanwhile, Obama’s 52-point lead in the new Latino Decisions tracking poll, matches the president’s widest advantage of the year over Republican Mitt Romney:

The president has the support of 73% of all Latino registered voters, compared to 21% who favor Romney. The 52-point gap matches the largest gap among Latinos this year, also found in the Oct. 1 tracking poll.

“Those are remarkable numbers on the economy, given that Romney’s strategy to win back Latinos has been to campaign on jobs and hope that trumps immigration,” according the survey.

The poll says Latinos believe the economy is the most important issue in the presidential campaign that Romney and the Republican Party has been unable to convince Latino voters that the GOP can improve the economy and put people back to work.

In a separate survey conducted by Tufts University’s Center for Information and Research on Civic Learning and Engagement (CIRCLE), the poll concluded that if the election were held today, Obama would win the youth vote by 52% to 35%.

Support for Obama rose more than 7 points among likely voters: up from 44.4% in July while support for Romney is down slightly from 36.9% to 35.1% among likely, registered voters, according to the poll.

“The racial and ethnic group breakout shows that there is a rise in intent to vote among the three groups whom we polled in large numbers, with an impressive three quarters of Black youth intending to vote,” said CIRCLE Director Peter Levine.

The poll asked young people to pick their top issue. The percentage of youth who chose “Jobs and the Economy” rose and it remained the number-one issue, at 37.9%.

Here are some key findings:

●       The proportion saying they are extremely likely to vote has risen 9.9 points, from 44.7% to 54.6%. Two-thirds (67.3%) of young adults are “very” or “extremely” likely to vote, up 7.1 percentage points since June/July.
●       The proportion who are paying attention to the election has also risen, from 56.1% to 71%.
●       If the election were held today, Obama would win the youth vote by 52% to 35% among those registered voters who are “extremely likely to vote.”

Alexandra Acker-Lyons, director of the Youth Engagement Fund, said young Americans are a critical voting bloc to both campaigns.

“Young voters have been targeted in the last few weeks,” Acker-Lyons said. “But with young voters comprising one quarter of the electorate, the campaigns — having spent one billion dollars each — and the media remain focused on seniors and other sectors of the electorate. Politicians underestimate the youth vote at their own peril. Young voters have the power to decide this election.”

Hurricane Sandy 2012: As New York’s Art World Reels From Damage, MoMA Lends A Hand (VIDEO)

"These bags contain thousands of artist books - big blow for our tiny non profit." -Adam O'Reilley, Printed Matter

In the wake of New York City’s most devastating natural disaster to date, many of the city’s landmark institutions are stepping up to provide relief for members of their communities. The art world is no different, as the Museum of Modern Art is demonstrating this weekend.

The major art house announced that they will hold a free public presentation on conserving damaged art and cultural materials this Sunday, featuring speakers from the American Institute for Conservation Collections Emergency Response Team as well as MoMA itself. They will make their expertise available to the numerous galleries and artists who have had their livelihoods interrupted by the flooding of Hurricane Sandy, presenting information on the safe handling of paintings, drawings, books, sculptures and other archival works. MoMA has also issued “Immediate Response for Collections“, a set of step-by-step measures art owners can take to preserve their work, including a list of suppliers and emergency services that are on the ready.

A number of New York’s well-known art organizations have suffered greatly in the aftermath of the city’s unprecedented storm. Printed Matter, a non-profit art publishing group located in Chelsea, lost thousands of pieces in its inventory, as shown in the image above. “We lost a shocking amount of materials,” stated AA Bronson, artist and former director of Printed Matter, in an email to The Huffington Post. “And of course even the damp that will remain will continue to damage the books over the next months.” Watch the video posted here by Now This News for more information on the damage Hurricane Sandy wrought on New York’s art world.

 

 

Nick Africano: Music as an Art of Inclusion


Editor, ‘The Journal of Cultural Conversation’

It’s no secret that music has a unique way of unifying people across cultures, geographies and communities. It takes exceptional artists and performers to build those stories to which many can relate. Nick Africano, whose music blends folk, soul, storytelling and rock, does just that — his soulful storytelling performance style is built upon a philosophy of music as an ‘art of inclusion.’

During a conversation about his recently released album, The Butterfly Bull, Africano classified his sound as living “between the soulful, passionate, poetic space of rock and roll.”
A tireless performer, he shared his key defining moments as a musician, shaped by a commitment to incessant improvement.

Laura Cococcia: What motivated you to create a career as a musician?

Nick Africano: I grew up around art, and I grew up performing on the baseball field first. I’ve always loved performing. My mother was an artist, and my father, Nicolas Africano, is a painter and sculptor whose work is in many museums in NYC. They were my first heroes, and always encouraged me.

Later, my interest in poetry inspired my first songs in high school. What finally motivated me to commit to a career in music was my mother’s death when I was 22. Her loss moved me into action, into belief that anything was possible, and created the desire inside my heart to honor life by choosing every day to do what I love most. My mother’s friends also collected $500 for me as a gift to go make my first recording and presented that gift to me after her funeral.

LC: What makes you (or inspires you to) write?

NA: These days, stepping out into the world, walking in New York City, stepping further into myself. I write every morning now, and I get excited by the thought of losing myself momentarily in my work. I make small watercolors also that often inspire lyrics.

LC: What established artist made you want to perform (make music, write songs, etc.) and why?

NA: Reading Federico Garcia Lorca made me want to write poems. I feel connected to the intensity of his imagery and to his search for what is mysterious and contradictory. My father’s work gave me hope that it was possible to have a career. Hearing Bob Dylan in high school gave me courage to begin to sing what I was writing. And these days, watching old concerts of Bruce Springsteen give me courage to perform with more abandon.

LC: Do you have a personal example of how you’ve seen music impact communities in positive ways?

NA: I love performing alone and with a band, but in college I was lucky to have the experience of performing with an African music ensemble. We rarely performed anything solo. Eventually, we learned traditional funeral songs from Ghana, and performed these songs at one of our member’s funeral. I have never had as cathartic or unifying an experience. We were laughing with joy and sadness. Music brought us closer to each other’s grief and helped us feel not so alone. It lifted our hearts. Music is an art of inclusion. It is an exchange with an audience. It helps us relate and empathize. It helps teach us to give and to receive and to give back.

LC: What advice do you have for anyone looking to start in today’s music industry?

NA: Keep writing songs. Your work is your true home. Keep believing. Embrace your doubt and keep believing. Ask for help. Do what you can for yourself always, but ask for help. And then write more songs.

 Follow Laura Cococcia on Twitter: www.twitter.com/lauracococcia

 

‘Cloud Atlas’ Flops While ‘Argo’ Reaches Number One At The Weekend Box Office

With a $100 million budget, “Cloud Atlas” was banking on box office success. If this weekend is any indication, it’s going to be a slow process making that $100 million back. The movie, which stars Tom Hanks and Halle Berry, made $9.4 million this weekend across 2,008 theaters, bringing it to the number three spot.

It was beat by “Argo,” which rose to number one for the first time since its release three weeks ago. The movie brought in $12.4 million for the weekend, for a total of $60.8 million since debut.

Adding insult to injury, the sci-fi adaptation was also beat by “Hotel Transylvania,” which made $9.5 million in its fifth week. The movie has now earned $130.4 million which is record-breaking for Sony for animation movies.

Distributed by Warner Bros., “Cloud Atlas” has received mixed reviews. Directors Andy and Lana Wachowski and Tom Tywker oversaw the film’s adaptation from David Michell’s best-selling book. Mitchell himself reportedly thought the book would be unfilmable because of its broad fantasy aspects.

THR is reporting that Warner Bros. president was quick to point out that “Cloud Atlas” did see success in that it had the highest per screen average of any top 10 movie, with $4,681.

It was a quiet box office weekend across the board as three other movies saw small opening weekends as well. Horror movie “Silent Hill Revelation 3D” had an $8 million weekend, Halloween flick “Fun Size” brought in $4.1 million, and Gerard Butler’s surfing drama “Chasing Mavericks” made a disappointing $2.2 million.

 

Why The Art Market Profits When Social Inequality Is Growing

The rich are getting richer and the poor are getting poorer. And the art market likes it that way, according to Federal Reserve Bank economist Benjamin Mandel.

Mandel recently spoke with German newspaper Die Ziet about the peculiar beast that is the art economy, existing almost fully removed from the reality most of us experience from day to day. While the ranks of America’s poor are stuck at record levels, the prices for famed works of art have skyrocketed, breaking records left and right. From Edvard Munch’s $120 million “Scream” to Mark Rothko’s $86 million “Orange, Red, Yellow,” the price limits of these physical objects has gone so high, tracking them has become a spectacle in itself. (Yes, we did live blog the scream auction.)

How is this possible?

While most economies fluctuate in proportion to the economy at large, the art economy fluctuates parallel to the pockets of the super rich — aka the 0.1%. According to Mandel, the art market thrives “not when only the poor are getting poorer, it must also be the richest get even richer.”

Since the majority of society’s wealth rests in the hands of the upper ranks, the same goes for art. Extremely expensive paintings are among the few seen as a safe investment, with little money pouring into art at middle or lower price points. It could be a matter of purchasing “perceived quality“, ensuring a good investment or simply being a showoff, but art consumption at this level has a lot to do with economic safety and little to do with that naive notion of loving art.

Of course there are forces fighting to keep art’s middle class from fading into oblivion. The Affordable Art Fair has spread to fifteen locations worldwide over the past 12 years. We asked Cristina Salmastrelli, the director of Affordable Art Fair New York City about the importance of a strong mid-price art presence. In an e-mail to The Huffington Post, Salmastrelli wrote:

The art world isn’t a playground just for the rich, it is a place for all to explore no matter what their price point is and we strongly support that. The middle market is where emerging talents are displayed, and where the value of art is developed by those who begin buying artists work early in their career. Without the middle market laying down the groundwork, the next generation of masters (and multi-million dollar pieces) would not be created.

If this stratification continues, we will likely see canvases continuing to break enormous records on the chopping block. At least we can live blog the next preposterous sale, can’t we?

The Precise Art Of Framing

A Lowy's artisan applies 23-karat gold leaf to a frame using a traditional water gilding technique. (Photo courtesy of Julius Lowy Frame and Restoring Company, Inc.)

joe.satran@huffingtonpost.com

On a recent afternoon at Julius Lowy Frame and Restoration Co., a three-by-four frame sat on a work table, shining with freshly-applied gold leaf. The craftsmen at Lowy, as it’s known, still apply gold leaf by hand, a painstaking process that starts with coating a wood frame with successive layers of gesso, yellow clay, red clay and water. A gilder will rub a gilding brush on his or her forehead to coat it with oil and make it slightly adhesive, and pick up a sheet of gold with the tip of the brush. The gold leaf is so thin it wags erratically in the air, like a catfish yanked out of a river by an expert noodler. The gilder gently lowers the gold onto the wet surface of the clay. The molecular attraction of the wet clay bonds gold to the frame instantly, so the tiniest stray gesture could ruin it.

“Two and a half hours,” the glider said, sighing, when asked how long it had taken her to finish the frame.

Lowy CEO Larry Shar, a sharply-dressed man with the bald head and Brooklyn accent of Lloyd Blankfein, wasn’t impressed. He can afford to be patient with his 4,500 antique frame inventory. They get older and more valuable by the day. But he has to make sure that with the workers he pays by the hour—to restore old frames, craft new designs and reproduce antiques—are doing their jobs efficiently.

“The only correct answer to that question,” he told Huffington, “is not fast enough.”

For the last 105 years, Lowy has been one of the premier framers in New York, if not the world. When the Metropolitan Museum of Art acquires a new Velazquez, or the estate of Max Weber is putting on a big retrospective, or a Slovakian collector buys a $10 million Caillebotte, they go to the grand six-floor Lowy townhouse on East 80th Street to pick out a frame. They’ve most notably made the frames that showcase Van Gogh’s “Starry Night” and Cezanne’s “The Bather” at the Museum of Modern Art.

Most of Lowy’s frames were made in Europe, especially Spain, France and Italy, and sell for between $15,000-$50,000. One of the most valuable frames on hand right now, though, is American. Larry’s son Brad, who represents the third generation of Shars to work at Lowy, estimates it will sell for $150,000, probably to a “frame collector” who will display it as art object in itself—without a painting inside. Designed by 19th century architect Stanford White, the ornate, gilded number hangs hidden behind a thick grey velvet curtain in the Lowy’s showroom. Gold never tarnishes, and it remains a mark of prestige for many. (“Especially Russians,” Shar laughed.)

Lowy specializes in antique frames, which are found everywhere from antique stores in Europe to auction houses. Some date back as far as the 14th century. Shar particularly admires the Spanish and Italian frames from the 16th and 17th century in his collection, which are often painted black and red rather than gilded, and feature figurative rather than decorative accents. “They’re not so pompous, not so regal, so they appeal to a Brooklyn boy like me,” he explained.

When Larry first started working at Lowy, learning the ropes from his father Hilly, many of the company’s clients came from elite, old-money families like the Whitneys and the Rockefellers, whose collections dominate the walls of New York museums to this day. They were confident, idiosyncratic art collectors who chose frames from the gut, often with an eye to fitting in well with the rest of their decor.

But many of Lowy’s clients now think of paintings as investments more than beautiful objects. So they tend to choose frames that they think will make an artwork marketable. A frame’s historical accuracy is a selling point that translates easily from buyer to buyer, unlike its subjective aesthetic appeal.

“In today’s world, it’s more a thinking man’s game,” Shar said. “50 years ago, we’d put French frames on American 19th-century paintings. They were expensive paintings, so we’d put a fancy frame on it.”

But just because a frame fits a painting’s historical period doesn’t mean it’s the right one. For that reason, Shar sees historical accuracy as just one of many factors that should be considered when choosing a frame. The underlying principle, he says, is to strike a balance between “contrast and harmony.”

Shar notes that some bids for historical accuracy result in awful pairings. French impressionists, for example, would often fit gilded 18th century French frames from a century previous to their paintings—so it makes no sense to insist on a 19th century frame for a Monet today. Meanwhile, many mid-20th century American painters used low-quality frames for their artwork merely because they couldn’t afford better ones.

“If you want to put that kind of trash in your living room, around your multi-million-dollar painting, by all means, do it. But it seems like a pretty narrow-minded approach,” he said.