One of the players, Earl Lloyd, was the first African-American to play in the NBA. This has implications beyond that season. You can sign up for our weekly newsletter here:Įlsewhere, the exhibition presents a collector’s item, ten Topps cards depicting players from the 1957 Syracuse Nationals team. Sign up for Current News!Įnter your email to receive the latest news and updates from our team at Central Current to your inbox on Thursdays. She’s been an all-American at Liverpool High and the University of Connecticut, a star for the USA team in the Olympics, and in pro basketball. In addition, Teamer created a promotional card honoring Liverpool native Breanna Stewart. Middlebrook has designed mosaic-style basketballs referencing two champions: the 1955 NBA title won by the Syracuse Nationals and Syracuse University’s collegiate championship in 2003. The exhibit also commemorates ties between Syracuse and basketball. It’s an interesting piece, one of the best in the show. In “Touch the Moon,” created with acrylic, flashe and latex paint over an inkjet print, viewers see a glimpse of a face plus a mix of colors and shapes. The work seems to pose a question: what do we know about a player seen dribbling or dunking?Īshley Teamer, meanwhile, is inspired by basketball but moves to her own beat. There’s a sense of both physicality and identity. He’s portrayed a solitary figure whose face isn’t seen. The player’s hands are covered with gloves, and he either flicks or catches a circular object marked with a large “X.” His head clearly isn’t intended to be realistic.Īlvin Armstrong’s acrylic, “I Got Next,” doesn’t include anyone playing ball. Nina Chanel Abney, in her relief print “Two Years and Counting,” works with the outline of a player and an abstract style. He depicts netting in various colors over and over again, filling a canvas. In “We Are Family,” done with acrylic and spray paint on wood panel, David Huffman has created a densely layered work focusing on nets attached to basketball hoops. They emerge as shadowy figures in the background. The artist depicts the action but also plays with the backboard as a rectangular form, with colors, with portrayal of fans. Otis Thorpe, no relation to the artist, gets a shot rejected by Mark Eaton, a formidable shot blocker. Thorpe’s “Hoop Dreams,” a fiber work, shows one play from an NBA game. The show embraces artworks that aren’t straight-up figurative. “Hoop Dreams” fills much of Gallery B at the Everson Museum of Art with Jason Middlebrook’s installation, “Respect the Call.” It covers a wall with 33 baskets and sets up a mini-court where museum visitors can shoot a free throw or a three-point shot. And, it explores basketball courts as public spaces - the courts’ connection to neighborhoods and the sport’s social implications. It salutes basketball’s impact on the Syracuse community. “Hoop Dreams: Basketball and Contemporary Art” has multiple objectives: It provides a forum for artists who interpret basketball in innovative works.
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