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Sims, who died on Aug. 1 of cancer at age 61, was one of the first black supermodels. Her appearance on the cover of Ladies' Home Journal in 1968 broke the color barrier at mainstream women's magazines, and she went on to grace the covers of Cosmopolitan, Essence and Life. While she was not the only successful black model from that era (there were others, among them Donyale Luna), she was the first dark-skinned model to enjoy such a measure of mainstream success. (Read about the role of race in modeling...
...time spent in foster care. (She later credited her unhappy childhood with fueling her drive and determination.) She arrived in New York City to attend the Fashion Institute of Technology in 1966 and decided to try modeling to support herself. After most agencies turned her down, proclaiming her skin color "too dark," she forged out on her own, landing a photo spread with the New York Times by contacting a photographer directly. At a time when "black is beautiful" became a rallying cry for many black people, she helped illustrate this mantra for people of all skin colors. (See TIME...
...going to be like. I thought it would all be savanna and that it would always be unbearably hot. I thought that I would see poverty at every turn, and that nobody would speak English. I thought I would stick out like a sore thumb because of the color of my skin—and on that count, at least, I was right...
Though hampered by the government's near monopoly of the media, the Aquino campaign attracted millions of fervent supporters, all decked out in yellow, the reluctant candidate's favorite color. And when Marcos cheated her of victory in the February 1986 vote, the outcry was tremendous - and his doom was sealed. Bearing witness to their political allegiance, the millions who crammed the streets to protect reformist soldiers who had mutinied against Marcos chanted the now familiar mantra: "Cory, Cory, Cory." Nuns armed only with rosaries knelt in front of tanks, stopping them in their tracks...
...exhibition also offers examples of Calder’s paintings, spurred by his visit to Piet Mondrian’s studio in 1930. The two artists must have had the primary color fixation in common: “Black and white are first – then – red is next – and then I get sort of vague. It’s really just for differentiation, but I love red so much that I almost want to paint everything red,” Calder said. The show concludes with several examples of Calder?...