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Depending on where you are in the world, your access to museums and galleries is severely impacted by corona regulations. Either your local museums/galleries are completely closed, you have to register in advance for a limited number of tickets, or your independent gallery is too small to actually open. Just as many film festivals, comic-cons, and larger industry gatherings, curators and galleries in the art world are also adapting to a world in which they may not be able to function as normal for an unforeseeable amount of time. Powered by Google Cultural Institute, a new Black arts exhibition emerges as a sign of the times – “Curating The End Of The World.”
In light of the postponement of New York Live Arts’(Live Arts) annual Live Ideas humanities festival of arts and ideas, originally scheduled to take place in May, the Live Arts launched the online exhibition co-presented with Black Speculative Arts Movement (BSAM) and curated by Reynaldo Anderson (co-curator of Live Ideas festival), Tiffany E. Barber, and Stacey Robinson. “Curating The End Of The World” is an Afrofuturist commentary on the end of the current age and “Cyclical Chaos,” interrogating the racist pathology and corruption that influences policy around the world. This multi-part exhibition looks at the global existential risks tied to ecology, climate change, anti-blackness, medical apartheid, and responses to the dystopian present.
“Magnitude” by Jessi Jumanji 2019
While the normal social reality we typically enjoy is not available to many, this online exhibition provides a vast multimedia experience to make up for the gallery experience. Aesthetics of joy, pain, rebirth, (re)memory , and (re)creation burst through the paintings, collages, soundscapes, words, and comics of the included artists. The exhibition features creative works by Chloe Harrison, Jessi Jumanji, Kinnara :Desi La, Jordan P. Jackson, lovenloops, Zeal Harris, Kimberly Marie Ashby, Stacey Robinson, Patrick Earl Hammie, Jon-Carlos Evans and ReVerse Bullets, Shawanna Davis, Edreys Wajed, La’Nora Boror, Delita Martin, Sherese Francis, John Jennings, Damian Duffy, David Brame, Motherboxx Studios, Muniyra Douglas, Ingrid LaFleur, BLACKMAU, Nettrice Gaskins, William Falby, Charles E. Mason, Walidah Imarisha, Stefani Cox, Clinton R. Fluker, PhD, and ZiggZaggerz the Bastard with tobias c. van Veen.
Looking ahead toward the next edition, the Live Arts’ 2020-21 season will offer five days of activity designed to explore second wave Afrofuturism as the groundwork for a future unfettered from the ideals of white Enlightenment universalism. Renowned author/curator Sheree Renée Thomas refers to this upcoming iteration as “Red Spring: Curating the End of the World.” In discussing the next event, she writes:
“In our first online exhibition, Curating the End of the World, we spoke out about the “cyclical chaos” surrounding black lives, black art, black futures.”
Thomas continues, “But out of chaos, comes clarity, renewed strength and vision. Red Spring explores the circular nature of systemic racism and the public policies—public safety, health, and wealth—that adversely impact black and indigenous communities. This work is remembrance and resurrection, resistance and restored hope in a social, economic, and political landscape of uprisings and upheaval, strange fruit buried in scorched earth. The artists and writers gathered here ask the essential questions that plague us all. What ancient and familiar new blossoms will spring up from the change the world demands now? What sacrifices and compromises will be made in the days ahead? Red Spring evokes the clarion call for dignity, equality, and justice of Claude McKay’s classic Red Summer poem, “If We Must Die.” It speaks to the temporal and systemic changes that must come to pass throughout the diaspora in order to birth futures where black lives truly matter.”
“Parable of the Shower” by Motherboxx Studios, 2020
For updates regarding the Call for Works for the next edition, along with ore artworks related to the current exhibition head to www.bsam-art.com and @bsamstl on Instagram.
BLACK SPECULATIVE ARTS MOVEMENT
The Black Speculative Arts Movement emerged in the wake of the “Unveiling Visions: Alchemy of The Black Imagination” exhibition curated by John Jennings and Reynaldo Anderson at the Schomburg library in New York, 2015. BSAM is a network of creatives, intellectuals, and artists representing different positions or basis of inquiry including: Afrofuturism, Astro Blackness, Afro-Surrealism, Ethno Gothic, Black Digital Humanities,
Black (Afro-future female or African Centered) Science Fiction, The Black Fantastic, Magical Realism, and The Esoteric. Although these positions may be incompatible, in some instances they overlap around the term speculative and design; and interact around the nexus of technology and ethics. BSAM L.L.C., founded by Reynaldo Anderson, is a year-long, traveling afrofuturism, comics, film, and art convention held at multiple universities, colleges, domestically and venues abroad.
Dr. Reynaldo Anderson currently serves as an Associate Professor of Communication at Harris-Stowe State University in St. Louis, Missouri and is an executive board member of the Missouri Arts Council. Reynaldo has earned several awards for leadership and teaching excellence and he is currently the Past Chair of the Black Caucus of the National Communication Association (NCA). Reynaldo has not only served as an executive board member of the Missouri Arts Council, he has previously served at an international level working for prison reform with C.U.R.E. International in
Douala, Cameroon, and as a development ambassador recently assisting in the completion of a library project for the Sekyere Afram Plains district in the country of Ghana. Reynaldo publishes extensively in the area of Afrofuturism, communication studies, and the African diaspora experience. Reynaldo is currently the executive director and co-founder of the Black Speculative Arts Movement (BSAM), a network of artists, curators, intellectuals and activists. Finally, he is the co-editor of the book Afrofuturism 2.0: The Rise of Astro-Blackness published by Lexington books, co-editor of “Cosmic Underground: A Grimoire of Black Speculative Discontent” published by Cedar Grove Publishing and The Black Speculative Art Movement: Black Futurity, Art+Design (Lexington books, 2019), as well as the co-editor of “Black Lives, Black Politics, Black Futures, ” a special issue of TOPIA: Canadian Journal of Cultural Studies.
Dr. Tiffany E. Barber is a scholar, curator, and critic of twentieth and twenty-first century visual art, new media, and performance. Her work focuses on artists of the black diaspora working in the United States and the broader Atlantic world. Her writing appears in Rhizomes, InVisible Culture: An Electronic Journal for Visual Culture, TOPIA: Canadian Journal of Cultural Studies, Black Camera, ASAP/Journal, Dance Research Journal, Afterimage: The Journal of Media Arts and Cultural Criticism, and various anthologies, exhibition catalogs, and online publications, including “Prospect.3: Notes for Now” (2014), “Afrofuturism 2.0: The Rise of Astroblackness” (2016), the “Black One Shot” series (2018), and “Suzanne Jackson: Five Decades” (2019). She is Assistant Professor of Africana Studies and Art History at the University of Delaware.
Visual artist Stacey Robinson, is an Assistant Professor of graphic design at the University of Illinois at Urbana- Champaign. As a Arthur A. Schomburg fellow, he completed his Masters of Fine Art at the University at Buffalo. He’s a 2019-2020 Nasir Jones Hip-Hop Fellow at Harvard University’s Hutchins Center for African & African-American Research at where he’s researching Hip-Hop’s multimodal performance practice as activism. His multimedia work discusses ideas of “Black Utopias” as decolonized spaces of peace by considering Black affluent, self-sustaining communities, Black protest movements, and the arts that document(ed) them. As part of the collaborative team “Black Kirby” with artist John Jennings, he creates graphic novels, gallery exhibitions, and lectures that deconstruct the work of comic book creator Jack Kirby to re-imagine resistance spaces inspired by Black diasporic cultures.
Sheree Renée Thomas creates art inspired by myth and folklore, natural science and conjure, and the genius culture created in the Mississippi Delta. She is the author of Nine Bar Blues: Stories from an Ancient Future (Third Man Books, May 2020), her first all fiction collection, and her work appears in The Big Book of Modern Fantasy edited by Ann and Jeff VanderMeer (Vintage Anchor, July 2020). She is also the author of two multigenre/hybrid collections, Sleeping Under the Tree of Life, longlisted for the 2016 Otherwise Award and Shotgun Lullabies (Aqueduct Press, 2011), described as a “revelatory work like Jean Toomer’s Cane.” A Cave Canem Fellow honored with residencies at the Millay Colony of the Arts, VCCA, Bread Loaf Environmental, Blue Mountain, and Art Omi / Ledig House, her work has appeared in numerous anthologies, journals, and other publications, including The New York Times. She edited the two-time World Fantasy Award-winning volumes, Dark Matter (2000, 2004), that first introduced W.E.B. Du Bois’s work as science fiction and was the first black author to be honored with the World Fantasy Award since its inception in 1975. She serves as the Associate Editor of Obsidian: Literature & Arts in the African Diaspora (Illinois State University, Normal). She lives in Memphis, Tennessee.
Feature Art Credit – “CT3” Digital Collage by Stacey Robinson, 2019
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The post “Curating the End of the World”: Afrofuturist Online Exhibit Rises in Times of Pandemic appeared first on Black Nerd Problems.
Depending on where you are in the world, your access to museums and galleries is severely impacted by corona regulations. Either your local museums/galleries are completely closed, you have to register in advance for a limited number of tickets, or your independent gallery is too small to actually open. Just as many film festivals, comic-cons, and larger industry gatherings, curators and galleries in the art world are also adapting to a world in which they may not be able to function as normal for an unforeseeable amount of time. Powered by Google Cultural Institute, a new Black arts exhibition emerges as a sign of the times – “Curating The End Of The World.”
In light of the postponement of New York Live Arts’(Live Arts) annual Live Ideas humanities festival of arts and ideas, originally scheduled to take place in May, the Live Arts launched the online exhibition co-presented with Black Speculative Arts Movement (BSAM) and curated by Reynaldo Anderson (co-curator of Live Ideas festival), Tiffany E. Barber, and Stacey Robinson. “Curating The End Of The World” is an Afrofuturist commentary on the end of the current age and “Cyclical Chaos,” interrogating the racist pathology and corruption that influences policy around the world. This multi-part exhibition looks at the global existential risks tied to ecology, climate change, anti-blackness, medical apartheid, and responses to the dystopian present.
Exhibition Homepage
“Magnitude” by Jessi Jumanji 2019
While the normal social reality we typically enjoy is not available to many, this online exhibition provides a vast multimedia experience to make up for the gallery experience. Aesthetics of joy, pain, rebirth, (re)memory , and (re)creation burst through the paintings, collages, soundscapes, words, and comics of the included artists. The exhibition features creative works by Chloe Harrison, Jessi Jumanji, Kinnara :Desi La, Jordan P. Jackson, lovenloops, Zeal Harris, Kimberly Marie Ashby, Stacey Robinson, Patrick Earl Hammie, Jon-Carlos Evans and ReVerse Bullets, Shawanna Davis, Edreys Wajed, La’Nora Boror, Delita Martin, Sherese Francis, John Jennings, Damian Duffy, David Brame, Motherboxx Studios, Muniyra Douglas, Ingrid LaFleur, BLACKMAU, Nettrice Gaskins, William Falby, Charles E. Mason, Walidah Imarisha, Stefani Cox, Clinton R. Fluker, PhD, and ZiggZaggerz the Bastard with tobias c. van Veen.
Exhibition Part I
Exhibition Part II
Looking ahead toward the next edition, the Live Arts’ 2020-21 season will offer five days of activity designed to explore second wave Afrofuturism as the groundwork for a future unfettered from the ideals of white Enlightenment universalism. Renowned author/curator Sheree Renée Thomas refers to this upcoming iteration as “Red Spring: Curating the End of the World.” In discussing the next event, she writes:
“In our first online exhibition, Curating the End of the World, we spoke out about the “cyclical chaos” surrounding black lives, black art, black futures.”
Thomas continues, “But out of chaos, comes clarity, renewed strength and vision. Red Spring explores the circular nature of systemic racism and the public policies—public safety, health, and wealth—that adversely impact black and indigenous communities. This work is remembrance and resurrection, resistance and restored hope in a social, economic, and political landscape of uprisings and upheaval, strange fruit buried in scorched earth. The artists and writers gathered here ask the essential questions that plague us all. What ancient and familiar new blossoms will spring up from the change the world demands now? What sacrifices and compromises will be made in the days ahead? Red Spring evokes the clarion call for dignity, equality, and justice of Claude McKay’s classic Red Summer poem, “If We Must Die.” It speaks to the temporal and systemic changes that must come to pass throughout the diaspora in order to birth futures where black lives truly matter.”
“Parable of the Shower” by Motherboxx Studios, 2020
For updates regarding the Call for Works for the next edition, along with ore artworks related to the current exhibition head to www.bsam-art.com and @bsamstl on Instagram.
BLACK SPECULATIVE ARTS MOVEMENT
The Black Speculative Arts Movement emerged in the wake of the “Unveiling Visions: Alchemy of The Black Imagination” exhibition curated by John Jennings and Reynaldo Anderson at the Schomburg library in New York, 2015. BSAM is a network of creatives, intellectuals, and artists representing different positions or basis of inquiry including: Afrofuturism, Astro Blackness, Afro-Surrealism, Ethno Gothic, Black Digital Humanities,
Black (Afro-future female or African Centered) Science Fiction, The Black Fantastic, Magical Realism, and The Esoteric. Although these positions may be incompatible, in some instances they overlap around the term speculative and design; and interact around the nexus of technology and ethics. BSAM L.L.C., founded by Reynaldo Anderson, is a year-long, traveling afrofuturism, comics, film, and art convention held at multiple universities, colleges, domestically and venues abroad.
Dr. Reynaldo Anderson currently serves as an Associate Professor of Communication at Harris-Stowe State University in St. Louis, Missouri and is an executive board member of the Missouri Arts Council. Reynaldo has earned several awards for leadership and teaching excellence and he is currently the Past Chair of the Black Caucus of the National Communication Association (NCA). Reynaldo has not only served as an executive board member of the Missouri Arts Council, he has previously served at an international level working for prison reform with C.U.R.E. International in
Douala, Cameroon, and as a development ambassador recently assisting in the completion of a library project for the Sekyere Afram Plains district in the country of Ghana. Reynaldo publishes extensively in the area of Afrofuturism, communication studies, and the African diaspora experience. Reynaldo is currently the executive director and co-founder of the Black Speculative Arts Movement (BSAM), a network of artists, curators, intellectuals and activists. Finally, he is the co-editor of the book Afrofuturism 2.0: The Rise of Astro-Blackness published by Lexington books, co-editor of “Cosmic Underground: A Grimoire of Black Speculative Discontent” published by Cedar Grove Publishing and The Black Speculative Art Movement: Black Futurity, Art+Design (Lexington books, 2019), as well as the co-editor of “Black Lives, Black Politics, Black Futures, ” a special issue of TOPIA: Canadian Journal of Cultural Studies.
Dr. Tiffany E. Barber is a scholar, curator, and critic of twentieth and twenty-first century visual art, new media, and performance. Her work focuses on artists of the black diaspora working in the United States and the broader Atlantic world. Her writing appears in Rhizomes, InVisible Culture: An Electronic Journal for Visual Culture, TOPIA: Canadian Journal of Cultural Studies, Black Camera, ASAP/Journal, Dance Research Journal, Afterimage: The Journal of Media Arts and Cultural Criticism, and various anthologies, exhibition catalogs, and online publications, including “Prospect.3: Notes for Now” (2014), “Afrofuturism 2.0: The Rise of Astroblackness” (2016), the “Black One Shot” series (2018), and “Suzanne Jackson: Five Decades” (2019). She is Assistant Professor of Africana Studies and Art History at the University of Delaware.
Visual artist Stacey Robinson, is an Assistant Professor of graphic design at the University of Illinois at Urbana- Champaign. As a Arthur A. Schomburg fellow, he completed his Masters of Fine Art at the University at Buffalo. He’s a 2019-2020 Nasir Jones Hip-Hop Fellow at Harvard University’s Hutchins Center for African & African-American Research at where he’s researching Hip-Hop’s multimodal performance practice as activism. His multimedia work discusses ideas of “Black Utopias” as decolonized spaces of peace by considering Black affluent, self-sustaining communities, Black protest movements, and the arts that document(ed) them. As part of the collaborative team “Black Kirby” with artist John Jennings, he creates graphic novels, gallery exhibitions, and lectures that deconstruct the work of comic book creator Jack Kirby to re-imagine resistance spaces inspired by Black diasporic cultures.
Sheree Renée Thomas creates art inspired by myth and folklore, natural science and conjure, and the genius culture created in the Mississippi Delta. She is the author of Nine Bar Blues: Stories from an Ancient Future (Third Man Books, May 2020), her first all fiction collection, and her work appears in The Big Book of Modern Fantasy edited by Ann and Jeff VanderMeer (Vintage Anchor, July 2020). She is also the author of two multigenre/hybrid collections, Sleeping Under the Tree of Life, longlisted for the 2016 Otherwise Award and Shotgun Lullabies (Aqueduct Press, 2011), described as a “revelatory work like Jean Toomer’s Cane.” A Cave Canem Fellow honored with residencies at the Millay Colony of the Arts, VCCA, Bread Loaf Environmental, Blue Mountain, and Art Omi / Ledig House, her work has appeared in numerous anthologies, journals, and other publications, including The New York Times. She edited the two-time World Fantasy Award-winning volumes, Dark Matter (2000, 2004), that first introduced W.E.B. Du Bois’s work as science fiction and was the first black author to be honored with the World Fantasy Award since its inception in 1975. She serves as the Associate Editor of Obsidian: Literature & Arts in the African Diaspora (Illinois State University, Normal). She lives in Memphis, Tennessee.
Feature Art Credit – “CT3” Digital Collage by Stacey Robinson, 2019
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The post “Curating the End of the World”: Afrofuturist Online Exhibit Rises in Times of Pandemic appeared first on Black Nerd Problems.
Exploring the relationship of Diana Prince and Steve Trevor is something that brings me utter joy. The two are fascinating because their love for each other is often explored in small bursts and spans throughout time, and now, with Wonder Woman 1984, we’re seeing an entirely different Steve and Diana.
Today, tons of information about the movie is coming out ahead of its DC FanDome panel on Saturday, and according to ComicBook.com, Diana Prince is very happy in the movie, prior to the return of Steve Trevor, but she also has a loneliness about her. Gadot talked to the press on set about how Diana has come to terms with the fact that she has to find happiness away from her former relationship with Steve and doesn’t have any close relationships in her life because she knows that she can’t really maintain them:
“She’s engaging with people, but she doesn’t have any close relationships because it’s either she’s going to hurt them, at some point she’ll have to disappear, or she’s going to get hurt because they’ll die and she won’t. And I think she accepted [that] as fact. She, you know, at her core, her calling is to be here and to help mankind to do good. And that’s exactly what she’s doing. But she’s still missing, you know, the one who was the love of her life. She never got to really explore the relationship. And that’s it. But she’s happy. She’s very happy.”
While Gadot was very open about where Diana Prince is, Chris Pine can’t really be that way about Steve Trevor. The last we saw of Steve, he sacrificed himself to save London and made sure that Diana knew that he loved her. He was a soldier lost to World War I, and Diana Prince had to deal with that loss all on her own in the world of man.
**Spoilers ahead!**
In Wonder Woman 1984, we know that Steve Trevor is going to be a product of the Dream stone due to messed up release timelines with the junior novelization. Before Diana knows of the pitfalls of the stone’s power, she wishes to bring back the love of her life and the relationship she didn’t get to explore, but that’s … kind of all we know about this Steve Trevor. And as someone who loves the character in the grand scheme of things, I’m incredibly interested in how we’ll see this Steve.
Chris Pine, though, wasn’t about to give up the secrets when the set visits went down years ago:
“You can decide whether it’s the right way or not. I love Patty and I love Gal and that I’m working on this film. I think it’s romantic and old-fashioned in the best way and simple in the best way and doesn’t reinvent the wheel in the best way. It’s just a great, good old fashioned storytelling. So, right? I have no idea, but I know that anytime Patty pitches something with me, she can pitch me anything. She’s the single best pitcher of ideas I’ve ever come across in the history of pitching.”
Is Wonder Woman 1984 just going to bring me pain? Yes, of course, because that’s the way Wondertrev works. And I, honestly, can’t wait to cry about it.
(image: Warner Bros.)
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Most of us don’t have the occasion to create themed rooms very often, which makes decorating your baby’s nursery a fun project!
But it’s easy to get carried away. At some point between the caffeine-fueled Pinteresting session and loading up your Amazon shopping cart, you may begin to realize that opting for the matching furniture and rug and curtains and decor for your Star Wars baby nursery probably wasn’t the best idea.
Let’s avoid the hassle of online returns, shall we? Use these simple tricks to theme your nursery without going overboard and ending up with an explosion of licensed fabrics that are overwhelming to the eye (and the wallet). (Not ready to plan your nursery yet? Head over to our baby checklist to sort out your budget and find other tips, then come back and pick out some awesome nursery items!)
- Safety first.
This one’s a bit of a no-brainer, but still very important to remember. Make sure that the furniture items you purchase are highly-rated for safety, and ensure that they can be fastened to the wall. This is equally important for decor items, which should be securely fastened when hung. Don’t forget about smaller safety items too, such as outlet plug protectors and cabinet locks.
- Find the perfect space.
When trying to pick a room in your home to convert into a nursery, you may not have a ton of options. It may also be tempting to just set up the crib beside your bed and call it a day.
But your baby will have many essential items that will take up space and need their own homes. Not to mention, babies sleep better and better in their own rooms as they age.
When choosing the nursery space, make sure it is optimized and ready for a newborn. The space should be well-ventilated, not too hot or cold, and should have a ceiling fan to circulate air (proven to reduce the risk of SIDS).
- Get a head start.
As the due date draws closer, the stress will start to build. The last thing you want to do is spend the final days before baby’s arrival panicking about furniture deliveries and paint colors. Making small purchases gradually over a few months will lower your stress, and give you plenty of time for returns or exchanges if something isn’t quite right.
- Stick with your theme.
It happens to the best of us. You fall in love with a theme, put tons of cute decor items on your baby registry, start painting and assembling furniture, and then you see it- that Instagram shot of the nursery you didn’t even know you needed until that very moment!
Try not to give in to your desire to completely change your theme after you’ve already begun. If you’re uncertain about your theme, you can begin with some neutrals or a color palate like cool blues, and then as the due date nears, make some more specific decor decisions and finalize your theme. (But honestly, is there really a better nursery theme out there than your favorite fandom?)
- Pick a focal point.
To help prevent your nursery from looking cluttered and visually noisy, select one area or item that you want to be the focal point of the room. This could be a unique rug, the perfect set of curtains, or a hand-painted mural. Whatever it is, allow that piece to be the object of attention, and choose colors, textiles, and decor items around that focal point.
- Make the nursery work for your baby, and for you.
Of course, the baby’s nursery should be tailored to their unique needs. But parents spend a lot of time in nurseries too! Find furniture items that are not only stylish, but comfortable. When you’ve been up all night with a screaming newborn or you’re changing the 17th diaper of the day, you’ll be glad you splurged on the cushy chair and the better changing table.
- Pick items that won’t age out quickly.
It may be hard to imagine as an expectant parent, but your baby won’t be a tiny newborn forever! In a matter of months, some of the nursery items you choose might need to be replaced with larger versions. Once your little one is a toddler, they definitely won’t want their “baby” items anymore!
Fortunately, this is a little easier to manage with nerdy items, because lots of fandom decor would look equally cool in a nursery as it would in an older kid’s room. Make sure you check out our list on the most essential things a newborn baby needs.
- Find a storage system that you love.
Don’t underestimate the importance of organization! Babies require a lot of stuff, and you don’t want to end up tripping over piles of clothing or rooting through plastic bags trying to find the right pacifier or the unscented wipes.
Dedicate storage space to all of baby’s necessities before the due date, so you can easily find things as soon as you need them. This will also help you feel less overwhelmed when you bring home all of those baby shower gifts and suddenly your nursery is full to bursting!
- Pay attention to placement.
Echoing tip #6, when organizing your nursery you should make things as simple and streamlined as possible.
Your wipes, diapers, wastebasket, hamper, and changing table sheets should all be stashed within arm’s reach of the changing table. That way, you don’t have to rush around the room collecting everything you need while your baby is wailing.
- Buy washable everything.
If you’re about to be a first-time parent, I promise that whatever number of diapers, linens, clothing, wipes, etc. you think you will go through on a daily basis, you can safely double, if not triple, that number.
And after the third time stripping the crib sheets to launder them within a 24-hour-period, you’ll be grateful you picked the durable, washable option.
Don’t stop at the obvious things- you should also look for washable pillows, curtains, rugs, even wallpaper. No, we’re really not kidding.
- Stay away from white.
Pro-tip: your beautiful white chair, soft ivory crib sheets, and plush white rug won’t stay that way for long.
Rather than crossing your fingers that they don’t get stained and then being heartbroken when they do, try to find flattering neutrals that match your theme but also hide stains and dirt.
- A little logo goes a long way.
While fandom items are awesome and nerdy nurseries are the coolest, it can be very easy to tiptoe into the realm of “tacky”.
To avoid this, try picking a neutral color scape that will match the decor items you have in mind. Then pick one or two areas to use licensed fabrics or bold designs- such as the curtains or a rug. Your wall decor or sheets could be more minimalistic to complement those bolder pieces.
- Mind (what’s above) your head
This one may sound silly on the surface, but it’s actually kind of genius. Your baby will spend a lot of time lying on their back, especially in those first weeks and months before they can support their own heads, roll over on their own, or sit up.
Give them something interesting to look at by decorating the ceiling! Even just a soft pastel color is more interesting than white, but you could also opt for a unique mural or adhesive decals.
Regardless of what furniture and decor you choose, as long as your baby’s nursery has all of the essentials you need and is comfortable and safe, that’s all that really matters! But keeping these tips in mind will help you create a nursery that you love spending time in.
The post 13 Tips for Decorating a Nerdy Nursery appeared first on Geek Baby Clothes.