Pictured in purple with princess crown on 1.25 inch wedge heel



Ombre Glitter Wedge Heel Flip Flops in White or Ivory , custom hand painted & glittered and available in white or ivory shoe in a 1.25 inch, 2 inch or 3.5 inch heel height.











The sides are hand painted in your choice of colors and then glitter infused. The straps wrapped in your choice of color satin ribbon. In the center is your choice of rhinestone embellishment (see chart in listing photos for all of your selections)







*Choose the color for the sides and the glitter overlay color will accent the paint & shoe colors to create a truly unique and sparkly shoe for the wedding or any occasion. This high end glitter is not the cheap glitter glue that leaves a messy glittery trail everywhere- they have been sealed to maintain their color and sparkle.







The color you choose will fade into lighter or darker shade(s) of the same color. The 3.5 inch flip flops will have 3 layers (the top being the shoe color) and the 1.25 and 2 inch will have 2 layers of color.



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HOW TO ORDER



1. Select the shoe color , heel height & size from the selection box



2. Select the paint color for the sides from the selection box (refer to the chart in the listing photos to see all available colors)



Then in the notes box that will be available at the end of checkout , let us know:



1. Ribbon color for the straps



2. Embellishment choice



3. If you would like the paint color to fade lighter , darker, into another color etc . If not specified we will go with what will flow best with your selections :)







*Your color will be accented with glitter in silver, gold, champagne or copper. We use the best accent color that goes with the flip flop color and paint color. If you would like to request one color specifically, please specify that glitter color in the 'notes to seller' box that will be available when checking out.



*By not entering any specific notes, we will choose the best accent that will display the color you have chose and add sparkle to it , without taking away from the color :)







If you do not specify an embellishment or ribbon color it will be made as pictured, or what we feel is the best compliment for the colors you have chosen.







PROCESSING / SHIPPING TIMES



see shipping tab for processing times/if you need to add a rush. By purchasing this item you are agreeing to the processing times - if you need them quickly, no problem! We have several rush options available during checkout for you to add in the shipping section.



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Your flip flops will be custom created in specialty colors- this is not paint or glitter glue that leaves residue everywhere. They are made in our high quality colors & glitter for shoes, the colors custom created by Bridal Flip Flops to wonderfully accent our wedges.



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Add Design Upgrade:



Add rhinestones, bows or personalized Mrs straps or any other upgrade to your glitter/ color wedges? Add the flip flops to your cart, then visit the following listing to add any upgrade to your glitter wedges:











Questions?



Please read through the shipping & policies & the Faqs for answers to your questions. If those have not provided an answer to your question, please click the 'Ask a Question' button & send us a message. We are happy to help answer any & all questions



Bridal Flip Flops business hours are Monday -Friday from 9am-3:30pm and we try to answer all questions in 1 business day or less during those times. Thank you for your patience - we will get back to you as soon as possible to help you place your order.
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Global Europe > Activities > Call for papers: Globa...

Call for papers for the international conference 'Changing Global Hierarchies of Value? Museums, artifacts , frames, and flows' by University of Copenhagen and National Museum of Denmark, 20-22 August, 2018.

Flip Flops Crown Bridal Purple Ombre Flops Orchid Rhinestone Glitter Wedge Bridal Princess with and Flip Museums are said to classify the world; but the world is changing, and so are the museum worlds and the worlds of arts and artefacts. This conference explores how the world is imagined and classified through the presentation, interpretation and classification of artifacts; and how the global hierarchy of value (cf. Herzfeld 2004) might be changing in through these flows and circulations.

In 2007, the German art historian Hans Belting coined the term “global art” to indicate that contemporary art was no longer the province of artists in the Global North, thus signaling a sea change in the international art world (Belting, in Weibel and Buddensieg 2007). Art historians, prior to Belting had long stipulated that the birth of modern art in 19th and 20th century Europe was partially predicated on inspirations from outside Europe in the guise of Orientalism, Chinoiserie, Japonisme, or “primitivism,” yet these modern artists were almost exclusively from Europe and – later – North America. Non-European artists went largely unnamed and unrecognized, as French surrealist poet André Breton’s famous mur d’atelier revealed. Modern art from the Global South or rapidly modernizing states in Eurasia and East Asia, was often dismissed as derivative of Western art, while contemporary traditional art was considered inauthentic (cf. Kasfir 1992).

Simultaneously, anthropologist Michael Herzfeld (2004) coined the term “global hierarchy of value” to denote the global cultural asymmetry that constituted the cultural successor to the political and military domination of European colonial systems. In the arts, early partial exceptions were Latin America, which – as the historical product of creole nationalisms (cf. Anderson 1982) and hence as a “pseudo-Europe” – saw the emergence of successful artists like Diego Rivera and Frida Kahlo and of movements like Brazilian modernism and neo-concretism; and Japan, which experimented with locally inflected, but modern, architecture. The imbalance in the Euro-centered art world changed when the Magiciens de la Terre exhibition was held in Paris (1989) and featured contemporary art by both Western and non-Western –and named - artists in equal numbers, albeit without implying an equal hierarchy of value.

The Magiciens de la Terre exhibition marked the coming out of contemporary artists from Asia, Africa, Latin America and Oceania on the global arts scene, and brought out in their participation in numerous exhibitions such as the Modernités plurielles at the Centre Pompidou in Paris, but also in biennales, art festivals, art fairs, and auctions around the world. Simultaneously, art institutions and events outside of Europe and North America gained in global prominence, by adopting the cultural forms, classificatory devices and exhibitionary technologies developed in Euro-America and applying those in their own contexts and for their own purposes. One could say that while the modern period witnessed the emergence of a global Europe, the current “post-postcolonial” period is marked by the globalization of the other continents – at least in terms of the arts: in that sense it is increasingly possible to speak of global Asia, global Africa, global Latin America as geographic entities that challenge the global hierarchy of value.  

At the same time, recent decades have seen the unfolding of increasingly interconnected global networks of production, labor, consumption, and capital accumulation, a process broadly known as globalization. But can we also talk of a globalized taste regime or set of preferences à la Bourdieu? Are recently booming or expanding global players in Asia, Africa, and Latin America reconfiguring the relative value of styles, objects, or traditional artifacts, thereby challenging the old Eurocentric order and organization of the good and the beautiful? Even if the West remains the universal unmarked, attention should be given to the ways in which it is now often amplified, mocked, or ironized by non-Western masters of its artistic, architectural, or artisanal forms. How is globalization affecting existing or emerging museums as economic and commercial players in a world of accelerating mass tourism and brand fixation? How is the complex past of European interaction and Eurocentric notions of cosmopolitanism rethought and exhibited today in postcolonial theaters of historical encounter, exchange, or conflict?    

This is the final conference of the project ‘Global Europe: Constituting Europe from the Outside In through Artefacts’ (see https://globaleurope.ku.dk/). The Global Europe project explores how the collection, circulation, classification and museum exhibition of objects define Europe from the outside in during Europe’s present loss of global hegemony – especially in relation to Japan and four non-European BRICS countries (Brazil, China, India, South Africa), in comparison with the early modern period of European ascendancy. This ‘Changing Global Hierarchies of Value?’ conference invites both paper proposals on a range of topics that explore global networks of valuation and validation and their local forms and entanglements in the current period. The papers are expected to be empirically grounded, and may – but do not have to – refer to the five countries targeted by the Global Europe project.

The keynote speech titled Museum Transactions: Negotiating Knowledges, Governing Cultures will be presented by Professor Tony Bennett of the Institute for Culture and Society of the Western Sydney University in Australia. Tony Bennett is the author of – among many other works – The birth of the museum: history, theory, politics (1995), Pasts beyond memories: evolution, museums, colonialism (2004), and Crown with Flops Flops Flip Bridal Flip Wedge and Ombre Orchid Princess Glitter Purple Rhinestone Bridal Making culture, changing society (2013); and he currently leads the project ‘Museum, Field, Metropolis, Colony: Practices of Social Governance’. For more information, please see https://www.westernsydney.edu.au/ics/people/researchers/tony_bennett.

The conference is convened by Prof Oscar Salemink, Amélia Siegel Corrêa PhD, Jens Sejrup PhD, Caroline Lillelund and Vibe Nielsen, who make up the research team for the Global Europe project.

Please send your abstract (300 words max) and short bio (300 words max)  to Marie Yoshida marie.yoshida@nias.ku.dk before April 1st, 2018. For inquiries, please contact Oscar Salemink o.salemink@anthro.ku.dk