Our newest obsession - monogrammed duck boots! These personalized water-resistant boots are lined with soft, warm plaid material and are available in black, brown, navy, and pink. Monogram is stitched onto the tongue of BOTH boots. Perfect fall and winter footwear for leggings, jeans, and more!

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{How To Purchase}



1) Choose your boot color from the drop-down menu

2) Choose your boot size from the drop-down menu

3) Add item to your cart

4) In the "Note to The Gifting Spot" box at check-out, give us the following info:

- Font Choice (See other images for font options)

- Thread Color Choice (See other images for thread color options)

- Personalization EXACTLY as you would like to appear (Name, Single Letter, or 3 - Letter Monogram - center letter will be larger)

**Monograms should be given in First, LAST, Middle Initial Order. For example, Susan Michelle Williams would be entered as SWM. Give us initials in the order you would like them. We will NOT rearrange initials. If you are unsure of the correct order of initials, you may give us the full name and we will place the initials in the correct order.**



To avoid delays, be sure to give us all of the info we need to complete your order.

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{Production}



Please allow 1 - 2 weeks for production of this item before shipping.

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{Shipping}



Shipping is $7.75 for the first item, and $2.00 for each additional item. Shipping charges will combine automatically for multiple items when added to your cart. We use USPS Priority Mail, which has a 2 - 3 day delivery schedule with the exception of holidays, and tracking and insurance is included. These are delivery timeframes after your item has shipped, NOT production timeframes. You will receive an email with tracking number when your item has shipped.

We will ship to the address listed on the order confirmation. Please be sure your address is correct and complete on your Etsy account to avoid shipping problems.

We cannot be held responsible for lost, stolen or damaged packages. Also, we cannot be held responsible for delayed deliveries that can occur during the holidays or inclement weather, or any other circumstances that are out of our control.

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{Similar Links}



See other shoes and apparel here:



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{About Me}



My name is Shana and I am the proud owner of The Gifting Spot! I am a mom to two busy little boys - never a dull moment and I love every minute of it! Thank you for supporting this mom and woman - owned business!

I was born and raised in the South, where we love sweet tea, college football, flip flops, and monograms! We believe that the most special gift is one that is personalized, and know that people of all ages love to see their names and initials on gifts - myself included! My goal is to provide you with trendy personalized gifts with the highest quality and best value.

I love each and every one of my customers and thank you for allowing me to do what I love! Customer service is of utmost importance to me, so feel free to contact me anytime with questions or concerns about your order.

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{Where Else to Find Us}



Please come shop with us online at www.TheGiftingSpot.com!

Personalizing gifts for 10 years and counting! New items added every day!



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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.

Plaid Water Boots Boots Resistant Women's with Boots Monogrammed Boots Lined Duck Boots Boots Duck Initials Personalized Duck 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 Resistant Women's Duck Duck Boots Boots Duck Boots Initials Plaid Personalized Monogrammed Water Boots Boots with Boots Lined 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