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“Wow. George Bush is a painter,” former president George W. Bush told NBC Today regarding the reception he imagines his paintings of world leaders will receive upon their public release tomorrow. “Wow. I look forward to seeing a stick figure he painted of me,” he added, in a pantomime of self-awareness, extending the hypothetical to his possible subjects. They are, of course, less important than the bad man himself: “I found it very interesting the first painting that came out was the one I painted of myself in the bathtub.” Wow, indeed.
Why did the bad man paint himself taking a bath? He wanted to learn “about painting water hitting water.” Why was the bad man naked in the bath? “[B]ecause I wanted to kind of shock my instructor.”
The nightmare continues tomorrow in Texas, where portraits of Vladimir Putin, Tony Blair, and others will be unveiled in an exhibition alongside the better-known oeuvre of cats and dogs. Laura Bush was spared the canvas. “Don’t paint your wife,” the 43rd president of the United States advised.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…