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“It so happens I am sick of being a man,” Pablo Neruda wrote in his 1933 poem “Walking Around.” The Chilean poet went on to describe a melancholy jaunt through the streets of Santiago:
And it happens that I walk into tailorshops and movie houses
dried up, waterproof, like a swan made of felt
steering my way in a water of wombs and ashes.
The weary Neruda returned to walk those same streets again last Saturday, on the eve of what would have been his 110th birthday, in projected form produced by the motion graphics company Delight Lab. According to the Latin Post, he was first seen emerging from La Chascona, the mountainside home he built in Bellavista and lived in with his lover Matilde Urrutia. The poet strolled along,
serenely, with my eyes, my shoes,
my rage, forgetting everything
I walk by, going through office buildings and orthopedic shops,
and courtyards with washing hanging from the line:
underwear, towels and shirts from which slow
dirty tears are falling.
Neruda continued westward. He passed restaurants, shop windows and the National Library until he finally reached the University of Chile, to which he donated his manuscripts and personal library when he turned 50. He then turned around and walked back home, reaching his front door four hours after he left it.
Though Neruda died more than 41 years ago, he has lived on in the public imagination. Last year, his remains were exhumed by forensic scientists looking into his former driver’s claim that Neruda was poisoned by agents of General Augusto Pinochet (they concluded he wasn’t). In June, researchers discovered over 20 unpublished poems of “extraordinary quality” tucked away in old boxes. They will be published in Latin America by Seix Barral in late 2014.
Here’s a brief video of Delight Lab’s Neruda projection in Santiago:
“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…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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
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
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.
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.
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.