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A politically engaged Ukrainian curator was attacked and beaten in an incident in Kiev late last month, The Art Newspaper reported. Vasyl Cherepanyn, who directs the Visual Culture Research Center (VCRC) in the Ukrainian capital and edits a magazine called Political Critique, was reportedly accosted by an unknown assailant in camouflage at 7:15pm on September 23, according to a post on the VCRC Facebook page.
Cherepanyn, a lecturer in cultural studies at the National University of Kyiv-Mohyla Academy, had been involved in the Open University of Maidan, a public initiative offering graduate-level courses to the public in Kiev’s Maidan square. The square entered the international spotlight in late 2013 as the site of the pro-European integration Euromaidan protests.
In an unsigned opinion article published in English on the Political Critique website, the attack on Cherepanyn is attributed to “paramilitary thugs”:
During the attack, the thugs were accusing Vasyl Cherepanyn of being ‘separatist’, which is totally absurd to anyone aware of his activities. These unfounded and absurd claims, along with accusations of being ‘a communist’, are more and more often used by aggressive ignorants who aim to impose their ideology of hatred upon Ukrainian society, and to suppress any manifestations of critical thought. We demand a quick investigation of this appalling attack. We also demand to investigate the activities of paramilitary groups that use the war in Ukraine as a pretext to justify their own misantropic [sic] views.
News of the attack coincides with the alleged assault on Friday of curator Benjamin Hiller and the vandalism of his exhibition Material Evidence, held at a rented event space in Chelsea — apparently over its depiction of the Ukraine conflict.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
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…