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Bloomberg Philanthropies, the foundation established by former New York mayor Michael Bloomberg, announced yesterday an initiative that will see at least three cities receive up to one million dollars for public art programs. Dubbed “Public Art Challenge,” the program will disburse the funds over a two-year period to “celebrate creativity, enhance urban identity, encourage public-private partnerships and drive economic development.” According the Bloomberg Philanthropies website, proposals can encompass all artistic disciplines, and there are only two eligibility requirements: that the proposed project come directly from the host city’s mayor and that it “be on behalf of a collaboration between the host city and an artist and/or arts organization.”
The effort follows the Bloomberg foundation’s $17 million grant last month that provides funding for digital programs at major museums, including the Brooklyn Museum, the Museum of Modern Art, and the Metropolitan Museum of Art, among others in New York and around the world. Despite what has been pointed out (in the New York Times and elsewhere) as Bloomberg’s relative private disinterest in the arts, Bloomberg Philanthropies has given, according to the Wall Street Journal, $83 million “to arts institutions around the world” since 1999.
This private patronage has coincided with a general decrease in government funding for the arts in the United States. A 2013 study from Grantmakers in the Arts cited by theTimes in their coverage of the new Bloomberg moneys points to an inflation-adjusted decline in arts funding of 30% between 1992 and 2013.
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…