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Crossing Brooklyn ArtTalks: Alternative Economies
Tuesday, November 4, 2014, 7–9pm
Kickstarter, 58 Kent Street, Greenpoint, Brooklyn
New York is expensive, and although the art market is booming, sales tend to benefit the art world 1% more than anybody else. Hyperallergic will ask artists how they economically sustain their practice while exploring new avenues outside the traditional market. Join us for a discussion about alternative economies with artists Linda Goode Bryant, McKendree Key, William Powhida, and Caroline Woolard at Kickstarter’s Greenpoint headquarters.
Tickets are free, but limited, and available at hyperallergic25.eventbrite.com.
Crossing Brooklyn ArtTalks: Performance and Activism
Tuesday, November 18, 2014, 7–9pm
Livestream Public, 195 Morgan Avenue, East Williamsburg, Brooklyn
Performance and activism are intertwined more than ever right now, so we’re eager to discuss the parameters of art and what it means today. Artists Nobutaka Aozaki, Christen Clifford, Amin Husain, Matthew Jensen, and Dread Scott will share their experiences with us at Livestream Public, discussing the boundaries between these two domains. This event will be live-streamed at new.livestream.com/LivestreamPublic.
Tickets are $10 and available at hyperallergic26.eventbrite.com.
Crossing Brooklyn ArtTalks: Memory and Place
Thursday, December 11, 2014, 7–9pm
BRIC House, 647 Fulton St, Downtown Brooklyn (Brooklyn Cultural District)
Location, location, location — but how important is the notion of place for artists working today? What is the role of memory in that equation? Join us for a discussion with artists Youmna Chlala, Jennifer Dalton, Andrew Ohanesian, and Bryan Zanisnik at BRIC House.
Tickets are free, but limited, and available at hyperallergic27.eventbrite.com.
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Hyperallergic ArtTalks invite leading voices in the arts to join an intimate gathering of art aficionados, professionals, and artists to spark discussion, debate, and further action about an evolving idea or passion project.
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…