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Norwegians will soon have a wonderful reason to renew their passports. Just weeks after Norway’s central bank revealed its new, abstract currency, the National Police Directorate (NPD) announced that Neue Design Studio has won a competition to reimagine the country’s travel documents and identity cards. When implemented, the designs will remind Norwegian citizens that no matter where they travel, few destinations can rival the design savvy of their native land.
The NPD praised the simplicity of Neue Design Studio’s solution, which focuses on the Norwegian landscape. “The design is attractive and stylish, the colors are subtle and abstraction of landscape is exciting,” they wrote in a press release. Each passport’s cover is a different color depending on its type: coral for citizen, robin’s egg blue for diplomatic, and white for immigrant. The country’s crest is emblazoned in gold in the top left corner.
The passport’s inside pages feature simplified images of the country’s steep fjords and glistening mountaintops that reflect the country’s varied geography. Under UV light, ribbons flicker across the page to illustrate the Northern Lights — a natural phenomenon you can see most nights throughout the country. The same design graces the new identity card. “Nature has always been an essential part of the Norwegian identity and tradition, as well as being a key fundament for our welfare,” Neue Design Studio explained.
The decision to redesign the passports wasn’t purely aesthetic, though. With identity theft on the rise, officials wanted documents that are more secure. “Misuse of identity documents is a growing problem, said Annar Bohlin-Hansen, head of the Ideal program in the Police Department. “Our objective is greater penetration of secure identity documents that are easy to control. This will help to prevent and combat crime associated with the misuse of identity.”
With the U.S. facing similar problems, here’s hoping we can come up with an equally eye-pleasing solution.
“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.