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If you’ve ever wanted to sit at a table and read dates out loud for an hour — or rather, if you’ve ever wanted to be part of an On Kawara artwork — you’re about to get your chance. The Guggenheim is looking for volunteer readers as part of its upcoming On Kawara retrospective, which opens in February.
Kawara, who died this past June, is known for his relentlessly conceptual work, most famously his Today series, which involved the artist painting stark canvases that feature only the dates on which they were made. The Guggenheim show, On Kawara—Silence, will include a live reading of One Million Years, which the David Zwirner website describes as:
His epic project … a monumental series of twenty-four works comprising One Million Years [Past], which was dedicated to “all those who have lived and died,” and One Million Years [Future], addressed to “the last one.” The Past volumes, noting each year over an entire millennium from 998,031 BC, were started in 1970 and took two years to complete, while the Future years, begun in 1980, were written over the span of eighteen years and finish at 1,001,997 AD. Together the volumes make up 2,000,000 years.
The work also exists as a performance in which two people, a man and a woman, sit and alternate reading dates from Past and Future. The first public reading of One Million Years took place in 1993 at the Dia Center for the Arts; its longest reading happened in 2002, over the course of Documenta 11’s full 100 days.
At the Guggenheim, volunteers will read the text aloud in the museum’s rotunda every Sunday, Wednesday, and Friday, 11am–5pm, for the run of the show (Feb. 6–May 3). Participants will receive free admission to the exhibition on the day of their reading. If you’re interested, email onemillionyears@
“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…
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…