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This month the two sixth-century Buddhas of Bamiyan demolished in Afghanistan were temporarily returned to their towering places in the Bamiyan cliffs through 3D projection.
The project by Chinese couple Janson Yu and Liyan Huboth was reported on June 7 by the Khaama Press of the Afghan News Agency Network. With the clearance of both the country’s government and UNESCO, the temporary revival was the most recent consideration of how to honor the memory of the statues destroyed by the Taliban in 2001, while respecting the gaping void left by their demolition.
The project follows last year’s controversy when brick stabilization work was halted at one of the empty sites out of a suspicion the construction was aimed at “secretly trying to rebuild one of the statue’s feet.” Whether or not the Buddhas should be rebuilt has been of debate for over a decade since their loss. Similar to the 3D projection, in 2005 Japanese artist Hiro Yamagata proposed a laser light installation to replace their forms, each of which once stood over 100 feet tall.
— Ministère de la Culture (@MinistereCC) June 10, 2015
Even the most elaborate of projections or meticulous reconstructions couldn’t replace those hundreds of years of history. Yet it is interesting to consider how projects like this can return some of the spirit, whether it’s Project Mosul restoring ISIS-destroyed objects with 3D printing, or even the Tribute in Light where artists Paul Myoda and Julian LaVerdiere designed the dual light beams to act as ghosts of the World Trade Center. Below you can see more stills from the 3D Buddhas of Bamiyan in a video from Al Jazeera Plus.
h/t The Atlantic
“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…