Support Hyperallergic’s independent arts journalism.
The Brooklyn Museum‘s newly renovated Great Hall is filled with pirouetting abstract figures made of billowing cloth. This architectural ballet is Brooklyn architecture firm Situ Studio’s reOrder, an installation inspired by hoop skirts, but blown up to enormous proportions. reOrder is now on display at the museum, through January 15 2012.
When we first reported on reOrder, Situ Studio partner Bradley Samuels told us that the firm worked to introduce “another scale to this space … The profile of the columns create more intimate spaces within the original.” It looks like the strategy of breaking up the Brooklyn Museum’s stiff Beaux-Arts space with off-kilter angles and exaggerated, informal shapes is paying off for Situ, turning an intimidating arena into a social space.
Situ Studio also has a great documentary video on the construction of the installation, including time-lapse shots and details of the columns’ component parts:
More photos of the final installation can be seen on the museum’s Flickr page or below. The Wall Street Journal also created a cool infographic of the material needed to make the installation. Events will be hosted in the Great Hall and among Situ’s reOrder columns, so keep up with the Brooklyn Museum’s schedule for details. On April 16, Situ will give a talk on their installation.
“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.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
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
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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.