Support Hyperallergic’s independent arts journalism.
Digital artifacts manifested as public sculpture populate the Public Art Fund’s Image Objects in Lower Manhattan’s City Hall Park. Curated by Andrea Hickey, the seven artist group show opened last week with a disembodied Harlem Globetrotter arm gleaming in front of the 19th-century fountain, distorted marble busts, and 3D-scanned chunks of construction rubble cast in steel.
Image Objects may be one of the Public Art Fund’s least visually bombastic editions in their series of City Hall Park exhibitions, but it is one of the most forward-looking. It follows Danh Vo’s We The People last year replicating segments of the Statue of Liberty, Lightness of Being in 2013 that was heavy on vibrant and playful art, the more boisterous Common Ground in 2012 heralded by Paul McCarthy’s giant ketchup bottle, and Sol Lewitt’s understated sculptures in 2011. In contrast, Image Objects is more interested in how public art experiences can physically interpret digitally-based art, and consider how it again becomes digital through social media sharing (with every label text ready with a hashtag).
Two marble sculptures by Jon Rafman attend the entrance to the park, part of his “New Age Demanded” series, where a figurative bust is contorted on a computer before an industrial laser shapes it in marble. Similarly, Artie Vierkant’s nearby “Image Object Tuesday 20 January 2015 4:24PM” (2015) — from which the exhibition takes its title — started as a digital file (created at the piece’s title date) that was warped and rendered repeatedly to this 3D iteration of abstract shapes on aluminum.
Meanwhile Alice Channer’s “R O C K F A L L” (2015) has a series of seven craggy cast rocks in aluminum, concrete, and Cor-Ten steel based on 3D scans of concrete rubble. Other artists focused on the flaws of digital image documentation, with Amanda Ross-Ho’s “The Character and Shape of Illuminated Things (Facial Recognition)” (2015) framing a sculptural version of objects from an early photography manual, with a neon frame — like those found on many digital cameras that focus on people’s faces — bordering the central bust. Hank Willis Thomas’s “Liberty” (2015) extracts a basketball-spinning arm from a 1986 Harlem Globetrotter photograph, editing and framing the image into a new context, and Lothar Hempel’s “Frozen” (2015) has the familiar rainbow swirl of an Apple loading icon beneath a printed photograph of a girl on two skateboards, considering how these moments are imperfectly preserved in digital memory.
There are some odd placement choices, including Channer’s work and Timur Si-Qin’s “Monument to Expatation” (2015) with his logo for peace positioned far from the path — it’s hard to get a good look unless you disobey the “Keep Off Grass” signs. The exhibition also takes for granted that people passing through would be familiar with the digital techniques that make work like Vierkant’s and Rafman’s so interesting. As a major public thoroughfare, it’s a chance to consider our online worlds where we are constantly reprocessing digital experiences into the physical world and back again.
Images Objects continues at City Hall Park (Broadway and Chambers Street, Lower Manhattan) through November 20.
“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.