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New Zealand is considering new designs to potentially replace its national flag and today released an official long list of 40 contenders submitted by the public. Citizens have debated changing the banner, adopted in 1902, for decades, with advocates for alternatives arguing that the current design does not represent the independent country and its unique heritage: the Union Jack occupies its top-left quarter — a reminder of New Zealand’s roots as a British colony — and only the placement and color of the stars of the Southern Cross differentiate it from Australia’s flag. Last year Prime Minister John Key announced a referendum to decide whether or not to change the flag, and an open call for new designs received over 10,000 submissions.
Of the 40 finalists announced today by an official Flag Consideration Panel, only one features an altered rendition of the Union Jack. Most proposals incorporate nationally recognized motifs like the silver fern and the koru, suggesting the government’s dedication to a design that truly celebrates New Zealand’s national identity and heritage. The fern already appears on the country’s coat of arms and its one-dollar coin, not to mention the merchandise of many of its sports teams; the spiral-shape koru, which is Māori for “loop,” celebrates its diverse population, of which nearly 15% identify as being part of the indigenous group.
“A potential new flag should unmistakably be from New Zealand and celebrate us as a progressive, inclusive nation that is connected to its environment, and has a sense of its past and a vision for its future,” the Panel wrote in a statement.
The designs on the long list are similar in subject, differing mostly in color and arrangement of the motifs, but the Panel did receive some potential pennants that, although truly unique, did not make the cut. Those decisions perhaps rested on the fact that the artists worked with Microsoft Paint, and badly at that — or maybe because sheep, singing eggs, and kiwis with laser-beam eyes aren’t sufficiently visionary or solemn icons to adorn a national flag.
In November, New Zealanders eligible to vote will rank the final four, Panel-selected designs. The country, however, will not immediately adopt the finalist; another public vote, slated for March 2016, will pit the winner against the current flag to determine whether most of the country is, in the end, satisfied with its century-old insignia.
“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.