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William Evertson created one of the most surprising packages we’ve received for the Mail Art Bulletin. His padded envelope covered with grids and stamps of all kinds, including one that read “Will Work for Food” and another of our Hyperallergic “H” logo, arrived in a bulging package that we couldn’t wait to open.
Inside was an array of postcards — mostly from past exhibitions, I believe — cryptic writings, including one that is titled “No Books for the Dead” and ends, “I finally knew when I was dead because I watched it on TV.” Another longer piece of writing is a short story about a man cross-stitching text messages from the dead, even people who died before text messaging was commonplace.
Among the paper items were a series of small pages with hashtag drawings that I soon realized were tic tac toe boards. There were four black velvet pouches among the pages, two containing small carved plastic stamps in the shape of right hands and two containing ink pads, one ruby, the other cerulean. I immediately asked Kyle to join me in a small game, which ended in a stalemate.
This mail art work appears to be an adaptation of Evertson’s The Choice in You interactive performance series, which has since developed into his Ox and O series of artist boxes. He has a beautiful explanation on his website that explains how he views the grids as decision fields and that each game you play is a meditation on “the nature of each symbol and choice.”
The cryptic nature of his work appears to be part of his practice, and the artist statement on the homepage of his site suggests as much:
Most simply, I am an artist. I make marks. With ink, dabs of paint, words and flickering electrons.
Similar to remembering details in dreams, I grasp for small fragments of meaning. *
*Thirty years ago my artist statement would run five hundred words as I tried to describe my work.
Currently I’m considering removing the last two sentences. William Evertson
Fragments of meaning is something I can completely relate to. Working and living in 2011 seems to be endless variations of that idea. Below is what we found in his mail art package.
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“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…