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Anish Kapoor’s “Dirty Corner” (2011–15) sculpture in the gardens of Palace of Versailles has been vandalized again but this time with offensive words, including anti-Semitic slurs. The words in white paint were discovered on Sunday, September 6. The central opening of 200-foot (60 meter) long and 33-foot (10 meter) high steel and rock sculpture represents the “Queen’s Vagina,” according to the artist, and it was painted with the phrases “The second rape of the French nation by Jewish activities…” and “Shame Dishonor Betrayal Satanism.” Other phrases found elsewhere on the art works included “SS blood sacrifice,” “Queen sacrificed, twice insulted,” and “Christ is king in Versailles.”
In an exclusive interview with France’s Le Figaro newspaper, the artist that he will keep the slurs in order to remind people of the anti-Semitism we’d rather forget. “This is a violent attack against the human spirit and culture,” he said.
The French Minister of Culture, Fleur Pellerin, visited the damaged art works and tweeted that it there was “unspeakable degradation and hate messages” on the work, and “The stupidity and violence against culture.”
Innommables dégradations et messages de haine sur l’œuvre d’Anish Kapoor au @CVersailles. La stupidité et la violence contre la culture.
— Fleur Pellerin (@fleurpellerin) September 6, 2015
French President François Hollande also tweeted a message of solidarity with the artist and said that the “work has been degraded and covered with hateful and anti-Semitic inscriptions.”
Toute ma solidarité à Anish Kapoor dont l’œuvre a été dégradée et couverte d’inscriptions haineuses et antisémites au @CVersailles.
— François Hollande (@fhollande) September 6, 2015
In June, the sculpture was splashed with yellow paint, which was immediately cleaned. The sculpture is scheduled to stay on display until November.
“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.