Support Hyperallergic’s independent arts journalism.
Artistic interpretations of self are inhabiting the nave of Manhattan’s Church of St. Paul the Apostle, with contemporary sculpture, painting, collage, and other media installed alongside the candlelit chapels and religious icons. On the Inner and Outer Self, presented by the collective Openings, is their ninth annual group exhibition in the 19th-century church.
The 28 artists include a range of responses, and like any large group show the strengths vary. However, for each piece, the surrounding architecture is stunning and the Roman Catholic religious statuary and contemplative space is an unconventional contrast to the art.
Near the entrance, Lori Merhige has a dynamic sculpture of a length of fabric twisted into a knot, considering our chaotic lifelines, and nearby Kylie Lockwood’s tiny “Hand Fragment” made of pigmented porcelain is broken in front of an old war memorial. Joy Curtis has two haunting fabric works illuminated below Stations of the Cross, one formed with indigo dye and gravity, the other molded like a disembodied ribcage with frayed edges. And in one of the simplest pieces, McIntyre Parker has just a small redwood box quietly resting on the stairs leading to the altar, like an offering.
St. Paul the Apostle already has some unconventional permanent art, like Lumen Martin Winter’s massive “Angel of the Resurrection,” and a sculpture of Jesus incorporating a real T-rex fossil by Alan Detrich. Like St. John the Divine further uptown, which in 2013 hosted South African artist Jane Alexander’s anthropomorphic sculptures, and Chinese artist Xu Bing’s huge Phoenix sculptures last year, the setting contributes a lot to the experience of exploring the art embedded in the spiritual space. Below are some photographs from On the Inner and Outer Self.
On the Inner and Outer Self continues through October 22 at the Church of St. Paul the Apostle (corner of West 60th Street and Columbus Avenue, Upper West Side Manhattan).
“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…