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In Taiwan, there is a church. It is 55 feet tall, 36 feet wide, made of 320 pieces of glass, and looks like a giant high-heeled shoe. Cinderella’s glass slipper, say, but blue.
Now I know what you are thinking. If you are a woman, you are thinking: I must go to this church! (If you are a man, you already already have a church.) And yes, you must go to this church if you are a woman, because fashion. Because, no matter painful and literally harmful beauty norms, the church is pretty and reminds you of shoes. And all is as it should be, because this church was indeed designed for women.
Things we know about this church:
- It will include “a total of 100 female-oriented features … among which 71 have been finished.”
- Said “female-oriented features” include “chairs for ‘lovers,’ maple leaves, biscuits and cakes – all ideal for romantic photographs.”
Things we know about women (and only women):
- They cannot resist maple leaves. They live for romantic photographs.
Things we don’t know about this church:
- What religion or type of worship it is for.
But no matter. Because it is for women.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
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…