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The Faubourg Marigny is the oldest part of New Orleans after the French Quarter; in fact, it was the city’s first suburb, or faubourg, back when New Orleans consisted of little more than the 78 square blocks of the Vieux Carré. These days, you can’t thumb a travel guide without coming across a mention of it, usually prefaced by the word “hip”. (Sometimes you’ll also see it accompanied by the words “artistic”, “funky”, or “bohemian”, though lately those adjectives are more often applied to the adjacent and more recently gentrified Bywater.)
I’ve lived here ever since moving to New Orleans nearly fourteen years ago, so it can be easy to take the Marigny for granted. Anyone coming here for the first time can see that it’s almost painfully photogenic—what with all the creeping jasmine and stray cats and century-old pastel colored shotgun houses and adorably sullen-faced crustypunks hanging outside of Mardi Gras Zone and everything. But ever since it’s become hard to walk down Royal St. on a weekend without being nearly run down by a bicycle tour or running into a Tremé shoot, I’ve tended to forget just how visually rich it is.
I decided to remedy that today with a walk around the Marigny to take some iPhone photographs of things I hadn’t noticed before, or things which I pass a couple or dozen times a day and never pay much attention to. I uploaded them to Instagram because that’s how the kids are sharing photos now, though I bypassed the filters in favor of some simple white balance correction and sharpening in the (very excellent) Camera+ app. These are some of the things I saw.
(P.S. – I take a lot of pictures of New Orleans. You can see more on my Flickr stream.)
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…