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“Where’s my head?” sing Chris Keating and Anand Wilder of psych-pop band Yeasayer in “Silly Me,” a track off their new album Amen & Goodbye. The discovery of a massive head — disembodied, glowing purple, and floating in space — is the climax of the song’s trippy new video, by Brooklyn-based directing collective New Media Ltd. Animated from sculptures by designer Mike Anderson, part of New Media Ltd., the video follows a boy and a girl through a fantastical, Dalí-esque landscape. They canoe on a sea of reflective honeycomb, dance with animals in a tree cave, and encounter undulating, luminescent extraterrestrials. Full of anthropomorphic beasts, it’s an adventure tale reminiscent of both Wes Anderson’s Fantastic Mr. Fox and Spike Jonze’s Where the Wild Things Are.
“Silly Me” is a prequel to Yeasayer’s equally otherworldly video for “I Am Chemistry,” also directed by New Media Ltd., and featuring 3D scans of sculptures by artist David Altmejd. For the cover of Amen & Goodbye, Yeasayer commissioned Altmejd to create a series of sculptures of characters referenced in their lyrics. Along with anonymous faces, Altmejd sculpted the heads of Donald Trump, Mark Twain, and Henrietta Lacks — the unwitting donor of the “immortal” cells that scientists used to cure polio.
Made from amalgams of organic and inorganic materials, Altmejd’s sculpted faces are lumpy and mottled, but still creepily lifelike. On the album cover, the heads are part of a hectic tableau that resembles a wax museum on acid. In the video for “I Am Chemistry,” they become set pieces in an sci-fi landscape populated by shapeshifting aliens.
Correction: A previous version of this article stated that the video for “Silly Me” featured sculptures by David Altmejd. The sculptures in “Silly Me” are all by Mike Anderson. It also stated that Mike Anderson directed the videos. They were directed by New Media Ltd., of which Anderson is a part. We regret the errors.
“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…