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As many people are saying, Donald Trump, despite claiming to have “the best words,” tends to use the same handful of adjectives over and over again, like a malfunctioning evil robot. While spouting off about his proposal for a Southern border wall, he never offers specifics about what this wall might look like — just that it would be “big,” “beautiful,” “great,” “physical,” and “tall.”
To help the public visualize this stupid proposal, a group of interns at Guadalajara-based architecture firm Estudio 3.14 created 3D renderings of the wall in various border landscapes, traversing hills, deserts, and the city of Tijuana. The designers added a twist so perverse it’s surprising Trump hasn’t thought of it himself: The wall will double as a prison where “11 million undocumented people will be processed, classified, and/or deported,” the studio says on their website. Called the Prison-Wall Project, the renderings “allow the public to imagine the policy proposal in all of its gorgeous perversity.”
And since “Mexico will pay for the wall,” the designers figured it might as well pay homage to the country’s rich architectural heritage. In bright pink, their concept references the work of Pritzker Prize-winning architect Luis Barragán. “Because the wall has to be beautiful, it has been inspired in by Barragán’s pink walls that are emblematic of Mexico,” said the studio. “It also takes advantage of the tradition in architecture of megalomaniac wall building.”
The studio suggests that the wall could employ up to six million personnel. In addition to a prison, it could house a shopping center, as well as a lookout point from which US citizens could climb up and peer down at the other side.
Plenty of artists and designers have drawn inspiration from this talk of a border wall. Months after she famously drew Trump with a micropenis, the artist Illma Gore erected a white picket fence on the Mexico-Arizona border, adorned with a sign that reads “For Sale: American Dream.” In July, activist art collective t.Rutt began building a mini version of Trump’s wall on the Mexican border, using pieces of anti-Trump artwork instead of concrete and steel. Also in July, Los Angeles–based street artist Plastic Jesus built a tiny concrete wall around Trump’s star on the Hollywood Walk of Fame. Last month, artist Sarah Sandman staged BRICK x BRICK, a performance art project in which women form “human walls” while wearing brick-patterned jumpsuits in protest of Trump’s misogyny. The design project that would accomplish the most, though, is no doubt the plan to build a wall outside Trump Tower.
“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…