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In the nearly two weeks since the #J20 Art Strike call, dozens upon dozens of art spaces around the country have announced closures on Inauguration Day. The call for the art world to cease operations “to combat the normalization of Trumpism” was first signed by hundreds of artists, critics, and others in solidarity with nationwide calls for a general strike on Friday.
Hyperallergic has been compiling a steadily growing list of participants based in New York City; below is another running list of nationwide spaces that will shut on January 20 in direct response to the #J20 call (all closures were confirmed by email unless otherwise noted). Some of these galleries, nonprofits, and other cultural spaces will also close on Saturday, January 21, while some have announced special programming that day — so check their websites or contact them directly for further information.
Editor’s Note: If you would like to be added to the list email email@example.com or comment below.
Altman Siegel, San Francisco
Automata Arts, Los Angeles
Blum & Poe, Los Angeles
The Box, Los Angeles
Common Field, Los Angeles
Mark Moore, Culver City
Materials & Applications, Los Angeles
Southern Exposure, San Francisco
These Days, Los Angeles
The Wattis Institute, San Francisco
Mana Wynwood, Miami
Monya Rowe Gallery, Saint Augustine
PARSE, New Orleans
The Schoolhouse Gallery, Kingfield
Carpenter Center for the Visual Arts at Harvard University, Cambridge (via j20artstrike.org)
Gallery A3, Amherst
Mana Contemporary, Jersey City
ArtRage Gallery, Syracuse
Hallwalls Contemporary Arts Center, Buffalo
Unison Art Center, New Paltz
Bullseye Projects, Portland
Fourteen30 Contemporary, Portland
Upfor Gallery, Portland
“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…