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The group asked to use our space to put together their limited edition artist book (9 artist proofs and 12 numbered copies) after 18-months of work that was done over the internet and through the postal service.
The long journey to this point began with a post on a Facebook wall and conclude with the trio coming together in New York to sign, compile and reflect on their acheivement. All of the artists are involved in correspondence art (i.e. mail art) — and Evertson took part in our mail art show last June — but two of them, Ria and Susan, had never even met IRL before two days ago.
The group put together a vivid collection of paper works into a limited edition black box emblazoned with gold letter that scream “Kali.”
Check out their blog but also peruse their individuals websites to familiarize yourself with their work if the project intrigues you. Vanden Eynde, for instance, has a number of blog projects, including The Body-Nothing Else, which explores how women artists explore their bodies through change. Yoko Ono has even contributed to the blog.
Thanks for coming by and it was great having you all in the space today!
“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…