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Graters gonna grate, but a food sculptor may have upstaged Beyoncé with a cheesy rendition of the internet-breaking photograph she recently shared to announce her pregnancy. Literally: David Bradley, also known as the Curious Confectioner, teamed with creative company The Robin Collective to make a sculptural version of the singer out of 45 pounds of cheese, done ahead of a cheese carving championship at a London cheese and wine festival this weekend. (No, I’m not poutine you on, cheese sculpture is a widespread artistic practice.) The team named it Brie-oncé, of course — although that is fake news, as the sculpture is actually made of five blocks of cheddar, according to CNN.
In queso you forgot, halloumi to recap: this is a fromage homage to Awol Erizku’s portrait of Beyoncé as a sort of Renaissance Madonna, in which she’s veiled, backed by flowers, and touching her very prominent bump. Bradley’s sharp sculpture is edam gouda rendition, although Cheese Bey doesn’t look nearly as confident, with an air of slight Swiss-picion.
This sculpture could also have been way feta if the collective had stuck with one of its original ideas. As its creative director Brandy Klingelpuss told CNN, “We talked about putting Babybel in the stomach, but it never actually happened.” What meunsters.
As of press time, neither the real Beyoncé nor Erizku have provided comment on whether or not they’re fondue of this remake.
“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…