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at the whitney now – “open casket” by dana schutz is no longer on view – this sign is in its place pic.twitter.com/nqYNvneClA
— nevona (@nevona) April 2, 2017
Visitors to the Whitney Museum hoping to see the most controversial painting in this year’s biennial — or the protesters blocking it and calling for its removal — may be frustrated. The small fifth-floor alcove containing Dana Schutz’s “Open Casket” (2016) — a painting based on a 1955 photograph of the body of Emmett Till in his casket — and a handful of other works, was closed to the public over the weekend because of a water leak.
“Following the heavy rainstorm on Friday night, some moisture became apparent in the gallery,” a Whitney spokesperson told Hyperallergic. “As a precaution we temporarily removed from view works that were in that space: two paintings by Julien Nguyen, Dana Schutz’s painting ‘Open Casket,’ and four videos by Maya Stovall. There was no damage to any of the works.”
Update, 4/6: The Whitney confirmed that the works by Nguyen, Schutz, and Stovall had been put back on view in time for the museum’s opening to the public on the morning of Wednesday, April 5. There had been no further leaks in the gallery.
“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…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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
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
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.
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.
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.