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Like most museums, the San Francisco Museum of Modern Art can show only a fraction of its collection at once, largely due to space constraints. In its case, only about 5% of its treasures are on view at a time. To increase accessibility to its nearly 35,000 works, the museum has a really neat tool that literally places artworks in the palm of your hand: Send Me SFMOMA, a text messaging service that sends you images of artworks in response to your personal interests.
All you have to do is send a request to the number 572-51, beginning with the words “send me” and followed by keywords, from a color to a subject, and even a mood. You may even text it an emoji, as seen in the above example, where the rainbow flag yielded Robert Arneson’s portrait of Harvey Milk. The service processes the info using the SFMOMA Collection API, and it delivers a relevant image followed by its artist, title, and date.
Launched earlier this year, the tool recently received an update to this five-digit pre-approved number; it previously ran on a 10-digit number and proved so popular that major mobile carriers apparently thought the museum was a spambot, as SFMOMA’s creative technologist Jay Mollica recounted in a blog post. The appeal is understandable, as the service is not only convenient and affordable for many (it’s free, but standard messaging rates apply) but also engages you with the collection in a way that is personal, fun, and even surprising at times.
As Mollica writes, “Send Me SFMOMA was conceived as a way to bring transparency to the collection while engendering further exploration and discussion among users.”
Like a true friend, Send Me SFMOMA always texts back, even if it can’t always deliver the goods and send you a match. But as the following results show, it responds to a wide array of demands, from those related to medium to a culture to an agenda, and much more. It will even humor your attempt to sext.
“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…