Support Hyperallergic’s independent arts journalism.
Luckily for us, there seems to be a publication for every niche, desire, and obsession — and the book fairs are catching up. This year marks the first for the Brooklyn Dirty Book Fair, titled Crushed. Put together by the artist and curator Matthew Leifheit, the fair, which will be annual, is described as “a platform for independent publishers of erotic and pornographic material and artists working with sex.” It will be held this weekend at Greenpoint’s Point Green Studio and promises to break from the traditional booth format with a nude performance by classical and jazz musicians and what’s been advertised as an “orgy afterparty.”
“I … believe people will come out to a fair that is specifically smutty,” said Leifheit. “You could bring a Tinder date to the fair, for example, as a titillating prelude to dinner.”
Among the highlights is a looping video of rarely seen erotic photographs by George Pitts, who died earlier this year, and a brand new performance by M. Lamar, who often explores race and desire in his musical, multimedia works. You’ll also have the chance to peruse plenty of printed projects, including queer zines from the vast collection of Shelley Fox Aarons and Phil Aarons, the president of Printed Matter’s board, and multiple issues of MATTE Magazine, which Leifheit began in 2010 as a way to highlight individual artists and queer life. I personally recommend checking out Math Magazine, a publication run by women that seeks to reimagine porn “through depictions of desires that are often sought but rarely seen.”
If you stick around on Saturday night, look out for a screening of erotic short films, selected by Michael Thomas Vassallo.
When: Saturday, July 15 and Sunday, 16, 12pm–9pm
Where: Point Green Studio (260 Java Street, Greenpoint, Brooklyn)
More info here.
“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…