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The social upheavals that took place in Watts in 1965 and South Los Angeles in 1992 were more than simply historical events — they were profound experiences for the African-American communities that lived through them. Music in particular was a crucial part of these experiences, from songs of outrage heard on the radio, to concerts like 1972’s WattStax, dubbed the “black Woodstock.” Musicians like the Watts Prophets and Horace Tapscott and the Pan-Afrikan Peoples Arkestra, and later Tupac and Ice Cube, broadcasted messages of protest and pride not only to their own communities, but to the rest of the nation, tuning them into what was was going on in LA.
To explore the role that music played in expressing anger and frustration towards civil rights abuses — as well as voicing the need for unity and revitalization — the California African American Museum is hosting a listening party organized by University of Southern California professor of communications and 2016 MacArthur fellow Josh Kun. In between tracks by Sam Cooke, Wadada Leo Smith, Flying Lotus, and Marvin Gaye, as well as bits of period speeches and news footage, Kun will lead a discussion on how listening shapes our experience and memory of turmoil and rebuilding. The listening party is part of Trouble Every Day: LA 1965/1992, an exhibition set in a recreated early ’90s living room, which examines how media informs our understanding of these pivotal events. The event is free, but RSVP is requested.
When: Tuesday, August 8, 7–9pm
Where: California African American Museum (600 State Drive, Exposition Park, Los Angeles)
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…