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In Red Hook, Brooklyn, it’s impossible not to be conscious of the extreme proximity of the sea. The salty air wafting through its streets, the low-lying marine geography, and relative isolation were all part of the draw for contemporary residents and the reason for its historical role as a hub of maritime commerce. These elements also conspired with the awful arbitrariness of nature to render Red Hook a disaster area when Hurricane Sandy hit. Rebuilding efforts were slow and painful, and the memory of what the water had done lingered.
Now, on the fifth anniversary of the storm, artist Katherine Behar draws on the accumulated memories the water might hold in “Maritime Messaging: Red Hook,” produced in collaboration with PortSide New York and Pioneer Works. The performance work takes place on ferries shuttling between Wall Street and Red Hook, which Behar has rigged with an AI app that sends messages into the water and then translates its sounds — waves, splashes — creating a mysterious, evocative “dialogue.” A sound installation aboard the Mary A. Whalen ferry accompanies the performance.
When: Sunday, October 29, 10:25am–5:54pm
Where: NYC Ferry boats between Red Hook and Wall Street
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…