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Throngs of excited visitors came out earlier this month to the newly reopened Bass Museum of Art on Miami Beach, a project nearly three years in the making. Families were everywhere, gleefully uncovering what the team at Bass had done after two years of construction and a year of planning and fundraising. Put simply, it was free and the halls were packed.
Director Silvia Karman Cubiñá claims that, “the main purpose of this transformation was the visitor experience;” to that end, the Bass has added four new galleries, three new classrooms and two new areas of social space.
The museum was founded in 1963 by the City of Miami Beach with a donation from a legacy collection of historical art from John and Johanna Bass and is heavy on old masters including El Greco and Botticelli. The reframed Bass infuses contemporary interventions into this classically traditional context. Moving forward, the collection will focus solely on contemporary art, but the old masters will have their place. For instance, Pascale Marthine Tayou’s exhibition, “Beautiful,” incorporates old master pieces into site-specific mixed-media installations: “Pascale’s Eggs” (2014) features countless differently colored alabaster eggs framing the old master works.
Ugo Rondinone’s work, presented under the gloomy title, “good evening beautiful blue,” includes the piece “vocabulary of solitude,” a series of 45 sculptures of fully costumed clowns lying or sitting or in everyday poses. Despite its introspective and somber tone, the piece proved quite popular on social media, with museumgoers sitting next to the clowns as if they are along for the ride. Perhaps it’s how art is now being consumed, though Karman Cubiñá doesn’t think social media was Rondinone’s intention.
“I am just delighted,” Karman Cubiñá explains of the new face of the Bass Museum and its programs, “it feels like people are responding really well. Moving forward, the Bass will continue to add contemporary art to the collection with the hope that the community will show up with the same enthusiasm they brought on opening day.
Pascale Marthine Tayou’s Beautiful continues through April 2, 2018.
“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…