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In 2015 Yoko Ono installed her “Mend Piece,” where shards of broken china, little spools of thread, and plastic bottles of Elmer’s glue were offered up for visitors to reassemble as they liked. It was part of her exhibition The Riverbed, held simultaneously at Galerie Lelong and Andrea Rosen Gallery. Then, the work felt consonant with Ono’s universalist aesthetic: it was not some specific, urgent suture; there was no promise of an instant fix for some irremediable rent in a social fabric. Instead, the meditative piece highlighted mending as an action, as a process of attention, and as a state of mind.
Now, of course, the environment is a little different. Things generally seem to be in dire need of repair. On December 3, India Salvor Menuez and Misty Pollen will host a “Day of Mending” at Bridget Donahue Gallery. Unlike Ono’s mass of white shards, which belong to no one and everyone, participants in this Day of Mending are encouraged to bring their own materials — “the sewing/craft projects that have been sitting in the corners of their rooms, the materials they have collected and never put to use,” as they participate in a space of collective and personal mending. The format is drawn from the traditionally feminine practice of the sewing circle, and, in what’s been an especially rough year for women, it seems like a powerful format to heal some damage.
When: Sunday, December 3, 2pm–5pm
Where: Bridget Donahue Gallery (99 Bowery, 2nd Floor, Chinatown, Manhattan)
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…