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Sculptor John Bisbee is celebrated for his masterful work created exclusively from forged and welded nails, transforming their simple form into sculptures that defy the imagination. From tiny nails to 12-inch spikes, Bisbee has been welding, hammering, and bending nails for the past 30 years. John Bisbee: American Steel is a statement about the current political and cultural state of America. Set against the backdrop of declining American manufacturing, factory outsourcing, and the mechanization of labor, American Steel is a metaphor for larger conversations about economics, culture, and America’s uncertain place in the world.
In the exhibition catalog essay, Glenn Adamson, senior scholar at the Yale Center for British Art and former director of the Museum of Arts and Design, New York, writes, “Constructed entirely from nails, by hand, Bisbee’s objects draw on a deep well of American historical and vernacular imagery. They are made in a spirit of solidarity with workers of all kinds; each nail expresses the idea of things joined together. Yet the exhibition also has a critical edge. Bisbee uses poetic language, narrative imagery, and potent emblems to express his concern with our country’s direction. American Steel is thus a statement on current affairs: in his own words, an “abstraction of who are we are, right now.”
For more information, visit cmcanow.org.
John Bisbee: American Steel is on view at the Center for Maine Contemporary Art (12 Winter Street, Rockland, Maine) from June 30 through October 14, 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…