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Biennials may seem like a dime a dozen these days, with what seems like a new one starting up somewhere on the globe every week, though there are a few that have stood the test of time. Opening its 12th edition next month, the Gwangju Biennale in South Korea was founded in 1995, and is the oldest contemporary art biennial in Asia. And while each edition has its own theme — such as Unmapping the Earth (1997) or 10,000 Lives (2010) — there is always a section of works focused on the civil uprising and subsequent repression of the Gwangju Democratization Movement in 1980.
This year’s biennial brings together 153 artists from 41 countries under the timely theme of “Imagined Borders.” Under this umbrella, seven independently curated sections will explore related issues such as migration or technology. The Los Angeles County Museum of Art’s own Christine Y. Kim and Rita Gonzalez are co-curators of one of these sections focused on “the politics of participation, persuasion and power,” which looks at issues of access, empowerment, and disenfranchisement in our post-internet world. They have selected 16 artists including Lara Baladi (Lebanon), Shu Lea Cheang (Taiwan), Simon Denny (New Zealand), Sunwoo Hoon (South Korea), Stanya, Kahn (USA), Mark Lotfy (Egypt), Martine Syms (USA), and others. For those unable to attend, or those who simply want an early look, Kim and Gonzalez will be holding a preview to discuss the biennial at LACMA’s Brown Auditorium next Tuesday, August 21. The event is organized by GYOPO, a Los Angeles-based coalition of Korean-American artists, writers, and curators, who put together public programming around issues concerning art, culture, community, and social justice.
When: Tuesday, August 21, 7:30pm ($10 suggested donation to GYOPO)
Where: Los Angeles County Museum of Art, Brown Auditorium (5905 Wilshire Boulevard., Mid-Wilshire, Los Angeles)
“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…