Support Hyperallergic’s independent arts journalism.
September has become the #MeToo movement’s defining month. Bill Cosby recently received a sentence of 3 to 10 years in prison for the drugging and sexual assault of Andrea Constand. And as I write this blog post, Dr. Christine Blasey Ford is testifying before the Senate Judiciary Committee about her allegations of sexual misconduct and attempted rape against the Supreme Court nominee, Judge Brett Kavanaugh.
Under intense public scrutiny, survivors of sexual assault are often asked to revisit painful, traumatic memories with crystal clear recollection and foolproof evidence about a violent act that, by its very nature, is manipulative and deceitful.
As in Congress, so too in the arts: the scales of justice are weighed against survivors of sexual assault. That’s why American Theatre magazine’s thorough investigation of sexual assault allegations in the performing arts is so important. In a field where intense recreations of violence and intimacy are often part of the job description, victims of sexual misconduct are often disregarded or otherwise face effective banishment from the theater community’s predominantly male-run list of organizations. American Theatre’s entire September issue is devoted to investigating the #MeToo movement in the performing arts. Below is a recording of my conversation with the magazine’s senior editor, Diep Tran, wherein we discuss the major allegations facing major regional theaters in Houston, Minneapolis, New Haven, and beyond.
A special thanks to Miserable Chillers & Sun Kin for the music to this week’s episode, which features their latest album, Adoration Room. You can listen to that and more at miserablechillers.bandcamp.com and other streaming services.
“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…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernández are on view at the NYC gallery through January 7, 2022.
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
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
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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.
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.