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While the political divide between Mexico and the US has been deepening, the cross-cultural exchanges between the two countries have become richer or at least more prominent. This is particularly true of California, whose history is entwined with Mexico’s, with a Latino population hovering around 39 percent.
This Friday through Sunday, Los Angeles’s Fowler Museum is hosting the Radical Publishing Weekend, which will showcase Mexico’s independent, politically minded publishing scene alongside Southern California’s own (and beyond). Highlights include the LA-based Tiny Splendor and Hesse Press and Mexico City publishing houses La Casa de El Hijo del Ahuizote and Gato Negro Ediciones. The latter is displaying its signature Risograph books in a solo exhibition at the Fowler aptly titled South of No North. For more context on how contemporary radical publishing works in Mexico, there will be a panel discussion with the Gato Negro founder, León Muñoz Santini, and the director of La Casa de El Hijo del Ahuizote, Diego Flores Magón, on Sunday at 1pm.
Over the on the east side of Los Angeles, the Vincent Price Art Museum (VPAM) is also hosting a few events in conjunction with the Fowler. In celebration of VPAM’s current exhibition, Regeneración: Three Generations of Revolutionary Ideology, focused on activist histories in the US and Mexico, the museum will host conversations that revive the memories of 1990s youth and cultural spaces and the influence of radio and newspapers in Chicano organizing.
When: Friday, October 12–Sunday, October 14, 12pm–5pm
Where: Fowler Museum (308 Charles E Young Dr N, Los Angeles) and Vincent Price Art Museum (1301 Avenida Cesar Chavez, Monterey Park)
“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…