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LOS ANGELES — I’ve always been fascinated by Walter de Maria’s The Vertical Earth Kilometer. Over in the artist’s playground of Kassel, Germany, de Maria buried a kilometer-long, five-centimeter-round brass pole, its top is flush with the ground. Something about the conceptual nature of a work that is more or less inaccessible but at the same time very present resonates with me.
So Christoph Buchel’s underground plane proposal in Kern County (a few hours north of Los Angeles) caught my eye. The project, called “Terminal,” was just approved to move forward, and Buchel will be financing it all himself, including purchasing the hulking 727 and the necessary equipment and expertise to place it underground. But unlike de Maria’s piece, the plane will be visible — to a select few. Here’s what Curbed LA had to say about it:
The plane will be connected to parking about 420 feet away by a tunnel, which will start ten feet below grade and slop down to 25 feet below grade. The idea is to make the land look as untouched as possible and there will be no external structures or signs to indicate that there’s a giant airplane buried there.
It’s an incredibly privileged piece, as only 780 people a year will see it. As artist Man Bartlett tweeted, maybe it doesn’t matter to a man who can afford to finance such a project by himself. But then again, what percent of the world will ever see the inside of a plane in their life, whether below ground or above?
“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 Fernandéz 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.