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This month, The MacDowell Colony is launching a new annual Fellowship, funded by a gift given in the name of poet and painter Musa McKim Guston, for an artist working in any discipline.
McKim Guston, who died at age 83 in 1992, was a poet and painter known for her work on mural projects sponsored by the Works Progress Administration during the Great Depression. While studying at the Otis Art Institute, she met her future husband, Abstract Expressionist painter Philip Guston. Later in life, she focused on poetry and playwriting, and a collection of her writing, Alone With the Moon, was published in 1994 by The Figures Press. Guston’s daughter, the writer Musa Mayer, and her husband, neuropsychologist Tom Mayer, donated the funds for the new Musa McKim Guston Fellowship.
“An established painter and poet, McKim Guston arrived here as a playwright in the fall of 1966, so she was right at home among artists working in a variety of disciplines,” MacDowell Colony Executive Director Cheryl A. Young said in a statement. “That multidisciplinary aspect of MacDowell was a natural fit for her as she was a natural fit for us. This Fellowship speaks to the strength of that approach.”
Founded in 1907 and located in Peterborough, New Hampshire, The MacDowell Colony is among the nation’s leading contemporary arts organizations. Each of its Fellows, selected via a competitive review process, are provided with one of 32 private studios for a period of up to eight weeks, plus room and board.
“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…