Support Hyperallergic’s independent arts journalism.
Next Wednesday at the Museum of Arts and Design (MAD), Burke Prize artists Cannupa Hanska Luger, Roberto Lugo, and Jordan Nassar will join together for a panel discussion, moderated by Marianna Schaffer of Creative Capital, to talk about the ways in which craft can become a tool of resistance, protest, sociopolitical commentary, and change.
In her own work, Schaffer strives to cultivate and create relationships, strategies, and outreach for artists. Luger, meanwhile, is a multidisciplinary artist that incorporates ceramics, video, sound, fiber, steel, and cut paper to combine performance with political action, telling stories of 21st century indigeneity. Luger is of Mandan, Hidatsa, Arikara, Lakota, Austrian, and Norwegian descent. His work often incorporates calls to action, and he lectures and participates in residencies worldwide. Lugo is a ceramist, social activist, and spoken-word poet who uses porcelain to shed light on “its aristocratic surface with imagery of poverty, inequality, and social and racial injustice.” Nassar works on hand-embroidered textile to “address an intersecting field of language, ethnicity, and the embedded notions of heritage and homeland.” He looks at the conflicting issues of culture and identity using geometric patterning taken from Palestinian and Islamic symbols. Working in so many different fields of art for a similar goal, these artists are sure to present a lively and important discussion not to be missed.
The event is $10 to attend and $8 for members and students, or free if you are a part of the College Art Association. Tickets can be purchased here.
When: Wednesday, February 13, 6:30–8:00 pm
Where: The Theater at MAD, 2 Columbus Circle, Hell’s Kitchen, Manhattan
“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…