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Fort Mason Center for Arts & Culture (FMCAC) and San Francisco Art Institute (SFAI) jointly present Maya Stovall: Under New Ownership, an exhibition of the artist’s innovative performance-based interventions in public life.
A self-described “radical ballerina,” Stovall explores questions of human existence, creating works that “vividly juxtapose art and life” (the New York Times) through unannounced performances in contemporary urban spaces. Stovall’s Liquor Store Theatre (2014–present) stages and films performance around businesses in Detroit’s McDougall-Hunt neighborhood. Stovall inserts dancers’ movement in an otherwise everyday rhythm, drawing out the people shopping, rushing, and hanging around. Juxtaposed with performance are Detroiters’ stories, drawing on the energy of the city landscape to picture this urban fabric in new ways.
Under New Ownership brings together selections from Liquor Store Theatre and The Public Library (2018–present), an ongoing project performed and filmed in Saskatoon, California. The exhibition also features two new conceptual sculpture series: Untitled (B-F), built from abandoned commercial signage; and the Theorem Sculptures (A-D), objects made with an eye to performance.
In conjunction with the close of the exhibition, Stovall will present a live performance of Theorem, no.1, commissioned by Fort Mason Center for Arts & Culture. Distilling the theorizing behind earlier projects, Theorem is a meditation on the fervor, grit, and craving of the urban experience. Details for the May 3 performance will be released in full at fortmason.org.
Maya Stovall: Under New Ownership is on view from March 29 to May 5, 2019 at SFAI’s Fort Mason Campus in San Francisco, CA. Exhibition hours are Wednesday through Sunday, 11am–7pm. Admission is free and open to the public.
For more information, visit fortmason.org/stovall.
“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.