Support Hyperallergic’s independent arts journalism.
The international tour of the exhibition Su-Mei Tse . Nested arrives at Taipei Fine Arts Museum, after showing at the Musée d’Art Moderne Grand-Duc Jean (Mudam) in Luxembourg; the Aargauer Kunsthaus in Aarau, Switzerland; and the Yuz Museum in Shanghai. Curator Christophe Gallois has made unique “orchestrations” of the works in response to the specific conditions of each exhibition space, to enable a poetic and meaningful viewing experience.
Born in Luxembourg in 1973, Su-Mei Tse was raised in a musical family, with a violinist father and a pianist mother, and she herself became a professional cellist. In 2003, she represented Luxembourg at the Venice Biennale, winning the Golden Lion for her installation Air Conditioned and rising to recognition in the international art world.
Each work in the Stone Collection series is unique; Su-Mei Tse created a piece on behalf of her exhibition venues, and she specially produced Stone Collection III for Taipei Fine Arts Museum. The series draws its inspiration from the Chinese tradition of “scholar’s rocks.” In the past Chinese literati would place unusual stones on their desks, to stimulate contemplation or inspiration.
Tse’s works have simple, clean forms, yet they radiate a multiplicity of meanings that can be read at different levels; she notes that they often wander through her thoughts, ruminations, references and intuition, but ultimately return to beauty and tranquility. This special quality is particularly evident throughout the exhibition.
Su-Mei Tse . Nested is on view April 20–July 21, 2019 at the Taipei Fine Arts Museum.
For more information, visit www.tfam.museum.
“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…