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For centuries, printmaking has been an affordable and egalitarian method of reproducing and disseminating texts, knowledge, and artwork. Since its founding in 1970, Boyle Heights arts space Self Help Graphics & Art has been dedicated to the teaching, promotion, and exhibition of printmaking, especially by Latino and Chicano artists. This week, they’ll be hosting their second biennial Printmaking Summit, a three-day event geared towards a wide audience from students and novices, to emerging artists and experienced printmakers. “The goal is demystifying the field, making it more accessible,” Marvella Muro, the director of Artistic Programs and Education at Self Help Graphics & Art, told Hyperallergic.
Highlights of the various workshops, talks, and demonstrations include a panel on new technologies in printmaking with representatives from El Nopal Press, Tamarind Press, and Gemini GEL on Thursday; a discussion of conservation and space with Madison Brockman, a paper conservator at the Los Angeles County Museum of Art (LACMA), on Friday; and a panel on the career possibilities for printmakers on Saturday. Those interested can also apply to participate in a peer-to-peer Artist Exchange on Friday, or a Portfolio Review with faculty from various colleges on Saturday (although the deadline was April 11, there is still room).
Celebrated artist Alison Saar will give the keynote address on Thursday evening, and the summit’s closing event will be an opening reception for the exhibition Utopia/Dystopia, showcasing a portfolio of prints created by 26 artists modeled after a deck of 52 playing cards.
More info at Self Help Graphics & Art.
As an African photography scholar of Congolese descent, I have dedicated more than 10 years of my research to the study of the Congolese people’s history of their own images.
The daguerreotypes of Renty Taylor, his daughter Delia, along with other enslaved men and women, more than presenting subjects bound by unfreedom, offer evidence of the violence and brutality of American slavery, whose dismissals and denials haunt the nation still.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
A full exposition on the world-historical crime of transatlantic racial slavery is impossible to render within the bounded written text of any historical or legal document.
Renty Taylor wasn’t only an enslaved individual, he was much much more, and his story should concern us all.
Legal Precedents or Reparations? Lawsuit Against Harvard May Decide Who Owns Images of Enslaved People
Tamara Lanier’s battle for the ownership of her ancestors’ images is forcing the law to contend with the the institution of chattel slavery in interpreting intellectual property parameters.
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.
Over the last few years, Hyperallergic has reported on the continuing quest of Tamara Lanier to retrieve daguerreotypes of her ancestors Renty and Delia Taylor. In March 2019, Lanier filed a lawsuit in Massachusetts to obtain rights to photographs in the collection of Harvard University’s Peabody Museum of Archeology and Ethnology, which were commissioned by…
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…