Support Hyperallergic’s independent arts journalism.
The San Francisco Art Book Fair (SFABF) has become one of the Bay Area’s most highly-anticipated annual art events since its launch in 2016. Now returning to Minnesota Street Project (MSP) for its fourth year, the SFABF runs from Friday, July 19 through Sunday, July 21, and is free and open to the public.
Co-organized by Colpa, Minnesota Street Project, and Park Life, SFABF showcases and connects diverse talent from the Bay Area art publishing community and beyond. The fair spotlights an eclectic range of artists’ books, catalogues, monographs, periodicals, zines, ephemera, and multiples, presented by over 100 publishers, antiquarian dealers, artists, and galleries. This year, the list includes more than thirty new exhibitors, as well as thirteen international exhibitors. Unlike other art book fairs, the SFABF also includes a dozen independently owned and operated galleries permanently housed at Minnesota Street Project.
The fair will also feature a variety of talks, discussions, book launches, special projects, and signings throughout the weekend. This year’s lineup includes a panel discussion celebrating the launch of Steven Leiber’s Catalogs published by Rite Editions and Inventory Press; an exhibition by Gagosian of an artist book by Richard Prince alongside Jack Kerouac items from the Ryder Road Foundation; and a screening of the 13-hour film Over and Over, Again and Again by Allen Ruppersberg. Additional programming coordinated by the McEvoy Foundation for the Arts (MFA) will be held at 1150 25th Street, including events with Ala Ebtekar, Bonanza, and Stephanie Syjuco.
San Francisco Art Book Fair runs July 19–21, 2019 at Minnesota Street Project (MSP), ( 1275 Minnesota St, SF 94107). Free admission.
For more information, visit www.sfartbookfair.com.
Feel free to use these hashtags and this handle when sharing or commenting on social media: @sfartbookfair, #sfabf2019
“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…