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In 2016, Ahmad Hammoud’s artwork “Passport for the Stateless”(2016) was shipped from an exhibition in Dubai back to the artist’s studio in Cairo. But before it was allowed back into the country, suspicious Egyptian customs officials defaced the work with deep lines of red ballpoint pen over the booklet’s and attempted to tear it in half. The customs officials did not heed to the fact that the artwork is not a real or valid travel document.
Occupational Hazards is an exhibition dedicated to artworks that have been lost, damaged or destroyed when shipped throughout the Middle East. The project addresses how and why artworks become subject to overzealous vetting systems — whether by deliberate force or through passive negligence — and in some cases, how artists are able to reclaim agency despite these circumstances.
Curated by Cairo-based, Swiss-American Alexandra Stock, the exhibition features works by artists hailing from Egypt, Jordan, Iran, Kuwait, Palestine, and Tunisia, as well as other artists with works marked by travels through the Middle East/North Africa region.
In a collaboration with ArteEast, apexart will hold a “Guided Tour by the Artists in Their Absence.” While their works are in the exhibition, for many of the artists, travel to the United States is severely challenged or prohibited — whether by cost, visa regulations, or current travel bans. In the guided tour, artists tell the stories behind their works and experiences and challenges of artists working in the Middle East today, in their own words.
Audio tours contributions by William Andersen (United States/Kuwait), Mohamed Ben Soltane (Tunisia), Aissa Deebi (Palestine/Switzerland), Ahmad Hammoud (Egypt), Shuruq Harb (Palestine), Alexandra Stock (Egypt), and Negar Tahsili (Iran). A reception will follow the tour.
When: Thursday, July 11, 6:30-7:30pm
Where: apexart (291 Church Street, New York, NY)
More info at apexart.org.
“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.