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Since the late 1970s, Steve Roach has been exploring and expanding the limits of ambient music. Eschewing digital technology in favor of modular synthesizers and mixing boards, Roach’s oeuvre ranges from amorphous soundscapes that recall Brian Eno’s album Music for Airports, to more driving, Krautrock-inflected compositions. Widely considered his masterpiece, 1988’s Dreamtime Return is a double album influenced by Roach’s travels in the Australian outback and the Aboriginal concept of Dreamtime — referring to the time of creation and ancestral beings — and incorporates traditional Aboriginal instruments, including the didgeridoo.
This Friday, Roach will perform a two-hour career-spanning concert, anchored by his 30-year-old classic, inside the historic 132-year-old First United Methodist Church of Pasadena. The concert is part of Ambient Church, a roving programming series that places experimental audio and visual performances within unique architectural environments. Roach’s sonic journey will be accompanied by architecturally mapped projections created by artist and director Eric Epstein, providing a digital foil for Roach’s analog arrangements.
When: Friday, August 30, 7pm: doors; 8pm: show
Where: First United Methodist Church of Pasadena (500 E. Colorado Blvd., Pasadena, California)
More info at Ambient Church.
“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…