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Not all playgrounds are built with equal care in mind, and children know this on a core level. I could probably sketch you a rough layout of each and every playground I visited more than once, because the memories I made at them were either thrilling (like the swing sets that let me launch 10 feet or more into the air) or demoralizing (like that time I split my lip on the hanging bars). The Japanese-American artist and landscape architect Isamu Noguchi fundamentally understood the relationship between child’s play, memory, and spaces in which the two could grow together. His last work was Moerenuma Park, a 400-acre public space in Sapporo, Japan, where children and adults alike could play. Of his “Play Mountain” (1933) concept — a vision once rejected by New York’s Robert Moses — he wrote: “[It] was my response based upon memory of my own unhappy childhood — the desolate playground on a cliff in Tokyo which I approached with dread. It may be that this is how I tried to join the city, New York.”
The artist may have died in 1988, but his legacy lives on in Queens’ Noguchi Museum in Long Island City and in the work and models he left behind. To honor his legacy as well as provide a service to families in the Queens community, Noguchi Museum educators are hosting a Saturday afternoon workshop explaining “how a playground can be a sculpture” before inviting the children and adults to design their own. The workshop is free to attend and will be held at the STICKS space in Astoria’s Socrates Sculpture Park.
When: Saturday, September 14, 2019 12–3 pm
Where: Socrates Sculpture Park, Astoria, Queens (Vernon Boulevard between Broadway and 30 Drive)
“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…