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Boston Seaport welcomes its newest contemporary public art installation: a large-scale mural by Frank Stella. WS Development, the primary developer behind Boston’s Seaport neighborhood, in collaboration with the Marianne Boesky Gallery, commissioned the Malden, Massachusetts native to create one of the largest public art installations of the artist’s 60-year career – a mural reproduction of his seminal painting, Damascus Gate (Stretch Variation I), 1970. Located at 60 Seaport Boulevard, the Seaport reproduction measures 98 x 18 feet, allowing viewers to experience it from diverse locations and perspectives across the neighborhood.
Damascus Gate (Stretch Variation I) originated in 1970 as part of Stella’s acclaimed Protractor series, which combines abstract geometric compositions to create a mystifying visual experience that shifts radically when viewed from different perspectives. Named after ancient sites in Asia Minor, Damascus Gate features squares and circles, intersected by what Stella calls ‘interlaces,’ ‘rainbows,’ and ‘fans.’
Over the past two years, Seaport has collaborated with an array of local and international artists to bring 10 distinct public art installations to the neighborhood. Stella’s mural coincides with the one-year anniversary of Seaport’s notable commission of Air Sea Land, whereby renowned Spanish artist Okuda San Miguel created seven sculptures exclusively for the neighborhood, positioned along Seaport Boulevard.
Both Frank Stella’s Damascus Gate (Stretch Variation I) and Okuda San Miguel’s Air Sea Land are on view now in Boston Seaport.
For more information, visit www.bostonseaport.xyz.
“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…