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One of the most exciting post-Cold War artistic explosions has been happening in South Korea. While perhaps best-known currently for its music industry, Korean film has gradually but dramatically increased in stature, particularly over the past decade. This year, Parasite became the first Korean film to win the Palme d’Or at Cannes before going on to break box office records.
Film at Lincoln Center is celebrating the roots of the new wave of Korean cinema with its screening series Relentless Invention, which showcases films released between 1996 and 2003. Two early films by Bong Joon-ho, the director of Parasite, are featured (Barking Dogs Never Bite and Memories of Murder), as are many works by his acclaimed countrymen, including Hong Sang-soo (The Day a Pig Fell into the Well), Park Chan-wook (Oldboy, Sympathy for Mr. Vengeance), and Jeong Jae-eun (Take Care of My Cat). One of the best NYC retrospective line-ups of the year, it features action films, thrillers, romantic comedies, outrageous sci-fi, horror, and melodrama alike. If you want to know how one little film industry got to the point where it produced Parasite, you have no excuse but to check this out.
When: Friday, November 22 through Wednesday, December 4
Where: Film at Lincoln Center (165 West 65th Street, Lincoln Center, Manhattan)
More info at Film at Lincoln Center.
“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.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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
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.
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.