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Following a month-long submission process and a one-month voting period, apexart is happy to announce the winning exhibition proposals from their NYC Open Call. These four exhibitions will be presented as part of the organization’s 2020-21 Exhibition Season.
apexart Open Call exhibitions are selected through a crowd-sourced voting process, in which hundreds of anonymous proposals are rated by an international jury of more than 400 people. Connections and personality do not matter, jurors review only the written proposal idea, communicated in 500 words or less. This selection process ensures that the ideas are unique, compelling, and reflective of the hundreds of people who want to see them transformed from a proposal into an exhibition.
Four proposals were selected from 512 submissions, rated by over 400 jurors who cast over 14,000 votes. Submissions and jurors represented more than 64 countries.
Liz Faust (Baltimore, MD)
Timed to commemorate the 75th anniversary of the nuclear bombings in Hiroshima and Nagasaki, this exhibition presents works that address nuclear warfare and current tensions. Examining viewpoints of both American bombers/scientists and Japanese victims, featured works expand the conversation on the impact of nuclear bombs and reflect on issues of forgiveness, identity, and heritage.
Katarzyna Falęcka (Berlin, Germany)
Beyond Metaphor: Women and War
Histories of decolonization often cast women either as victims of colonial aggression or as heroines participating in nationalist struggles. Moving beyond this split view, this exhibition showcases lens-based works which address both the spectacular and the mundane experiences of women during the Algerian War of Independence, the seven-year war that ended French colonial rule in Algeria.
Elizabeth S. Hawley (Richmond, IN)
Drawing inspiration from the entwined histories of women’s rights movements and Native rights movements in the United States, this exhibition presents the works of contemporary American Indian artists who identify as feminist and whose practices address urgent intersectional issues regarding matrilineal traditions, indigenous futurisms, ecocriticism, land and water rights, survivance, and the fight for sovereignty.
Earl of Bushwick (Brooklyn, NY)
Queer-y-ing the Arab: The Canary in the Freedom Mine
Arab culture has always had a queer component. In the last century, this queerness has been increasingly suppressed, challenged and blamed on “Western” influence. This exhibition aims to explore, highlight, and celebrate contemporary queer artists who turn to Arab culture for inspiration, and whose works are at the forefront of democratic resistance to repression.
“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…