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Speaking from personal experience, applying for an artist visa to the United States can be a time-consuming, complicated, and costly process. New strict regulations imposed by the Trump administration in 2018 made the artist visa a lot harder to obtain. These cumbersome bureaucratic hurdles are hard to overcome, and they often overwhelm and dispirit international artists and writers who wish to work in this country and contribute to its cultural life.
Louise Carron, Executive Director of the Center for Art Law, told Hyperallergic in an email that the idea for the Clinic arose in 2018 when her organization noticed an increase in requests for assistance from artists seeking to immigrate to the United States.
“This event was timely and well-received, following a tightening of immigration policy, by way of Executive Orders issued by the 45th President,” she wrote. “We hope to demystify the O-1 and EB-1A visas in particular, because a lot of artists do not realize that they may be eligible for either one.”
The clinic will match artists working towards obtaining an artist visa (known legally as the “O-1 visa: individuals with extraordinary ability or achievement“) with specialized attorneys. Artists are encouraged to take the workshop 6-12 months before their application date (processing time for visa petitions has generally increased over the past two years). Finding a good lawyer is considered a key factor in obtaining the visa.
The O-1 visa is a three-year work permit for “nonimmigrants” (non-US citizens who are admitted to the country for a specific temporary period of time). Applicants for the visa are required to demonstrate “a high level of achievement” in their field, backed by a portfolio of accomplishments (awards and write-ups help a lot), numerous recommendation letters from peers, and a US-based sponsor.
According to the United States Citizenship and Immigration Services (USCIS), which operates under the supervision of United States Department of Homeland Security, distinction in the arts is evidenced by “a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.” Applicants are also required to prove the ability to sustain a livelihood in the country by providing future work contracts for three years into the future.
The Visual Artists’ Immigration Clinic will be hosted by the New York Foundation for the Arts (NYFA), which runs an Immigrant Artist Mentoring Program. Interested artists will be charged a $10 participation fee.
“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.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
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
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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.