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During a public meeting at the Centro de Artes in San Antonio, Texas, the center’s committee voted to reinstall Xandra Ibarra’s work, which had been removed from the exhibition XicanX: New Visions. The city, which funds and oversees Centro de Artes, had barred Ibarra’s video prior to the exhibition’s opening, citing “obscene content.” The decision now moves to the hands of the San Antonio Arts Commission, a group of 15 members appointed by the Mayor and City Council, who will vote on the issue on March 10. According to a statement shared by the show’s curators Suzy González and Michael Menchaca (“Dos Mestizx”), the decision may be further appealed to City Council following the San Antonio Arts Commission’s vote.
“We asked of the committee to stand with us to support the Constitutional freedom of artistic expression and the new visions that XicanX provides. Further, we asked that the City of San Antonio reconsider definitions of ‘obscenity’ that are in fact rooted in a tradition of silencing queer, feminist, and sexual expression,” said González and Menchaca in their statement. “The City’s response to Xandra Ibarra’s artwork is fundamentally illegitimate, unjust, and deserves reevaluation. We ended with stating that there is no place for homophobic treatment within San Antonio Arts Programming.”
The committee dismissed the censorship claims, arguing that the work was refused by the city before it could be installed. The Director of the Department of Arts and Culture, Debbie Racca-Sittre, rejected allegations that the decision was a homophobic response to Ibarra’s work.
Several members of the community were present at the meeting to speak in support of reinstalling Ibarra’s work, including María de León and Adriana Rios of the National Association of Latino Arts and Cultures; Professor of Law Amy Kastely; Graciela Sanchez of the Esperanza Peace & Justice Center; and San Antonio-based artist Jonathan Treviño.
“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.