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Each year, warmer weather heralds a range of outdoor arts activities across New York. From concerts to special gallery nights and open studios, New Yorkers are normally fortunate to have access to a range of free activities close to home. This year, the tradition continues virtually, with many events migrating over to screens for enjoyment at home, or perhaps en plein air on a fire escape or rooftop. Accordingly, DUMBO Open Studios (DOS) is currently presenting its first virtual edition, continuing through July 31. Presented annually by Art in DUMBO since 2016 (though some form of this tradition dates back to 1997), the event typically welcomes art lovers to studios and arts organizations based in the Brooklyn neighborhood situated between the Manhattan and Brooklyn Bridges, as well to a few additional participating spaces in nearby Vinegar Hill.
For its first-ever virtual edition, DOS has brought together over 100 artists and art organizations. “Visitors” can peruse the site, searching by media or using one of their handy guides, organized by theme or organization. (As with many open studio events, numerous works are also on sale at affordable prices.)
Highlights include Smack Mellon’s presentation of Jes Fan’s stark yet beguiling sculptures. Composed of melanin, resin, and other materials, the works reflect on race and colorism via organic and inorganic materials. The Plymouth street nonprofit is also presenting the work of Chantal Feitosa, a Brazilian American artist whose animations and short films utilize tropes associated with play and education to address hierarchies of language, race, and beauty in the US and Brazil. Likewise worth browsing are the dense, painterly environments of Olive Ayhens and Rebecca Levitan, and the group exhibition Para Vivir en Cuba, presented by Cuban Art Space, which features a range of works by contemporary Cuban artists. On July 30, artist Jen Ferguson will also be leading an Instagram Live tutorial on painting and drawing the Brooklyn Bridge.
So crack open a bottle of wine, fix your own cheese plate, and partake in the festivities from the comfort of your own couch or outdoor space of choice (at a safe distance from others).
When: Through Friday, July 31
More info at DUMBO Open Studios.
“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.