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The dissident Chinese artist Ai Weiwei staged a silent protest in front of a London court today, September 28, in support of Wikileaks founder Julian Assange, who is facing extradition to the United States.
Ai was part of a group of activists who protested outside of London’s Old Bailey during a hearing on Assange’s extradition to the US.
Ai held his silent protest outside the court next to a sign that read, “Free Assange, No US Extradition.” The artist wore a pink t-shirt depicting himself and Assange, both raising their middle fingers.
“I had trouble when I started defending human rights and freedom of speech, it happens in China, but it’s not limited to China, the tactics of trying to hurt #Assange are the same.” @aiww #AssangeCase pic.twitter.com/hqIzaSNGvh
— Don’t Extradite Assange (@DEAcampaign) September 28, 2020
“He is prepared to fight, but this is not fair to him,” Ai told reporters outside the court. “Free him, let him be a free man.”
Assange, who spent seven years at the Ecuadorian Embassy in London before he was arrested and moved to pre-trial prison in April of 2019, is facing 17 espionage charges and one charge of computer misuse over WikiLeaks’s publication of 500,000 secret American military documents in 2010. The leaked documents detailed American military operations in Afghanistan and Iraq, including a video showing US pilots targeting Iraqi civilians and news reporters. If convicted, Assange could face a sentence of 175 years in prison.
The hearings in Assange’s extradition trial, which entered its fourth week, are expected to end in a few days. However, the judge in the case agreed to a request by Assange’s lawyers to issue the decision after the United States’s presidential election in November. Assange’s supporters hope that Joe Biden might drop the charges if he becomes president.
“[Assange] truly represents a core value of why we are free — because we have freedom of the press,” Ai said. “We need a lot of protesting, and it can take any form. I’m an artist, if I cannot use my art, it’s very limited, then I’d rather just be silent.”
“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.