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Around the world, there is a crisis in affordable housing, and the COVID-19 pandemic has pushed this issue to the brink. Millions who were already perpetually living on the knife edge of home security have been among those hit hardest by quarantine and the attendant loss of paid work. With this in mind, the programmers at Anthology Film Archives have put together a new streaming series of films about “housing rights, displacement, and the meaning of home.” Home Truths, which kicked off several weeks ago, will continue through the month of October.
This program has a format distinct from that of most other online screening series. Rather than acquire a simple roster of titles, Anthology has collated a broad range of ways to watch different films. While the theater is hosting movies such as Frederick Wiseman’s Public Housing (1997) and Ayo Akingbade’s Street 66 (2018) on its Vimeo page, the program also includes copious links to other sources for the lineup, from the Criterion Channel to filmmakers’ personal sites to nonprofits, including numerous free titles. All of this is to make the program in line with the spirit of these movies, which frequently touch on themes of community solidarity and cooperative power.
Anthology’s program description reads:
At their best, these films bring into relief the vital importance of “home” as a source of emotional and cultural meaning in people’s lives — as a necessity for both body and soul. They identify displacement as a force that robs people not only of the roof over their heads, but also — perhaps even more destructively — of their sense of their own identities, their individual and communal histories, and of their culture.
Anthology is presenting the series in association with Shelterforce, a nonprofit resource for housing rights activism. The theater also recommends this list of housing and tenants rights resources from the New York Public Library.
When: September 16–October 31
Where: Online via Anthology Film Archives
“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.