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LOS ANGELES — If you follow Patrisse Cullors, you know that she is a very busy person. Every day, the Black Lives Matter co-founder helps wade “through the messiness of the internet” with her news digest. And amid frequent speaking engagements concerning politics and the movement for Black lives, she is also an active artist and helps run the beloved collective and gallery Crenshaw Dairy Mart.
This Friday, October 2 and Saturday, October 3, Cullors is premiering her latest project: Malcolm Revisited, a video work that will launch Black Lives Matter’s Get Out the Vote (GOTV) campaign for the November presidential election. The film is screening for free on REDCAT’s website both nights.
Malcolm Revisited builds upon a 2016 video work in which Cullors responds to Malcom X’s “The Ballot or The Bullet,” his legendary 1964 speech urging Black Americans to vote when President Lyndon Johnson was running for reelection. As Cullors observes, “Our visionary Brother Malcolm saw the vote as a tactic in the larger strategy for freedom.”
The newest video will share how Malcolm has directly impacted Cullors herself, as well as fellow artist and organizer Aaryn Lang and producer Brayan Gonzalez.
“The resurrection of this piece in 2020 of Malcolm’s visionary words is both timely and a call to action for people, especially Black people, to vote, resist, and build power,” Cullors wrote in an email to Hyperallergic. She added, “Even after November, as it has been every year since the Reconstruction Act, the work does not end there. Malcolm Revisited is a conversation that we hope will engage the nation.”
When: Friday, October 2 and Saturday, October 3 at 8pm (PDT)
Where: Online at REDCAT
Malcolm Revisited is curated by Patrisse Cullors, produced by Slowblink, and directed by Satta.
More info at REDCAT
“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.