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Join BU Art Galleries at Boston University College of Fine Arts this fall for the traveling exhibition As, Not For: Dethroning Our Absolutes, curated by Jerome Harris. The exhibition will be on view November 4, 2020, through February 19, 2021.
As, Not For aims to promote the inclusion of neglected Black designers and their developed methodologies and challenge the ubiquity of White and anti-Black aesthetics in our designed world. These practitioners are absent in too many classroom lectures, and their methods mostly invisible or uncredited in the field.
Curator Jerome Harris describes, “The exhibit seeks to question, inspire, activate, and challenge the design community and beyond with the objective of promoting deep history, design theory, and aesthetics of African-Americans.”
Harris will be working with BU School of Visual Arts Graphic Design students Ashlie Dawkins, Gabbi Ferrari, Jay Li, Angela Lian, and Assistant Professor of Art, Mary Yang, on this iteration of the exhibition for the BU Art Galleries. The exhibition will be open to the BU community and a virtual tour will be available to the general public. Harris will also be giving a virtual lecture for BU SVA’s Tuesday Night Lecture Series on November 10 at 7:30pm EST. This lecture series is hosted by the BU School of Visual Arts MFA programs in Painting, Sculpture, and Graphic Design.
The MFA in Graphic Design at BU provides a two-year, sequenced studio approach to advanced design thinking and problem solving for visual communication, preparing students to thrive in a dynamic, creative professional environment. Students have access to recently renovated state-of-the-art facilities as well as all that BU has to offer. Applications for Fall 2021 are now open. Learn more at bu.edu/cfa.
For lecture registration details and further information, visit bu.edu/cfa/lecture-series.
“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…
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
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
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.
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.
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.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…