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MIAMI — In Tomás Esson’s first solo museum presentation, the painter’s fleshy, anthropomorphic bodies emerge from more of them: a newly commissioned mural, “Wet Wall Drawing at ICA” (2020), spreads across a gallery-length wall and frames works like “Retrato #29 (Portrait #29)” (1998), in which a bovine creature leaks, lactates, and bellows. In a recent interview, the Miami-based artist discussed the mural’s significance, the way it highlights “the five fundamental elements of life…the vagina, the breast, the mouth, the penis, and the anus.” It’s a whirling gyroscope, in black gesso, of tongues, butts, spillage.
In addition to more Wet Paintings, a series he began in the early 1990s, The GOAT takes viewers through 35 years of Esson’s studio practice, including his Retratos (Portraits) series and political skewers — such as “Mi homenaje al Che (My Homage to Che)” (1987), a painting that drew ire in his native Havana, Cuba. The claws and breasts of the beast-like figures lustily intertwined before Che’s visage appear throughout Esson’s work; their spiraled, emphatic movement is reflected even in the humanoid ribbons of “Seaweed” (2019), a piece inspired by the flora of Miami. Elsewhere, torsos fold into genitalia in anatomic ouroboroi; earthen mythological monsters emerge from the sea. Esson’s delightful reverence of the corporeal reminds me: oceanic waters are not unlike bodily fluids.
“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.