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This December marks the 50th anniversary of the release of Gimme Shelter, a classic of direct cinema from the Maysles brothers and Charlotte Zwerin. In the process of following the Rolling Stones on tour, the filmmakers inadvertently captured the killing of Meredith Hunter at the Altamont Free Concert — widely seen as a herald of the end of the “peace and love” era of the 1960s.
In the spirit of Gimme Shelter and similar films that captured their cultural milieu in the years before and after, the Maysles Documentary Center (founded by Albert Maysles in 2008) is presenting Gimme 50, a program of direct cinema from the ’60s and ’70s. Featuring works by Madeline Anderson, William Greaves, Chris Marker, Shirley Clarke, and more, it’s a terrific lineup of classic docs.
Individual tickets for each film are $5. Full series passes are $50 and also confer membership to the Maysles Documentary Center.
When: December 12-31
More info at the Maysles Documentary Center website.
“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.