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Kara Walker, Nan Goldin, Simone Leigh, and Yto Barrada are among 16,000 international artists who signed a “Letter Against Apartheid” denouncing Israeli violence against Palestinians.
The open letter was drafted by an anonymous collective of six Palestinian artists. It was initially signed by 300 leading Palestinian artists, writers, and filmmakers, including Emily Jacir, Mona Hatoum, Larissa Sansour, Hiam Abbass, and Elia Suleiman.
“This is not a conflict: this is apartheid,” the letter affirms and calls for an “immediate and unconditional cessation of Israeli violence against Palestinians.” It also calls to end the “support provided by global powers to Israel and its military” with an emphasis on the United States, which “provides Israel $3.8 billion annually without condition.”
In a statement to Hyperallergic, the organizers called the letter “an unprecedented display of unity” among Palestinian artists. “The Palestinians of Gaza, Lydd, Jerusalem, Ramallah, and throughout the world have shown that seven decades of Israeli policies have not broken their idea of themselves as Palestinians,” they said.
The artists urge their peers in the art world to “exercise their agency within their institutions and localities to support the Palestinian struggle for decolonization to the best of their ability.”
“We ask you to be brave,” the letter reads. “We ask you to come forward, speak up and take a clear public stand against this ongoing injustice in Palestine.”
This call was answered by an unprecedented number of world-renowned figures. Among them are writers Ta-Nehisi Coates, Angela Davis, Ben Lerner, Viet Thanh Nguyen, and Rachel Kushner. Other signatories include filmmakers Michael Moore and Mike Leigh; actors Thandiwe Newton and Viggo Mortensen; musicians Marianne Faithfull and Brian Eno; and the Palestinian-American model Bella Hadid. Other artists who added their names to the letter include Vivian Suter, Bouchra Khalili, Coco Fusco, Rachid Koraïchi, Walid Raad, Molly Crabapple, and Alfredo Jaar.
“Apartheid must be dismantled,” the letter reads. “No one is free until we are all free.”
“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…