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Starting August 16, New York will be the first city in the United States to require proof of COVID-19 vaccination for public indoor settings, including performance, entertainment, and cultural venues. The move comes after similar mandates were issued in countries including France and Italy, and as the more contagious Delta variant of the virus continues to spread, posing a major threat primarily among the unvaccinated population.
“If you want to participate in society fully, you’ve got to get vaccinated. It’s time,” tweeted NYC Mayor Bill de Blasio. The new “Key to NYC Pass” displaying immunization status will be implemented this month, but will not be enforced with penalties and fines until September 13, the mayor said in a press conference this morning.
The mandate is meant to incentivize unvaccinated New Yorkers — about 40% of the city’s population — to get the jab by requiring proof of at least one dose in order to participate in indoor activities. Citywide, around 60% of residents have received a single dose and 55% are fully vaccinated, but the rates are lower in the Bronx, Brooklyn, and Staten Island.
Just yesterday, Mayor De Blasio was criticized for encouraging but not enforcing indoor masking in New York. Most museums in the city require visitors to wear face coverings regardless of vaccination status; it is still unclear how museums and libraries will be impacted by the newly announced “Key to NYC” plan. Representatives for the Whitney Museum of American Art and Metropolitan Museum told Hyperallergic that the respective institutions would continue to enforce indoor masking for staff and visitors and follow any city and state mandates.
Some institutions, like the Tenement Museum in the Lower East Side, have been a step ahead, requiring proof of full vaccination to join indoor tours of its historic building since it reopened in June. Unvaccinated visitors, including children under the age of 12 for whom the shot is not yet approved, are only permitted on outdoor walking tours or the museum’s Meet Victoria at Play: 1916, which takes place outdoors in a rear yard.
“The Museum is currently selling out more than 90% of our available tours and visitors have been receptive and appreciative of the policy,” said Rachael Grygorcewicz, the Tenement Museum’s chief operating officer.
This is a developing story. Please check back for updates.
“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…