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France’s Notre Dame Cathedral is finally stable and secure enough for reconstruction efforts to commence, Paris officials said on Saturday, September 18. The iconic gothic church, which suffered a devastating fire in April of 2019, is expected to welcome visitors again in 2024.
The 2019 fire consumed the building’s latticework roof and tore down its spire, threatening to collapse the entire structure. For the past two and half years, a special task force called Rebâtir Notre-Dame de Paris (“Rebuild Notre-Dame”) has been cleaning the debris and reinforcing the structure amid debates over future designs for the fallen spire. The rebuilding work is expected to begin in the next few months, the task force announced in a Facebook statement on Saturday.
French President Emmanuel Macron has vowed to rebuild the historic landmark by 2024, the same year that Paris was set to host the Summer Olympics. He appointed General Jean-Louis Georgelin, a former army chief of staff, to lead the restoration project.
“We’re officially saying that the cathedral is now saved, that it’s solid on its pillars, that its walls are solid,” Georgelin said in a TV interview on Saturday, as reported by the New York Times.
Some of France’s wealthiest, including Christie’s owner François-Henri Pinault and billionaire art collector Bernard Arnault, have pledged or donated over 845 million euros (~$900 million) to the restoration project. But there’s a way for the average person to contribute as well. In April, the organization Friends of Notre-Dame launched an interactive website via which the general public can donate by sponsoring the restoration of a specific artifact damaged in the fire. Examples include a collection of the church’s iconic gargoyles, a 1647 painting of the stoning of Saint Stephen by Charles Le Brun, and a 188-year-old ornate wool choir carpet. The funding goal for each object is $10,000, but you can donate as little as $1.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
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…