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Join us at Hyperallergic HQ on Tuesday, June 22 at 7pm for a special fundraising event “One Image, One Minute: Significant People Present Significant Images,” which will benefit the inspirational summer camp in upstate New York, Camp Pocket Utopia.
“One Image, One Minute … ” invites you to look and listen to various people in and outside the art world respond to images that made a major impact on their lives.
Tickets are $25 and proceeds will benefit Camp Pocket Utopia, a camp conceived in Bushwick that will travel to Rouses Point, New York. Camp Pocket Utopia is presented by the Norte Maar nonprofit arts organization in collaboration with former director of the Pocket Utopia Gallery, artist Austin Thomas.
Camp Pocket Utopia is a social school and free arts camp for kids inspired by the historic Black Mountain College, as interpreted by Austin Thomas in collaboration with Norte Maar. The Camp hopes to inspire a conversation amongst artists, creative thinkers, and the community, empowering participants and observers to think for themselves while offering a free arts camp for the kids of Rouses Point, NY, and the surrounding North Country.
Confirmed “One Image, One Minute … ” presenters include: Laura Braslow, Deborah Brown, Jen Dalton, Kianga Ellis, Louise Fishman, Rico Gatson, Veken Gueyikian, Rachel Gugelberger, Chris Harding, Valerie Hegarty, Lars Kremer, Ellen Letcher, Brooke Moyse, Cathy Nan Quinlan, James Panero, Jonathan Stevenson, Adam Simon, James Wagner, and more…
One Image, One Minute, Significant People Present Significant Images
Tuesday June 22nd 7:00 pm
Hyperallergic HQ (map)
181 N11th Street, #302, Brooklyn, NY
Tickets $25.00. Additional donations greatly appreciated.
Refreshments will be served.
Space is limited so RSVP and purchase tickets NOW.
“One Minute, One Image … ” is based on Micol Hebron’s column in X-TRA, a quarterly journal published to promote and provoke critical discourse about contemporary visual art in Los Angeles, and is a recreation of a project produced by Belgian director Agnès Varda. Varda invited various people in and outside the art world to respond to photographic images for one minute. She presented the results on French television in 1983.
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…