Support Hyperallergic’s independent arts journalism.
This morning, as Boston mourned yesterday’s tragedy, its major art institutions announced free admission to the public, “a place of respite for our community” in the words of the Museum of Fine Arts.
The MFA will be free today. We hope the Museum will be a place of respite for our community.
— Museum of Fine Arts, Boston (@mfaboston) April 16, 2013
The Institute of Contemporary Art joined the MFA in opening its doors, also announcing on Twitter their wish to provide a space for “community & reflection.”
ICA admission is free for all visitors today. We hope the museum will offer a place of community & reflection. #WeAreBoston
— ICA/Boston (@ICAinBOSTON) April 16, 2013
With these gestures, both museums have manifested their purpose not just as stewards of art history, but as institutions in the service of the public. The relationship between art and suffering, or art as a response to suffering, is a complex one, but the therapeutic power of museums as places of quiet contemplation is undeniable.
Museum of Fine Arts, Boston
Tuesday hours: 10am–4:30pm
465 Huntington Ave, Boston
Institute of Contemporary Art, Boston
Tuesday hours: 10am–5pm
100 Northern Ave, Boston
The Isabella Stewart Gardner museum, which is closed on Tuesdays, posted a tweet offering its thoughts to everyone at the finish line of the Boston Marathon, as did the Harvard Art Museums in Cambridge.
The Harvard Art Museums are open today, though the admission fee has not been suspended as of press time.
Our thoughts are with everyone at the finish line of the Boston Marathon today. We hope your friends and loved ones are safe.
— Gardner Museum (@gardnermuseum) April 15, 2013
Our thoughts are with our neighbors in Boston and all who were affected by yesterday’s tragic events. Hope your loved ones are safe.
— Harvard Art Museums (@harvartmuseums) April 16, 2013
“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…