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Tech titans like Jack Dorsey, Bill Gates, and Mark Zuckerberg have served as highly visible advocates for increasing visa quotas for certain skilled laborers, but the world of high-end software engineering is not the only one with a heavy reliance on a geographically fluid talent pool. Americans for the Arts, an arts advocacy nonprofit, announced last night that they have succeeded in securing the inclusion of the Arts Require Timely Service (ARTS) Act in the Obama-endorsed immigration bill now expected to pass the Senate.
Americans for the Arts have described the proposed legislation in an undated brief from earlier this year titled “Improving the Visa Process for Foreign Guest Artists at U.S. Citizenship and Immigration Services.” The document lists three core disadvantages (“extremely harmful results”) to the current visa scheme for artists that the ARTS Act hopes to correct:
1. When foreign artists are unable to come to the United States, the American public is denied the opportunity to experience international artistry.
2. The absence of international guest artists costs American artists important employment opportunities.
3. Delays and unpredictability in the visa process create high economic risks for nonprofit arts institutions and the local economies they support.
The ARTS Act fixes these by reducing the total processing time required by U.S. Citizenship and Immigration Services (USCIS) for O and P visa petitions filed for nonprofit arts-related matters. This is undoubtedly a positive development, though it would appear that this issue is what prompted the Department of Homeland Security/USCIS unpaid “job” posting we highlighted earlier this month. Oh, and the bill also includes a $46 billion border security amendment, money which will go toward some Minutemen wet dream scenario involving impenetrable fences and border-patrolling drones. Steps forward, steps backward, etc.
If you’re interested in writing your political representatives about supporting the ARTS Act-containing immigration bill, consider checking out the virtual “Action Center” set up by Americans for the Arts. The bill will head to the House if it passes the Senate vote on Thursday.
“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…