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For those of you who could not attend William Powhida’s May 14th performance/lecture, “Surviving the Art World Using the Art of Sorcery,” at Hyperallergic HQ, the video of the event is now online on Hyperallergic’s Blip.TV channel, Hyperallergic TV.
You can also download the program (and all future episodes) via iTunes.
This week we will also be posting our inaugural Reactor podcast, which will feature a discussion about and images from the “Greater New York” exhibition at PS.1. This will the first of our monthly podcasts, which (we hope) will provide a forum for interesting discussion about art in New York from a critical perspective.
While these are our first experiments in video/podcasting, you can be assured the video and sound quality will improve as Hyperallergic develops its audio-visual resources. If you would like to help us up our game feel free to drop us a line … we can always use a helping hand. Be warned: the first three minutes of the Powhida video has some volume issues but things drastically improve after those first three minutes.
This event is part of a series of PROCESS TALKS at Hyperallergic HQ that invites people associated in some form with the art world to discuss an idea, project, or endeavor that they are currently working on but hasn’t been completed. This series encourages experimentation. If you have an idea for an event, please contact us.
“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…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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
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
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.
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.
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.