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On the Portal of Paradise on the western façade of the Cathedral of St. John the Divine in Manhattan are sculptures of the end of modern New York. The Brooklyn Bridge is breaking in two, a bus plummeting from it into the water while waves rise up over the toppling skyline. People run in a panic below the Stock Exchange, and next to them a scorpion, snake, and other signs of pestilence swarm a skeleton.
Of course, visions of the end of days aren’t uncommon on cathedrals, as they were since the Middle Ages created as a sort of visual rendition of the Bible, meant to be read as you would read the scripture, but showing the city surrounding the cathedral being destroyed is unusual, and unsettling. Since that swaying skyline also includes the World Trade Center, the sculptures have of course attracted the attention of conspiracy theorists, but the column bases featuring the scene, located on the south side of the portal below eight foot sculptures of Biblical figures, are rather a response to the cathedral’s namesake, John the Apostle.
St. John is usually attributed as the author of the Book of Revelation, and when British artist Simon Verity carved the Gothic-influenced sculptures between 1988 to 1997, he added St. John the Divine himself standing atop the four horsemen of the apocalypse, with contemporary takes on the themes to either side. He even used members of the neighborhood as models, another step to making the sculptures not just Biblical, but immediately relevant to those who would pass through the towering doors. Prior to that, since its construction first started in 1892, the tympanum and its surrounding columns on the portal were all blank. The Episcopalian cathedral, considered the world’s fourth largest Christian church, is actually still under construction, with its sculpture not yet complete, and the Portal of Paradise is only one of many contemporary touches on and within the church (there’s also a beautiful triptych by Keith Haring in one chapel). Yet what is there now is definitely one of the more curiously harrowing spectacles hiding in plain sight.
The Cathedral of St. John the Divine is located at 1047 Amsterdam Avenue in Morningside Heights, Manhattan.
“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.