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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 t
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As an African photography scholar of Congolese descent, I have dedicated more than 10 years of my research to the study of the Congolese people’s history of their own images.
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The daguerreotypes of Renty Taylor, his daughter Delia, along with other enslaved men and women, more than presenting subjects bound by unfreedom, offer evidence of the violence and brutality of American slavery, whose dismissals and denials haunt the nation still.
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A full exposition on the world-historical crime of transatlantic racial slavery is impossible to render within the bounded written text of any historical or legal document.
Comics
Renty Taylor wasn't only an enslaved individual, he was much much more, and his story should concern us all.
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Tamara Lanier’s battle for the ownership of her ancestors’ images is forcing the law to contend with the the institution of chattel slavery in interpreting intellectual property parameters.
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“For years, Papa Renty’s slave owners profited from his suffering,” Lanier said in a statement at the time. “It’s time for Harvard to stop doing the same thing to our family.”
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“For years, Papa Renty’s slave owners profited from his suffering,” Tamara Lanier said in a statement. “It’s time for Harvard to stop doing the same thing to our family.”