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LEGAL PRECEDENTS OR REPARATIONS? LAWSUIT AGAINST HARVARD MAY DECIDE WHO OWNS
IMAGES OF ENSLAVED PEOPLE

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.

by Valentina Di Liscia


STANLEY WOLUKAU-WANAMBWA: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V.
HARVARD

by Stanley Wolukau-Wanambwa


BRIAN WALLIS: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

by Brian Wallis


STEPHEN SHEEHI: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

by Stephen Sheehi


FRED MOTEN: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

by Fred Moten


JANE’A JOHNSON-FARNHAM: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

by Jane'a Johnson-Farnham

Sponsored


DELAWARE ART MUSEUM RESTAGES AFRO-AMERICAN IMAGES 1971: THE VISION OF PERCY
RICKS

The show, which honors the 50th anniversary of an exhibition history once
ignored, continues a series of projects documenting Wilmington’s contemporary
art scene.

News


EUNSONG KIM: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

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.

by Eunsong Kim
News


MARIANNE HIRSCH: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

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. 

by Marianne Hirsch
Sponsored


APPLICATIONS OPEN FOR 2022 GOTTLIEB FOUNDATION GRANT PROGRAM

The Adolph & Esther Gottlieb Foundation is accepting applications for its
Individual Support Grants until January 14, 2022.

News


CARLES GUERRA: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

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…

by Carles Guerra
News


SANDRINE COLARD: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

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.

by Sandrine Colard
Sponsored


NOMINATE AN ART TEACHER FOR THE RJE FOUNDATION’S EXCELLENCE IN TEACHING AWARD

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.

News


KIMBERLY JUANITA BROWN: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

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.

by Kimberly Juanita Brown
News


ALIYYAH ABDUR-RAHMAN: AN ENDORSEMENT OF AN AMICUS BRIEF FOR LANIER V. HARVARD

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.

by Aliyyah I. Abdur-Rahman
Comics


PAPA RENTY TAUGHT US HOW TO READ

Renty Taylor wasn’t only an enslaved individual, he was much much more, and his
story should concern us all.

by CM Campbell
News


THE CONTINUING FIGHT TO #FREERENTY

“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.”

by Hrag Vartanian
Art


DANIELLE DEAN WADES THROUGH TWO HOLLOW UTOPIAS

Every utopia is a social experiment, the artist suggests in this commission for
the Performa performance art biennial, and we’re ultimately the guinea pigs.

by Hrag Vartanian
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