Overview of Programs and Exhibitions
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Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
Schirn Presse Basquiat Boom for Real En
BOOM FOR REAL: THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE ART OF JEAN-MICHEL BASQUIAT IN GERMANY BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 Jean-Michel Basquiat (1960–1988) is acknowledged today as one of the most significant artists of the 20th century. More than 30 years after his last solo exhibition in a public collection in Germany, the Schirn Kunsthalle Frankfurt is presenting a major survey devoted to this American artist. Featuring more than 100 works, the exhibition is the first to focus on Basquiat’s relationship to music, text, film and television, placing his work within a broader cultural context. In the 1970s and 1980s, Basquiat teamed up with Al Diaz in New York to write graffiti statements across the city under the pseudonym SAMO©. Soon he was collaging baseball cards and postcards and painting on clothing, doors, furniture and on improvised canvases. Basquiat collaborated with many artists of his time, most famously Andy Warhol and Keith Haring. He starred in the film New York Beat with Blondie’s singer Debbie Harry and performed with his experimental band Gray. Basquiat created murals and installations for New York nightclubs like Area and Palladium and in 1983 he produced the hip-hop record Beat Bop with K-Rob and Rammellzee. Having come of age in the Post-Punk underground scene in Lower Manhattan, Basquiat conquered the art world and gained widespread international recognition, becoming the youngest participant in the history of the documenta in 1982. His paintings were hung beside works by Joseph Beuys, Anselm Kiefer, Gerhard Richter and Cy Twombly. -
New York, New York
EXPOSITION NEW YORK, NEW YORK Cinquante ans d’art, architecture, cinéma, performance, photographie et vidéo Du 14 juillet au 10 septembre 2006 Grimaldi Forum - Espace Ravel INTRODUCTION L’exposition « NEW YORK, NEW YORK » cinquante ans d’art, architecture, cinéma, performance, photographie et vidéo produite par le Grimaldi Forum Monaco, bénéficie du soutien de la Compagnie Monégasque de Banque (CMB), de SKYY Vodka by Campari, de l’Hôtel Métropole à Monte-Carlo et de Bentley Monaco. Commissariat : Lisa Dennison et Germano Celant Scénographie : Pierluigi Cerri (Studio Cerri & Associati, Milano) Renseignements pratiques • Grimaldi Forum : 10 avenue Princesse Grace, Monaco – Espace Ravel. • Horaires : Tous les jours de 10h00 à 20h00 et nocturne les jeudis de 10h00 à 22h00 • Billetterie Grimaldi Forum Tél. +377 99 99 3000 - Fax +377 99 99 3001 – E-mail : [email protected] et points FNAC • Site Internet : www.grimaldiforum.mc • Prix d’entrée : Plein tarif = 10 € Tarifs réduits : Groupes (+ 10 personnes) = 8 € - Etudiants (-25 ans sur présentation de la carte) = 6 € - Enfants (jusqu’à 11 ans) = gratuit • Catalogue de l’exposition (versions française et anglaise) Format : 24 x 28 cm, 560 pages avec 510 illustrations Une coédition SKIRA et GRIMALDI FORUM Auteurs : Germano Celant et Lisa Dennison N°ISBN 88-7624-850-1 ; dépôt légal = juillet 2006 Prix Public : 49 € Communication pour l’exposition : Hervé Zorgniotti – Tél. : 00 377 99 99 25 02 – [email protected] Nathalie Pinto – Tél. : 00 377 99 99 25 03 – [email protected] Contact pour les visuels : Nadège Basile Bruno - Tél. : 00 377 99 99 25 25 – [email protected] AUTOUR DE L’EXPOSITION… Grease Etes-vous partant pour une virée « blouson noir, gomina et look fifties» ? Si c’est le cas, ne manquez pas la plus spectaculaire comédie musicale de l’histoire du rock’n’roll : elle est annoncée au Grimaldi Forum Monaco, pour seulement une semaine et une seule, du 25 au 30 juillet. -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Journey to the Academy Awards: an Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY
Journey to the Academy Awards: An Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY FINDINGS By Caty Borum Chattoo, Co-Director, Center for Media & Social Impact American University School of Communication | Washington, D.C. February 2016 OVERVIEW For a documentary filmmaker, being recognized by the Academy of Motion Picture Arts & Sciences for an Oscar nomination in the Best Documentary Feature category is often the pinnacle moment in a career. Beyond the celebratory achievement, the acknowledgment can open up doors for funding and opportunities for next films and career opportunities. The formal recognition happens in three phases: It begins in December with the Academy’s announcement of a shortlist—15 films that advance to a formal nomination for the Academy’s Best Documentary Feature Award. Then, in mid-January, the final list of five official nominations is announced. Finally, at the end of February each year, the one winner is announced at the Academy Awards ceremony. Beyond a film’s narrative and technical prowess, the marketing campaigns that help a documentary make it to the shortlist and then the final nomination list are increasingly expensive and insular, from advertisements in entertainment trade outlets to lavish events to build buzz among Academy members and industry influencers. What does it take for a documentary film and its director and producer to make it to the top—the Oscars shortlist, the nomination and the win? Which film directors are recognized—in terms of race and gender? -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Beyond the Limit: Gender, Sexuality, and the Animal Question in (Afro)Modernity Permalink https://escholarship.org/uc/item/0rw8q9k9 Author Jackson, Zakiyyah Iman Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Beyond the Limit: Gender, Sexuality, and the Animal Question in (Afro)Modernity by Zakiyyah Iman Jackson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies and the Designated Emphasis in Film Studies and the Designated Emphasis Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Abdul JanMohamed, Chair Professor Darieck Scott Professor Brandi Catanese Professor Kristen Whissel Spring 2012 Copyright Zakiyyah Iman Jackson 2012 Beyond the Limit: Gender, Sexuality, and the Animal Question in (Afro)Modernity Abstract Beyond the Limit: Gender, Sexuality, and the Animal Question in (Afro)Modernity by Zakiyyah Iman Jackson Doctor of Philosophy in African American Studies and the Designated Emphasis in Film Studies and the Designated Emphasis in Gender, Women and Sexuality University of California, Berkeley Professor Abdul JanMohamed, Chair “Beyond the Limit” provides a crucial reexamination of African diasporic literature, performance, and visual culture’s philosophical interventions into Western legal, scientific, and philosophic definitions of the human. Frederick Douglass’s speeches, Toni Morrison’s Beloved, Zora Neale Hurston’s Their Eyes Were Watching God and The Pet Negro System, Charles Burnett’s The Killer of Sheep and The Horse, Jean Michel- Basquiat’s Wolf Sausage and Monkey, Ezrom Legae’s Chicken Series, and the performance art of Grace Jones both critique and displace the racializing assumptive logic that has grounded these fields’ debates on how to distinguish human identity from that of the animal. -
A Film by Kirsten Johnson
presents filmswelike CAMERAPERSON A FILM BY KIRSTEN JOHNSON A Big Mouth Productions and Fork Films production A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into Cameraperson, a tapestry of footage captured over the twenty-five-year career of documentary cinematographer Kirsten Johnson. Through a series of episodic juxtapositions, Johnson explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the complex interaction of unfiltered reality and crafted narrative. A work that combines documentary, autobiography, and ethical inquiry, Cameraperson is both a moving glimpse into one filmmaker’s personal journey and a thoughtful examination of what it means to train a camera on the world. United States • 2016 • 102 minutes • Color • 1.85:1 aspect ratio • In English, Bosnian, Arabic, Dari, Hausa, and Fur, with English subtitles • Format: DCP Canadian bookings and inquries: mike@filmswelike.com Canadian publicity: mallory@filmswelike.com DIRECTOR’S STATEMENT The joys of being a documentary cameraperson are endless and obvious: I get to share profound intimacy with the people I film, pursue remarkable stories, be at the center of events as they unfold, travel, collaborate, and see my work engage with the world. I experience physical freedom and the chance for artistic expression and discovery every time I hold a camera. No wonder I’ve been doing it for twenty-five years and love my life. And yet, the dilemmas I face while holding my camera are formidable. -
RESEARCH DEGREES with PLYMOUTH UNIVERSITY Gold Griot
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Ross, Lucinda http://hdl.handle.net/10026.1/11135 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. RESEARCH DEGREES WITH PLYMOUTH UNIVERSITY Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art by Lucinda Ross A thesis submitted to Plymouth University In partial fulfilment for the degree of Doctor of Philosophy Humanities and Performing Arts Doctoral Training Centre May 2017 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Basquiat, Gold Griot, 1984 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Abstract Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. -
2015 Catalogue
14th Annual ASHLAND INDEPENDENT FILM FESTIVAL April 9-13, 2015 ashlandfilm.org PAGE 1 CONTENTS PO Box 218 Box Office 3 Ashland, Oregon 97520 Venues 5 541.488.3823 Support AIFF 7 [email protected] Welcome 8 ashlandfilm.org Sponsors & Grantors 11 Parties 14 Rogue Award 17 Connect with #AIFF15 Sneak Preview Screening 19 twitter.com/ashlandfilm Rebel Heart Filmmaking Workshop 20 facebook.com/ashlandfilm Filmmaker TalkBack Panels 21 blog.ashlandfilm.org instagram.com/ashlandfilm Locals Only & LAUNCH Films 22 Family Films 25 Awards & Jurors 26 SAVE THE DATES! Films 29 Documentaries 30 REEL to ROGUE: October 1, 2015 Short Documentaries 49 World FIlm Week: October 2-8, 2015 Features 59 15th Annual AIFF: Shorts 68 April 7-11, 2016 The AIFF Team 84 Volunteers 86 Donors & Members 88 The 2015 Festival art was painted on Thanks 90 location by Gabriel Mark Lipper Schedule 91 Film Index 96 Graphic design by CarterWorks PAGE 2 PAGE 3 BOX OFFICE & MERCHANDISE The AIFF Box Office brought to you by MARCH 16 Tickets go on sale to Members MARCH 22 Tickets go on sale to the General Public PURCHASE TICKETS ONLINE at ashlandfilm.org No service fee thanks to Project A! TICKET PRICES Films PRE-SALE TICKETS/WILL CALL General: $13 Seniors (62+): $12 the Information Kiosk, Downtown Ashland Plaza o Students (w/valid ID): $6 t P Member Pre-sale Dates: March 16-21, 4-6pm Oregon Trail Card Holders: $5 (Box Office only) E Online ordering begins at 10am PST Special Events R Benefactor, Executive O Rebel Heart Filmmaking Workshop: Producer & Producer Monday, March 16 E $20 general/$10 student Director Tuesday, March 17 P Back on Board: Greg Louganis Fan Wednesday, March 18 L Special Screening: $15 general/$8 student Cine Thursday, March 19 W E Indie Friday, March 20 Locals Only Film Programs O ! Friend Saturday, March 21 Free (ticket required) P General Public Pre-sale Dates/Hours Filmmaker TalkBack Panels Sunday, March 22, 4-6pm Free (ticket required) Check website for additional hours Parties DURING FESTIVAL TICKETS/WILL CALL Opening Night Bash: $30 Varsity Theatre, 166 E. -
Jean-Michel Basquiat
JEAN-MICHEL BASQUIAT Movimentos Artísticos Contemporâneos Índice Biografia : 03 Carreira : 05 Conceito : 09 Neo-expressionismo : 10 Primitivismo : 11 Técnicas : 12 Superficies : 13 Principais obras : 14 Exposições : 16 Legado : 18 Bibliografia : 20 Filmografia : 20 2 Biografia Jean-Michel Basquiat nasceu a 22 de Dezembro de 1960 em Brooklin, Nova Iorque. O seu pai nasceu no Haiti e a sua mãe era de origem Porto Riquenha. Bas- quiat era o mais velho de três filhos. Aos três anos de idade Basquiat já tinha começado a traçar caricaturas e tentava desenhar figuras do que percepcionava do quotidiano. A sua mãe sempre incentivou Basquiat a desenhar e a relacionar tudo com o mundo das Artes. Aos seis anos, Basquiat tinha como hábito visitar o Mu- seu de Arte Moderna por influência de sua mãe que o acompanhava. Aos sete anos teve um acidente em que o seu braço ficou gravemente magoado. Devido a este acontecimento, a sua mãe oferecera a Basquiat, durante a recuperação, o livro “Gray’s Anatomy”. 3 Esse mesmo livro foi o que o ajudou e influenciou nas suas representações humanas e posteriormente o livro também serviu de referência para a sua banda musi- cal formada em 1979, que deu pelo nome de “Gray’s” e durante algum tempo foi uma banda de sucesso. O divórcio de seus pais foi algo que o abalou muito na sua adolescência, levando-o a fugir muitas vezes de casa. Devido aos seus problemas familiares, em 1977 Basquiat é encaminhado para uma escola de crianças dotadas. 4 Carreira Nessa altura conhece Al Diaz e prospera a amizade entre os dois,criam juntos o projecto “SAMO”, com o significado “Same Old Shit”.