DOCSLIB.ORG

Laura Poitras Macarthur Award Final

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

For Immediate Release Contacts: POV Communications: 212-989-7425. Emergency contact: 646-729-4748 [email protected]; AmanDa Nguyen, [email protected]; Cynthia López, [email protected] POV online pressroom: www.pbs.org/pov/pressroom Filmmaker Laura Poitras NameD a 2012 MacArthur Fellow; Outspoken Voice on the Human Consequences of Post-9/11 Conflict at Home anD Abroad Filmmaker of Three AwarD-winning POV Feature Documentaries Is Among 23 Fellows AnnounceD by MacArthur FounDation New York, NY, Oct. 3, 2012 – The John D. anD Catherine T. MacArthur FounDation named its new MacArthur Fellows for 2012 yesterDay, anD filmmaker Laura Poitras, whose three feature-length documentaries have premiered on PBS’ POV (Point of View) series, is among the 23 inDiviDuals to earn the honor, alongsiDe POV Documentary filmmaker Natalia AlmaDa. All recipients of what is sometimes referred to as the “genius grant” were selecteD for their creativity, originality anD potential to make important contributions in the future. Through phone calls out of the blue from the MacArthur FounDation, recipients learned that they will each receive $500,000 in no-strings-attached support over the next five years. MacArthur Fellowships come without stipulations or reporting requirements anD offer Fellows the opportunity to reflect, create and explore. More information about the program is available at www.macfound.org/fellows. Laura Poitras’s Documentaries explore the moral anD human consequences of the war on terror both at home and abroad. Poitras has persevered in her work despite being placed on a government “watch list” and being detained at the U.S. border numerous times. Her films My Country, My Country (POV 2006) and The Oath (POV 2010) are the first two installments of a trilogy of films on the post-9/11 world. The Academy Award®-nominated My Country, My Country is an intimate portrait of Iraq unDer U.S. occupation. The Oath documents the experiences of a prisoner at Guantánamo anD of Osama bin LaDen’s former boDyguarD. The untitleD thirD film in the trilogy will look at how the war on terror is being fought at home by focusing on Domestic surveillance, WikiLeaks, Internet anonymity anD the government response to whistle-blowers. Poitras’s first film broaDcast on POV, Flag Wars (2003), co-produced and directed by LinDa GooDe Bryant, turns a local lens on the social tensions accompanying gentrification in a community in Columbus, Ohio. Poitras’s other works incluDe the 2011 viDeo installation “O’Say Can You See,” composed of images filmed at GrounD Zero set to a recording of the national anthem. “Laura’s passion anD fearlessness as a Documentarian are unsurpasseD,” saiD Simon Kilmurry, POV executive proDucer. “Her films delve into the most important issues of our time—war, Democracy, liberty—and illuminate the compelling human stories often overlooked in political discourse. We are proud to showcase her exceptional work on our series.” “The MacArthur FounDation is a stalwart supporter of the inDepenDent Documentary fielD, proviDing crucial support for filmmakers who sacrifice so much to bring important stories to the public,” saiD Cynthia López, POV’s co-executive proDucer. “We are honored to have Laura recognized by such an esteemed institution.” About Laura Poitras: Laura Poitras is the recipient of a Guggenheim Fellowship, a UniteD States Artists Rockefeller Fellowship and a Media Arts Fellowship from the Tribeca Film Institute. She has attenDeD the SunDance Institute’s Documentary Story Lab as both a Fellow and a creative advisor. Her work has received support from the InDepenDent Television Service (ITVS), the SunDance Institute Documentary Film Program, Creative Capital, the Vital Projects FunD, the Gucci Tribeca Documentary FunD, the New York State Council on the Arts, the Jerome FounDation, Chicken anD Egg Pictures, Anonymous Was a Woman (AWAW) anD the MacDowell Colony. Before making films, she workeD as a professional chef. For more information about Poitras’s work, visit http://www.praxisfilms.org/ Poitras will be discussing her work at the POV 25th anniversary event “Documenting Power: 25 Years of Political Films on POV,” presenteD at The Paley Center for MeDia on ThursDay, Oct. 18, 2012. The panel will be hosted by film and television critic Caryn James anD will feature POV filmmakers Marshall Curry, Shola Lynch anD Marco Williams. For more information, visit http://www.paleycenter.org/paleydocfest- df2012-25-years-of-political-films-on-pov; contact [email protected] for press passes. About Laura Poitras’s films: Flag Wars – PremiereD on POV on June 17, 2003 What happens when gay white homebuyers move into a working-class black neighborhooD? Shot over a four-year perioD, LinDa GooDe Bryant anD Laura Poitras’s Flag Wars is a poignant anD personal look at a community in Columbus, Ohio, unDergoing gentrification. As the new resiDents restore the beautiful but run-Down homes, black homeowners must fight to holD on to their community anD heritage. Winner of the2003 Peabody Award and the Jury Award at the SXSW Film Festival. An ITVS and National Black Programming Consortium (NBPC) co-presentation. A Diverse Voices Project (DVP) Selection. My Country, My Country – PremiereD on POV Oct. 25, 2006 Working alone in Iraq over eight months, Poitras creates an intimate portrait of Iraqis living unDer U.S. occupation. Her principal focus is Dr. RiyaDh, an Iraqi Doctor, father of six anD Sunni political canDiDate. An outspoken critic of the occupation, he is equally passionate about the neeD to establish Democracy in Iraq, arguing that Sunni participation in the January 2005 elections is essential. Yet all arounD him, Dr. RiyaDh sees only chaos, as his waiting room fills each Day with patients suffering the physical anD mental effects of ever-increasing violence. A co-produCtion with ITVS, produCed in assoCiation with AmeriCan Documentary | POV. The Oath – PremiereD on POV on Sept. 21, 2010 FilmeD in Yemen anD Guantánamo Bay, Cuba, The Oath interweaves the stories of Abu JanDal, Osama bin LaDen’s former boDyguarD, anD Salim HamDan, a prisoner at Guantánamo facing war crimes charges. The Oath unfolds via a narrative rife with plot reversals and betrayals that ultimately leads to Osama bin LaDen, 9/11, Guantánamo anD the U.S. Supreme Court. Winner of the 2010 SundanCe Film Festival Excellence in Cinematography Award: Documentary and Gotham Award for Best Documentary. A co- production of ITVS in association with American Documentary | POV. ProDuceD by American Documentary, Inc. anD celebrating its 25th season on PBS in 2012, the awarD- winning POV is the longest-running showcase on American television to feature the work of toDay’s best independent documentary filmmakers. POV has brought more than 365 acclaimed documentaries to millions nationwide and has a Webby AwarD-winning online series, POV’s Borders. Since 1988, POV has pioneered the art of presentation and outreach using independent nonfiction media to build new communities in conversation about toDay’s most pressing social issues. Visit www.pbs.org/pov. Major funding for POV is proviDeD by PBS, The John D. anD Catherine T. MacArthur FounDation, National EnDowment for the Arts, New York State Council on the Arts, New York City Department of Cultural Affairs, the DesJarDins/Blachman Fund and public television viewers. Funding for POV’s Diverse VoiCes ProjeCt is provided by the Corporation for Public Broadcasting. Special support provided by the Academy of Motion Picture Arts and Sciences. POV is presented by a consortium of public television stations, incluDing KqED San Francisco, WGBH Boston anD THIRTEEN in association with WNET.ORG. th 25 Anniversary Media Sponsor: Partner: .
Recommended publications
  • Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y

    Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y

    Speakers Series : Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y. 00:00:20:12 ALISON KARASYK: Hi, everyone. Hi. It is my great pleasure to introduce Rujeko Hockley for the CCS Fall 2017 Speaker Series. Ru joined the Whitney Museum of American Art as assistant curator last March. Prior, she was assistant curator of contemporary art at the Brooklyn Museum, where she curated numerous exhibitions, edited multiple publications, and worked on solo presentations of LaToya Ruby Frazier, Kehinde Wiley, and Tom Sachs, among others. Ru co-curated “Crossing Brooklyn: Art From Bushwick, Bed-Stuy and Beyond,” which opened in October, 2014. Shortly thereafter, she dove into co-organizing the landmark exhibition “We Wanted a Revolution: Black Radical Women, 1965-’85,” currently on view at the California African American Museum, and heading back to the East Coast, luckily for us, in February, to the Albright-Knox Art Gallery in Buffalo, and the ICA Boston after. 00:01:28:01 Ru co-produced two unique publications in conjunction with this exhibition. Prior to the exhibition, she wrote essays within and co-edited We Wanted a Revolution: A Sourcebook, made up of thirty-eight remarkable archival documents by artists, writers, and thinkers, such as bell hooks, the Combahee River Collective, and Linda Goode Bryant. During our office hour earlier, Ru described this publication to me as a way to transport the research materials that inspired the show into the world, instead of treating them as mere footnotes. The book is a powerful reminder of the ongoing curatorial necessity to move beyond the narratives that have already been written into art historical and feminist discourses.
  • Anonymous Was a Woman Awards $250,000 to Women Artists Over the Age of 40

    Anonymous Was a Woman Awards $250,000 to Women Artists Over the Age of 40

    Anonymous Was A Woman awards $250,000 to women artists over the age of 40 Ten artists receive unrestricted awards of $25,000 apiece in recognition of their work Virginia Jaramillo, Site No. 15 13.5099 S, 71.9817 W, 2018. Acrylic on canvas. Photo by Stan Narten. / Juana Valdés, Colored China Rags, 2017. Porcelain bone china. ​ ​ ​ November 18, 2020—Anonymous Was A Woman today announced the ten recipients of its 2020 awards, which recognize women-identifying artists over 40 years of age who have made significant contributions, while continuing to create new work, and who are each at a critical juncture in their practice. Each recipient receives an unrestricted award of $25,000. This marks the award’s 25th year, with more than $6 million awarded to 250 artists since 1996. The 2020 award recipients are: D.Y. Begay, 67 ​ Linda Goode Bryant, 71 ​ Barbara Chase-Riboud, 81 ​ Elena Del Rivero, 71 ​ Chitra Ganesh, 45 ​ Karen Gunderson, 77 ​ Virginia Jaramillo, 81 ​ Claudia Joskowicz, 52 ​ Karyn Olivier, 52 ​ Juana Valdés, 56 ​ Winners were chosen from among a competitive pool of applicants recommended by a group of distinguished art historians, curators, writers, and artists who serve as anonymous nominators. The 2020 award recipients range in age from 45 to 81, and work in mediums including painting, installation, performance, photography, film, and social practice. The “no strings-attached” award is intended to provide them freedom to continue development of their creative vision. Bios of each recipient follow. ​ Anonymous Was a Woman was founded by artist Susan Unterberg in 1996. In 2018, after more than two decades of anonymity, Unterberg revealed her identity as the founder and sole patron of the award program.
  • This Dealer Fought for Africanamerican Artists for Decades—Now the Market Is Paying Attention

    This Dealer Fought for Africanamerican Artists for Decades—Now the Market Is Paying Attention

    Art Market This Dealer Fought for African­American Artists for Decades—Now the Market Is Paying Attention Nate Freeman May 1, 2019 12:40 pm Dawoud Bey David Hammons, Bill T Jones, Philip Mallory Jones at Just Above Midtown/Downtown Gallery, 1983, 1983 Rena Bransten Gallery In the early 1970s, when a graduate student in her early twenties named Linda Goode Bryant was trying to start a gallery in New York City devoted to formally subversive black Conceptual artists, the dealers on 57th Street, for the most part, turned up their noses. She couldn’t even find someone to rent her space. “When I called realtors to try and find a space on 57th Street, most of the realtors hung up,” Bryant said recently over the phone. “They said, ‘Well, what kind of gallery are you going to have?’ And I said, ‘I have a gallery that shows the work of black artists’—clink. Every time, you know—clink.” Norman Lewis, Celestial Majesty, 1976. Courtesy of Michael Rosenfeld Gallery. Now, decades after Bryant opened Just Above Midtown (JAM) in 1974 and helped launch the careers of artists such as David Hammons and Howardena Pindell, visitors to the VIP preview of Frieze New York this morning saw much more than just a booth of JAM artists—Frieze presented an entire multi­booth section devoted to the gallery’s legacy. (The Museum of Modern Art is also getting set to pay tribute to Bryant; on Tuesday, it announced that it will mount a show about JAM in 2022, curated by Thomas J.
  • Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS

    Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS

    We Wanted a Revolution: Black Radical Women, 1965-85 Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS Larry Neal (Born 1937 in Atlanta; died 1981 in Hamilton, New York) “Any Day Now: Black Art and Black Liberation,” Ebony, August 1969 Jet, January 28, 1971 Printed magazines Collection of David Lusenhop During the Civil Rights and Black Power Movements, publications marketed toward black audiences chronicled social, cultural, and political developments, covering issues of particular concern to their readership in depth. The activities and development of the Black Arts Movement can be traced through articles in Ebony, Black World, and Jet, among other publications; in them, artists documented the histories of their collectives and focused on the purposes and significance of art made by and for people of color. WWAR EPHEMERA LABELS 2 EXTENDED LABELS Weusi Group Portrait, early 1970s Photographic print Collection of Ronald Pyatt and Shelley Inniss This portrait of the Weusi collective was taken during the years in which Kay Brown was the sole female member. She is seated on the right in the middle row. WWAR EPHEMERA LABELS 3 EXTENDED LABELS First Group Showing: Works in Black and White, 1963 Printed book Collection of Emma Amos Jeanne Siegel (Born 1929 in United States; died 2013 in New York) “Why Spiral?,” Art News, September 1966 Facsimile of printed magazine Brooklyn Museum Library Spiral’s name, suggested by painter Hale Woodruff, referred to “a particular kind of spiral, the Archimedean one, because, from a starting point, it moves outward embracing all directions yet constantly upward.” Diverse in age, artistic styles, and interests, the artists in the group rarely agreed; they clashed on whether a black artist should be obliged to create political art.
  • Citizenfour Discussion Guide

    Citizenfour Discussion Guide

    www.influencefilmclub.com Citizenfour Discussion Guide Director: Laura Poitras Year: 2015 Time: 114 min You might know this director from: The Oath (2010) My Country, My Country (2006) Flag Wars (2003) FILM SUMMARY Director Laura Poitras was in the middle of her third documentary on post-9/11 America when she received an email from “Citizenfour,” an individual claiming to possess insider information on the wide-scale surveillance schemes of the U.S. government. Rather than brushing the message off as bogus, she pursued this mysterious mailer, embroiling herself in one of the greatest global shockwaves of this millennium thus far. Teaming up with journalist Glenn Greenwald of “The Guardian,” Poitras began her journey. The two travel to Hong Kong, where they meet “Citizenfour,” an infrastructure analyst named Edward Snowden working inside the National Security Agency. Joined by fellow Guardian colleague Ewen MacAskill, the four set up camp in Snowden’s hotel room, where over the course of the following eight days he reveals a shocking protocol in effect that will uproot the way citizens across the world view their leaders in the days to come. Snowden does not wish to remain anonymous, and yet he insists “I’m not the story.” In his mind the issues of liberty, justice, freedom, and democracy are at stake, and who he is has very little bearing on the intense implications of the mass surveillance in effect worldwide. Snowden reminds us, “It’s not science fiction. This is happening right now,” and at times the extent of information is just too massive to grasp, especially for the journalists involved.
  • NEWS RELEASE Open Call for Applicants Announced for RAW

    NEWS RELEASE Open Call for Applicants Announced for RAW

    NEWS RELEASE Open Call for Applicants Announced for RAW Académie at ICA to take place Fall 2020 at the Institute of Contemporary Art in Philadelphia Led by Artistic Director Linda Goode Bryant, this marks the ninth iteration and first session of the experimental residential program outside of Senegal March 6, 2020 Philadelphia, PA The Institute of Contemporary Art (ICA), University of Pennsylvania is pleased to announce an international open call for applications to participate in RAW Académie, an experimental residential program for artists, curators, and critics dedicated to the research and study of artistic and curatorial practice and thought. RAW Académie at ICA: Infrastructure will be the first session of the Académie to be held outside of Dakar, Senegal. Taking place over seven weeks at ICA in Philadelphia, this experiential study program will be held September 28 through November 13, 2020 and will be led by artist, writer, filmmaker and activist Linda Goode Bryant. The curriculum will consist of presentations, visits to other cultural institutions, and workshops Courtesy of RAW Material Company. with invited faculty. Confirmed faculty include Whitney Museum of American Art Assistant Curator Rujeko Hockley, who curated “We Wanted a Revolution: Black Radical Women, 1965-1985”; artist, filmmaker and cinematographer Arthur Jafa, recipient of the Golden Lion at the 2019 Venice Biennale; Museum of Modern Art Curator of Media and Performance, Thomas Lax, who is organizing, “Just Above Midtown: 1974 to the Present”; and writer, musician, and cultural critic Greg Tate who was a staff writer ta The Village Voice from 1987-2003. More faculty will be announced.
  • William T. Williams: 1970 Norman Lewis

    William T. Williams: 1970 Norman Lewis

    May 2–5, 2019 Randall’s Island Park Thursday, May 2 / 11–7 New York City Friday, May 3 / 11–7 Saturday, May 4 / 11–6 Sunday, May 5 / 11–6 WILLIAM T. WILLIAMS: 1970 BOOTH D10 NORMAN LEWIS: THE LAST DECADE BOOTH JAM3 100 ELEVENTH AVENUE @ 19TH • NEW YORK, NY 10011 • 212.247.0082 MICHAELROSENFELDART.COM FOR IMMEDIATE RELEASE (NEW YORK, April 27, 2019) Michael Rosenfeld Gallery is pleased to present two solo exhibitions at Frieze New York 2019 which will focus on the work of William T. Williams (b.1942) and Norman Lewis (1909-1979). Scheduled to be on view from May 2 to May 5, 2019 at Randall’s Island Park in New York City, the dedicated presentations represent the gallery’s ongoing commitment to these two import- ant artists and explore significant and historic moments within their respective careers. The gallery will present William T. Williams: 1970 in Booth D10 with an exhibition that focuses on the pivotal year 1970, highlighting a selection of seminal paintings and never-before-exhibited works on paper from the artist’s first mature series, Diamond in a Box. William T. Williams (b.1942) exploded onto the New York art scene in 1968 after graduating from Yale University with his MFA. Paintings from this time were exhibited in Williams’ groundbreaking first solo exhibition at Reese Palley Gallery in 1971. The exhibition launched a period of great success; reviewed in The New York Times, paintings in the show were acquired by notable collectors; some of these paintings can now be found in prestigious institutions, including The Museum of Modern Art, The Studio Museum in Harlem, and Yale University Art Gallery.
  • Final MA Portfolio

    Final MA Portfolio

    Bowling Green State University ScholarWorks@BGSU Master of Arts in English Plan II Graduate Projects English Fall 12-12-2018 Final MA Portfolio Laura Risaliti Bowling Green State University, [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/ms_english Part of the English Language and Literature Commons Repository Citation Risaliti, Laura, "Final MA Portfolio" (2018). Master of Arts in English Plan II Graduate Projects. 29. https://scholarworks.bgsu.edu/ms_english/29 This Dissertation/Thesis is brought to you for free and open access by the English at ScholarWorks@BGSU. It has been accepted for inclusion in Master of Arts in English Plan II Graduate Projects by an authorized administrator of ScholarWorks@BGSU. Final Master’s Portfolio Laura Risaliti [email protected] A Final Portfolio Submitted to the English Department of Bowling Green State University in partial fulfillment of the requirements for the degree of Master of Arts in the field of English with a specialization in English Teaching December 2018 Senior Lecturer Kimberly Spallinger, First Reader Professor Lee Nickoson, Second Reader 2 Table of Contents Portfolio Narrative………………………………………………………………………………...3 “The Femme Fatale as the Modern Feminist”.................................................................................7 “The New Colonialism” (Research and Analysis).........................................................................22 “Deeply Divided: Working Towards Healthier Public Discourse in America” (Pedagogy).........36 “Social
  • Laura Poitras: O’ Say Can You See?

    Laura Poitras: O’ Say Can You See?

    Laura Poitras: O’ Say Can You See? Where were you on September and Yemen, giving context and 11, 2001? Laura Poitras was in a human dimension to a world lower Manhattan where she lives, with which we are ill-prepared to and in the hours and days after understand or sympathize. the bombing and collapse of the World Trade Center Towers O’ Say Can You See? is Poitras’ she shot film footage of stunned first art gallery exhibition. Her and grief-stricken citizens. The installation features a projection world has dramatically changed of the imagery from Ground since that date, and Poitras has Zero in 2001, with audio recorded made two probing and powerful weeks later at the Yankees’ come- documentary films that examine from-behind Game 4 World Series post-9/11 socio-political reali- victory on October 20. Poitras has ties as they impact individuals, said that “O’ Say Can You See? re- families, government policies, and turns to the moment of innocence belief systems. when America waited for the dead to arise. It is a meditation on loss Poitras’s film, My Country, My and revenge.” Interviews with Country (2006), focuses on the recently released detainees from U.S. occupation of Iraq, while Guantanamo Bay are presented on The Oath (2010) examines the flat screen monitors, adding new Laura Poitras, O’ Say Can You See?, 2010, Film stills, Courtesy of the artist. fates of two brothers-in-law, Abu layers of information and emotion Jandal and Salim Hamdan, whose about the War on Terror. Poitras was nominated for an Academy Award, Independent Spirit Award and Emmy Award for associations with al-Qaeda provide My Country, My Country (2006).
  • Lorraine O'grady Writing in Space

    Lorraine O'grady Writing in Space

    Mlle Bourgeoise Noire and her Master of Ceremonies arrive for her 25th Anniversary celebration at precisely 9:00 p.m. They have dificulty entering (their names having been omitted from the guest list at the door). After a few peremptory commands by Mlle Bourgeoise Noire, they are let in, passing through the tight pink maze especially designed by artist David Hammons and featuring three salt ish hanging from hooks. At last they can greet the crowds awaiting them. Oohs and aahs on all sides for Mlle Bourgeoise Noire’s gown. After all these years, it still its. She smiles, she smiles, she smiles. Mlle Bourgeoise Noire has lost none of the charm that originally won her crown. Each of her nine tails has three white chrysanthemums, which she gives to her subjects one at a time as she says, while smiling brightly, “Won’t you help me lighten my heavy bouquet?” She moves gradually around the room. Photographers and video cameramen are having a ield day. Mlle Bourgeoise Noire, in her 180 pairs of white gloves, white cat-o- nine-tails, and rhinestone and seed pearl crown, is very photogenic. Unreluctantly, she obliges them. But Mlle Bourgeoise Noire has had a change of heart between 1955 and 1980. She has come to a conclusion. As the band goes on its break, she discreetly retires. All her flowers have been given away, and now she removes her cape, handing it to her Master of Ceremonies. She is wearing a backless, white-glove gown. Her , by prearranged signal, hands her a pair of above-the-elbow gloves, which she proceeds to put on.
  • STRONG ISLAND a Flm by Yance Ford

    STRONG ISLAND a Flm by Yance Ford

    STRONG ISLAND A flm by Yance Ford NORTH AMERICAN PRESS INTERNATIONAL PRESS RYAN WERNER | COURTNEY OTT ELYSABETH FRANÇOIS Cinetic Marketing CHLOE LORENZI 555 West 25th Street, 4th foor Makna-Presse New York, NY 10001 USA 177, rue du Temple www.cineticmedia.com 75003 Paris, FRANCE T: +1 212 204 7983 T: +33 632 68 46 20 E: [email protected] E: [email protected] E: [email protected] NORTH AMERICAN SALES INTERNATIONAL SALES LINZEE TROUBH DANIELA ELSTNER Cinetic Media Doc & Film International 555 West 25th Street, 4th foor 13, rue Portefoin New York, NY 10001 USA 75003 Paris, FRANCE www.cineticmedia.com www.docandflm.com T: +1 212 204 7979 T: +33 1 42 77 89 65 E: [email protected] E: [email protected] IMPACT & OUTREACH SONYA CHILDRESS Director of Partnerships & Engagement Firelight Media 2090 Adam Clayton Powell Jr. Blvd, Suite 202 New York, NY 10027 USA T: +1 212 222 1068 E: [email protected] January 2017, Yanceville Films & Louverture Films BERLINALE 2017 STRONG ISLAND SCREENING SCHEDULE OFFICIAL SCREENINGS TIME & DATE LOCATION • 17:00 SUN, February 12th CineStar 7 - PREMIERE • 22:00 MON, February 13th CineStar7 • 13:30 TUE, February 14th International • 17:15 THU, February 16th CineStar 3 • 17:30 SAT, February 18th Cubix 7 MARKET SCREENINGS TIME & DATE LOCATION • 13:10 THU, February 9th CinemaxX 14 • 9:00 MON, February 13th Kino Arsenal 2 January 2017, Yanceville Films & Louverture Films SHORT SYNOPSIS Strong Island chronicles the arc of a family across history, geography and tragedy - from the racial segregation of the Jim Crow South to the promise of New York City; from the presumed safety of middle class suburbs, to the maelstrom of an unexpected, violent death.
  • How One Contrarian Art Dealer Created Space for Black Artists

    How One Contrarian Art Dealer Created Space for Black Artists

    People How One Contrarian Art Dealer Created Space for Black Artists Decades Before the White Art World Cared at All A special project at Frieze New York and a forthcoming exhibition at MoMA pay tribute to Linda Goode Bryant's Just Above Midtown gallery. Hilarie Sheets, May 1, 2019 Senga Nengudi performing "Air Propo" at JAM, 1981. Courtesy Senga Nengudi and Lévy Gorvy. Linda Goode Bryant’s idea to open Just Above Midtown (JAM) in 1974, the first gallery devoted to exhibiting black artists in New York’s toniest art neighborhood, was as simple as it was revolutionary. “Why are we waiting on someone else to do for us what we can do for ourselves?” she remembers asking. At the time, she was the head of education at the Studio Museum in Harlem and had been on the receiving end of constant complaints from African American artists about the lack of opportunities to show and sell their work. “You want to be in a major gallery district?” she recalls asking. “Let’s start a gallery down there. I’m crazy enough to try it.” At 25, a single mother of two with few resources, Bryant talked her way into a discounted lease at 50 West 57th Street and launched a platform for black artists to exhibit shoulder-to-shoulder with blue-chip galleries that were showing white male artists almost exclusively. Linda Goode Bryant at Tribeca Film Festival. Photo by Bryan Bedder/Getty Images for Tribeca Film Festival. Forty-five years later, many of the artists who showed at JAM are regarded as some of the most important figures of the 20th century.