In 1968, Agnès Varda made a film titled Black Panthers. She traveled to Oakland, where protests had been erupting over the imprisonment of activist Huey P. Newton. She interviewed Newton himself, and spoke with other activists involved with the Black Panther Party, including Kathleen Cleaver, who shared her thoughts on the natural hair movement. Varda does not speak over the course of the entire movie, cobbling it together entirely from interviews and footage of the events she witnessed.
Twelve years later, Varda returned to the Golden State, but this time to Los Angeles. She was captivated by the city’s brilliant murals. Murs Murs (“Walls Walls”) is a more essayistic film, with Varda relaying her observations and opinions (she doesn’t care for the blondes on the beach, or the Hollywood stars). She interviews some of the muralists, and follows rollerblading pedestrians along the Santa Monica boardwalk. The film is a fabulous portrait of LA in the early 1980s.
You’ll have the chance to see both of these films this Friday at the Anthology Film Archives, as part of its month-long series, Documentarists for a Day, which “highlights the documentary achievements of directors more widely known for their fiction films.” In the casa of Varda, however, she is also known for being a visual artist and photographer. She has always liked to mix her talents and blur the boundaries of genres, casting professional actors alongside everyday people and combining fictional and real-life elements. And, in fact, in recent years, Varda has returned to documentary filmmaking, directing the Oscar-nominated film Faces Places last year with the artist JR.
When: Friday, February 2, 9pm
Where: Anthology Film Archives (32 Second Avenue, East Village, Manhattan)
More info at Anthology Film Archives.
To understand contemporary art, it is necessary to investigate the connections that are sometimes omitted or undervalued in art history.
Gearhart founded a print gallery with her sisters and was at the center of the Arts and Crafts movement in southern California.
Featuring underwater recordings from around the world, this immersive, site-specific installation is on view at the Lenfest Center for the Arts in NYC from February 3 to 13.
Video art was something you watched “with the lights on,” as França insisted, without pretenses of high art.
PHASE 2 would emerge as an innovator in New York’s burgeoning subway art movement, creating elaborate murals that would shape the evolution of both the spray can and the art form.
BRIC’s multidisciplinary program in Brooklyn has cohorts in Contemporary Art, Film & TV, Performing Arts, and Video Art. Applications are due March 10.
While the South Asian diaspora is one of the largest and most widely dispersed in the world, the Indo-Caribbean community is often overlooked and excluded from discussions of South Asian art.
The Bay Area artist believed in shaping artists rather than relaying rules.
Open-ended, community based, and collaborative, “esolangs” serve as a reminder that digital art has other histories and other futures.
Working with what they had, Cass Corridor artists scrapped and repurposed anything they could get their hands on, attempting to find some salvation for their city through a literal process of salvage and reuse.
Throughout the 1970s and into the ’80s, artists in Los Angeles created organizations and exhibition spaces to develop the resources they lacked.