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The golden age of the drive-in movie theater dates back to the 1950s and ’60s, coinciding with the rise of youth culture and the dominance of the American automobile industry. After a slump in the ’70s and ’80s resulting from the energy crisis and the growth of home entertainment, a new breed of DIY drive-in emerged in the late ’90s, made possible by affordable projection technologies and the availability of unused urban spaces. Instead of the blockbusters of previous eras, these were ideal venues for experimental and independent films.
For the next two months, the nomadic FLAX (France Los Angeles Exchange) will continue its own drive-in theater program, located in the parking lot of artist-run space Tin Flats. Each Monday and Tuesday evening, FLAX has invited an artist to screen a work of theirs, and to choose a film by another artist that they find a resonance or kinship with. Next week’s screening features Alias (2018) by Sarah Rara, a meditation on distortion and solar energy, alongside One Day Pina Asked…, Chantal Akerman’s 1989 documentary about legendary choreographer Pina Bausch.
Upcoming films include Alison O’Daniel’s fragmented narrative dealing with her own hearing loss, The Tuba Thieves (2018), paired with Charles Atlas’s fictional day-in-the-life of British dancer Michael Clark, Hail the New Puritan (1985–86); Clément Cogitore’s stock footage montage, The Evil Eye (2018) with Paul Morrissey’s art-camp classic Trash (1970); and Alain Resnais’s seminal French new wave film, Hiroshima mon amour (1959), which explores the legacy of the bombing of Hiroshima through a conversation between a French actress and a Japanese architect, with Silvia Kolboswki’s After Hiroshima mon amour (2008), which borrows the earlier film’s structure to investigate sites of American institutional violence, from Iraq to New Orleans.
When: Mondays and Tuesdays through November 27, 7pm doors; 7:30pm screening (free with RSVP)
Where: Tin Flats (1989 Blake Ave., Elysian Valley, Los Angeles)
More info at France Los Angeles Exchange.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
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.
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.
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.
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…