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From every end comes a new beginning, or something like that, said every Hallmark condolences card ever. Yet while many perceive death, departure, and other endings to be bitter pills, Representations of Leaving: Queer Death and Heavens, a film program organized by curator and filmmaker Finn Paul, imagines these markers of change as something more complex.
Screening this Saturday at Anthology Film Archives as part of its ongoing series, The Cinema of Gender Transgression: Trans Film, Representations of Leaving presents a curated program of experimental shorts focused on experiences of loss, rebirth, and queer utopia. Originally presented at LA Film Forum in June, the East Coast iteration of this program features some notable swaps and additions, including Barbara Hammer’s 1974 classic Dyketactics (which I remember squealing in delight over, when I first saw it as young, not-yet-out queer) and Nguyen Tan Hoang’s Forever Bottom! (1999), a delightfully erotic ode to bottomhood and embracing your switchier-side. More melancholic essay films such as Pol Merchan’s Pirate Boys (2018) and Ana Galizia’s Unconfessions (2018) offer visually seductive elegies to punk icon Kathy Acker and Brazilian actor and theater fixture Luiz Roberto Galizia, respectively, while Jodi Darby’s Culturetrauma (2017) meditates on the specter (and spectacle) of death more broadly.
As impeachment gets underway in the US, there’s something nostalgic about the program’s inclusion of Joan Jett Blakk Announces her Candidacy for President — Bill Stamets’s documentation of Blakk’s historic, if ill-fated, run for office against ole H.W. Bush. The drag alter ego of artist, activist, and recent Queer|Art Prize winner Terence Smith, Blakk was the first Black drag queen to run for national office, and one can only imagine what a different (perhaps more utopian) world we’d be living in now if she had “lick[ed] Bush” in ’92.
Filmmaker Ana Galizia and programmer Finn Paul will be present for a Q&A after the screening.
When: Saturday, December 14, 7 pm
Where: Anthology Film Archives (32 Second Avenue, Lower East Side)
Tickets: $12 and can be purchased at the box office on the day of the screening
More info at Anthology Film Archives
“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…