In just a few weeks, mass forced isolation due to the COVID-19 pandemic has drastically upended our entertainment options. Streaming services, for instance, have seen a boom. Various film festivals have moved online. With movie theaters across the country closed, various efforts have been put in to help such establishments and their employees. The independent repertory theater Light Industry has organized a successful GoFundMe for workers at shuttered cinemas, for example. And recently, distribution company Kino Lorber began using its streaming service, Kino Now, as a platform for various theaters as part of a new program called Kino Marquee.
The initiative has partnered with over 150 theaters around the country. Its first major title is the gonzo Brazilian sci-fi western Bacurau. By choosing to stream the film via one of the partner theaters, a portion of the proceeds from your “ticket” will go to that theater, allowing people to support their local establishments from home. It’s a middle ground between using subscription services and putting recent releases that were meant to come out in theaters instead straight to VOD with higher price tags. Currently, Ken Loach’s festival favorite Sorry We Missed You is also available through the program, in partnership with Film Forum and other theaters. Kino Lorber is hoping to include more releases in the series, for however long this crisis lasts.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.