I can’t think of a better documentary to watch right now than White Riot. In the 1970s, the UK was rocked by a rise in xenophobic and racist violence. Some punk bands of the era noticed that those espousing racist beliefs were showing up at their concerts, and to their credit, the musicians took action. Thus Rock Against Racism was born. Their story is important during our own tumultuous era, when hate is being used by political leaders for nefarious purposes. While the documentary is drier than it should be, as it gets caught up in endless interviews with individuals who aren’t household names, overall it inspires with the way it weaves together archival footage and visual materials.
The title comes from a song by The Clash. As band member Topper Headon puts it, that song was “co-opted by Nazis, but they didn’t listen to the lyrics, which talk about the wish that white people should riot like black people because we’re not happy either.” But it’s graphic designer Ruth “Pink Heart” Gregory who explains what the stakes were: “It was a scary moment because punk could’ve gone either way. Some of the bands did have [far right] … followings.” Sound familiar?
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.