In 1966, television producer Joan Ganz Cooney and psychologist Lloyd Morrisett were thinking of how they could harness the power of the “boob tube” to bridge socioeconomic gaps in children’s education. American youth were spending half of their waking hours glued to their television screens, memorizing Budweiser jingles and product labels. Why couldn’t they receive lessons on the alphabet and numbers the same way? With the help of brilliant minds like Jim Henson and Jon Stone, the duo’s brainstorming resulted in the beloved series Sesame Street, the subject of the new documentary Street Gang: How We Got To Sesame Street.
Directed by Marilyn Agrelo, the film is a charming behind-the-scenes look at the meticulous world-building of the iconic children’s program, and the challenges that came with depicting a diverse, nondiscriminatory society at the end of the civil rights era. Some subjects, like the hiring and firing of Black cast member Matt Robinson (who for a few years played Gordon Robinson) or Mississippi Public Television’s shelving of the show, feel like they warrant further exploration and detail. Nonetheless, the retelling of these events combined with lighter, pleasantly surprising moments about the show’s creative forces make for an insightful story on the art of breaking ground.
Street Gang: How We Got to Sesame Street is now in select theaters and releases on VOD 5/7.
Artist Dan Jian makes the point that landscapes and memory are one and the same.
Murch’s painted dust can be so tangible you feel compelled to wipe off the picture.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
“As we grieve her loss, we call for full accountability for the perpetrators of this crime and everyone involved in authorizing it,” they wrote in an open letter.
The planned center will be named after Fred Rouse, a Black man who was lynched in the city of Fort Worth in 1921.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
The researchers found that when eyes meet, certain areas of the brain start experiencing “neural firing.”
From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
Curated by Clare Dolan, this solo exhibition in Frenchtown, NJ contains new and unearthed paintings, sculptures, and prints selected from the organization’s 60-year history.
Every corner and crevice of Columbia University’s MFA Thesis show feels lived in, reflecting not just artists’ experience quarantining with their work, but also that of re-entering society.
Sprawling across the Joshua Tree region, nine site-specific works consider the ways in which people have relocated to the desert, destroying what came before them, and cultivating new life.
The rendition could be a platform for essential conversations on sociohistorical and economic land rights issues.