Frameline is one of the world’s oldest queer film festivals, beginning out of a San Francisco storefront in 1976, and it’s now one of the largest such festivals in the US. After COVID-19 forced a virtual festival in 2020, delayed from its usual Pride Month time slot to September, the festival is returning with a hybrid format this year. In-person screenings will be taking place June 10 through June 27, with an online component running as well beginning June 17. Films in the program include Ailey, a documentary portrait of choreographer Alvin Ailey, the first few episodes of the new season of HBO’s skater show Betty, and No Straight Lines, a look at the role comics and zines have played in queer culture.
Ticket prices vary based on venue. Individual films can be purchased to view online for $10 ($9 for seniors, students, and those with disabilities, or $8 for members). An all-access pass to stream films can be purchased for $115 ($95 for members).
More info at Frameline Film Festival
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.
Weisman Museum of Art Presents Highlights From the Kinsey African American Art and History Collection
An exhibition at Pepperdine University in Malibu chronicles the achievements and contributions of African Americans over the last five centuries.
Brink is not a fun book, and it shouldn’t be.
Those who want to visit the museum muse have a surgical, KN95, N95, or KF94 face mask.
The residency program awards 17 visual artists a year of rent-free studio space in New York City. Applications are due by February 15.
This week, another Benin bronze is returned to Nigeria, looking at the Black Arts Movement in the US South, Senegal’s vibrant new architecture, why films are more gray, and much more.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show.