Hyperallergic talks to historian Isaac Butler and curator Livia Bloom Ingram about how performance technique evolves and what is and isn’t method acting.
The 2020 Best of BAMkids Film Festival presents a program of charming shorts.
Union organizers at the Brooklyn Academy of Music said the coronavirus caused them to shift their bargaining priorities to job security.
In Simon Stone’s adaptation, the conflict is not cultural but psychological, and viewers can’t help but empathize with her.
“Happy Birthday, Toni! A Celebration of Black Women” will launch on February 18 at the Brooklyn Academy of Music in honor of the late author’s 89th birthday.
The Ruden Family Gallery and additional programming deepen the performing arts institution’s commitment to visual art.
We Can’t Even: Millennials on Film, a series of films at BAM about, by, and for millennials, is a rebuttal to the narratives that dominate the discourse around a generation’s priorities and perspectives.
Though its music, and use of Mapplethorpe’s photographs and texts by Essex Hemphill and Patti Smith were impressive in their own rights, the performance Triptych (Eyes of One on Another) ultimately appeared cheap, forced, and self-congratulatory.
BAM administrative workers and cinema staff voted in favor of forming BAM’s seventh union by an 82% margin. “It’s heartening to see workers coming together and standing up for themselves,” one employee tells Hyperallergic.
A BAM employee says the union for administrative workers and cinema staff has been in the works for a year and a half, after workers “noticed a lack of transparency and discrepancies in codes of standards of conduct that BAM was holding for itself.”
Revisiting the movies made by Black American filmmakers, which could only really be fully appreciated decades later.
In a documentary about Black female strippers who dance for women, Leilah Weinraub makes us question how we think about sex and its presentation on camera.