Category Archives: WEB/TELEVISION/RADIO

BARBARA LONDON IN CONVERSATION

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Barbara London—author of Video Art: The First Fifty Years, and founder of the video-media program at MoMA—will discuss her curatorial practice and forthcoming traveling exhibition Seeing Sound.

See link below to register for the online talk.

CURATOR’S PERSPECTIVE—BARBARA LONDON

Independent Curators International

Tuesday, April 6.

1 pm on the West Coast, 4 pm East Coast.

From top: Barbara London, courtesy and © London and Independent Curators International; London, Video Art: The First Fifty Years (2020), cover image courtesy and © Phaidon; Yuko Mohri, You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018, installation view Childhood: Another Banana Day for the Dream-Fish, Palais de Tokyo, Paris, 2018, image © Yuko Mohri, courtesy of the artist and Project Fulfill Art Space, Mother’s Tankstation; Juan Cortés, Supralunar, 2018, custom-built mechanisms in perspex (dimensions variable), Arduino, LED lights, custom-built speakers, 4 channel sound, installation view, image © Juan Cortés, courtesy of the artist.

BLACK FUTURES SYMPOSIUM

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Kimberly Drew, Jenna Wortham, and The Underground Museum present the Black Futures Symposium, a weekend-long series of online talks, readings, performances, and meditations. On the closing day, Joy Yamusangie and Ronan McKenzie will stream their 2020 film WATA.

See link below to register.

BLACK FUTURES SYMPOSIUM

The Underground Museum

Friday, Saturday, and Sunday, March 26–28.

From top: Joy Yamusangie and Ronan McKenzie, WATA (2020), still, image courtesy and © the filmmakers; Jenna Wortham (above) and Kimberly Drew, Black Futures Symposium, image courtesy and © The Underground Museum; WATA poster, image courtesy and © the filmmakers; Black Futures, edited by Drew and Wortham, cover image courtesy and © One World.

JOY HARJO LIVE

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United States Poet Laureate Joy Harjo—author of An American Sunrise—will present recent and new work live from Oklahoma.

To register for this online event, see:

JOY HARJO

REDCAT

Tuesday, March 23.

5 pm on the West Coast, 8 pm East Coast.

From top: Joy Harjo, photograph by Matika Wilbur, courtesy of REDCAT; Harjo, An American Sunrise (2020) cover image courtesy and © W. W. Norton.

ON EDWARD SAID

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There seemed to be two parallel streams in his life. The first—discipline, family order, schooling—dutifully performed but disavowed. The other, an “underground or subterranean” Edward who longed not only to read but to be a book. Everything artistic belonged to this second version: his tastes in reading, his love of music, the creativity he unpersuasively palms off in the memoir as “fibbing.” His childhood friends agreed: “Said was never really part of us … He lived a life separate from us, coddled, spoilt and adored… — Timothy Brennan*

This week, Timothy Brennan and Kai Bird will discuss Brennan’s acclaimed new book Places of Mind: A Life of Edward Said. For information on registering for the online conversation, see:

TIMOTHY BRENNAN ON EDWARD SAID, with KAI BIRD

City University of New York

Wednesday, March 24.

3 pm on the West Coast, 6 pm East Coast.

*Timothy Brennan, Places of Mind: A Life of Edward Said (New York: Farrar, Straus and Giroux, 2021), text © Timothy Brennan, courtesy of the author and publisher.

Image below courtesy and © Farrar, Straus and Giroux. Above: Edward Said.

ALICE NEEL — VIRTUAL SCREENING

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In her beautiful, hard, and certain essay, “The Love of God and Affliction,” the religious philosopher Simone Weil said: “The great enigma of human life is not suffering but affliction. It is not surprising that the innocent are killed, tortured, driven from their country, made destitute or reduced to slavery, imprisoned in camps or cells, since there are criminals to perform such actions.” I am certain that Alice Neel, more than many an American artist, had a deep understanding of affliction. She did not use her work to escape it, but rather to plunge further into it—into the trauma of being despised, or forsaken. Indeed, if she had any credo as an artist, it was to show us ourselves, and herself, even when (or especially when) it was dangerous and hard to do so. — Hilton Als*

ICA Boston presents the singular documentary ALICE NEEL—directed by her grandson Andrew. See link below for streaming information.

ALICE NEEL

Directed by Andrew Neel.

ICA Boston

Through April 1.

*Hilton Als, “Carmen and Judy, 1972,” in Alice Neel, Uptown (New York: David Zwirner Books: London: Victoria Miro, 2017), 111.

Andrew Neel, Alice Neel (2007), from top: Alice Neel; Neel with her sons Richard (left) and Hartley. Images courtesy and © the filmmaker and SeeThink Productions.