In the context of America, it’s very difficult to prove racism. It’s very difficult to prove what that looks like and how it’s articulated on a systematic level. — Garrett Bradley
Join Bradley for a streamed screening of her new film TIME, followed by an online Q & A with the director. See link below for details.
Hanging around is very important. Do you know what artists sitting around talking and smoking and drinking is? It’s called the history of art. — Fran Lebowitz
The raconteur and star of Martin Scorsese’s documentary series PRETEND IT’S ACITY joins USC professor Josh Kun for a live online conversation.
See links below for info on the talk and the show.
I saw these men as being in their domain, depraved and sketchy, whereas I was just passing through. Then again, I understood I’m the company I keep: a man over forty with a Friday night hard-on, passing as desirable in the dark. I didn’t end up here out of loneliness. I’d arrived with my companion, the Famous Blue Raincoat. We’ve been domestic for years. “It may seem difficult to understand why two men who are happy with each other will take the risk of going to these places where the whole atmosphere of the group will tend to drive them apart,” wrote GordonWestwood—a pseudonym—in his 1952 book Society and the Homosexual. It was the author’s hunch there was no other spot for these coupled men to rendezvous. To the homosexuals, “in a pathetic kind of way this place is their home.”
But that was another era. I hadn’t been driven to The Bar by society’s lack of understanding. Throughout the twentieth century, London pubs, cafés and clubs would be taken over—“selected” as Westwood put it—by a homosexual clientele. The unofficial meeting places could be so discreet most other customers wouldn’t notice, and occasionally so brazen an orchestra would strike up a tribute when an attractive male entered the room. Proto-gays were segregated by class as much as anything else, sticking to the exclusive cellar bar at the Ritz on the one hand or an East End boozer on the other—or, in the case of privileged men in pursuit of a bit of rough, moving from the former to the latter. In this diffuse network of commercial spaces, the clientele might be tolerated to various degrees because it brought business. (MattHoulbrook, an authority on London queer history, figures: “The pink shilling was a potentially lucrative market, and men’s demand for a ‘home’ always ripe for exploitation.”) Now we were being elaborately catered to: The Bar was designed for a demographic of masc-presenting homo satyrs. — Jeremy Atherton Lin,Gay Bar: Why We Went Out
This week, Atherton Lin and Isabel Waidner will be on Instagram Live to discuss the new book Gay Bar.
Featuring never-before-seen law enforcement video surrendered by a disgraced officer, END OFTHE LINE is the story of the indigenous women who establish a peaceful camp in protest of the $3.8 billion Dakota Access oil pipeline construction that desecrated ancient burial and prayer sites and threatens their land, water, and very existence.*
See Breakouts section in the link below for details to this World Premiere engagment.
No one sees anything. Ever. They watch, but they don’t understand. — Diane de Monx (ConnieNielson) in Demonlover
The minute people started using the word “content,” it led to this idea of software versus hardware. The culture has shifted in favor of hardware. People are not on the side of art, which becomes content. They’re on the side of the computer. The computer embodies power. People have gotten used to the fact that they are ready to invest in the hardware… But they have a major problem paying very little money to buy a newspaper or a film. That’s the moment when art becomes content. — Olivier Assayas
The 2K restoration of Assayas’ unrated director’s cut of DEMONLOVER is streaming now in Filmat Lincoln Center’s Virtual Cinema. See link below for details.
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