Tag Archives: Steve McQueen

STEVE MCQUEEN IN CONVERSATION

I wasn’t ready [right after Hunger and Shame] to delve into this [Small Axe] narrative, because I had to mature, I had to still understand who I was and where I was, and where I wanted to go to achieve these films.Steve McQueen

In conjunction with the Amazon Prime streaming release of McQueen’s five Small Axe films—Mangrove; Lovers Rock; Red, White and Blue; Alex Wheatle; and Education—the American Cinematheque presents an online discussion with the writer-director.

See link below to register.

STEVE MCQUEEN VIRTUAL Q & A

Saturday, December 12.

10 am on the West Coast; 1 pm East Coast; 6 pm London; 7 pm Paris.

Steve McQueen, Small Axe (2020), from top: Shaniqua Okwok and Amarah-Jae St. Aubyn in Lovers Rock, photograph by Parisa Taghizedeh; Kenyah Sandy in Education, photograph by Will Robson-Scott; John Boyega in Red, White and Blue; Micheal Ward and St. Aubyn in Lovers Rock, photograph by Taghizedeh; Sheyi Cole and Khali Best in Alex Wheatle, photograph by Will Robson-Scott; Shaun Parkes in Mangrove. Images courtesy and © the BBC, McQueen Ltd., and Amazon Prime Video.

STEVE MCQUEEN’S SMALL AXE — MANGROVE

Small Axe started as a TV series. But as I developed it, I came to realize that these stories needed to be stand-alone films. For me, they became individual stories. But obviously they’re linked, and the connective tissue is the Black British experience, the Black Indian experience. These are historical pieces that we need to come to light…

We’re missing two generations or so of Black artists in the UK because that industry was not welcoming to Black people. There’s a hole in our narrative. These stories shaped the history of the UK. So it’s no small feat in what the West Indian population has done in the UK and the Black population has done in the UK. — Steve McQueen

MANGROVE—the highly acclaimed first of five Small Axe films—is streaming now. See link below.

MANGROVE

Small Axe, Episode 1.

Amazon Original

Now streaming.

Steve McQueen, Mangrove (2020), from top: Letitia Wright; Shaun Parkes and Wright; Rochenda Sandall; Llewella Gideon (far left in blue dress) Parkes (on her right), Michelle Greenidge (in green dress), Darren Braithwaite (right of Greenidge), Wright (center of banner), Malachi Kirby (with megaphone), Gershwyn Eustache, Jr. (right, with glasses), and Sandall (far right, holding pig’s head); Kirby; Kirby (from left), Richie Campbell, Wright, Braithwaite, Nathaniel Martello White, Parkes, Eustache, and Sandall. Images photographed by Des Willie and Kieron McCarron (below), courtesy and © McQueen Limited, the BBC, and Amazon Prime Video.

FRANK BOWLING — ART AND BLACK ATLANTIC CULTURES

Okwui Enwezor, director of Haus der Kunst, welcomes artists Sonia Boyce and Ellen Gallagher, DIA curator Courtney J. Martin, artists and filmmakers Isaac Julien and Steve McQueen, and professors J. Michael Dash and David Scott to THE SEA IS HISTORY—ART AND BLACK ATLANTIC CULTURES.

This symposium—moderated by Mark Nash and Allison Thompson—examines “the intersection of the artistic, theoretical, literary, and cultural dimensions” in the work of Frank Bowling, the Guyanese-born, London-based artist whose work is “deeply connected to, and inflected by Édouard Glissant’s notion of a ‘Caribbean Discourse’—the idea that the entire critical literature and art created within the historical complex of the Black Atlantic is an ongoing process of philosophical reflection.”*

 

THE SEA IS HISTORY—ART AND BLACK ATLANTIC CULTURES, Friday, October 20, 11 am to 7 pm.

HAUS DER KUNST, Prinzregentenstrasse 1, Munich.

*For complete program, see:  hausderkunst.de/en/learn/symposium/2017/sea-is-history/program/

Also see:  royalacademy.org.uk/artist/frank-bowling-ra

From top:

Frank Bowling, Wintergreens, 1986; Frank Bowling exhibition catalogue; Frank Bowling.

Image credit: The Royal Academy, London.

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