I had read tons of literary works and yet could find none where Black queer love was front and center, or present in the cultural or historical landscape prior to the Harlem Renaissance of the 20th century. Where I did find references, it was only in the context of sexual assault or some other form of depravity. And my question was: What about love?Robert Jones, Jr.

Join Robert Jones, Jr., and Brit Bennett in conversation as they discuss Jones’ debut novel The Prophets.

This Crowdcast event is hosted by Charis Books & More, outside Atlanta. See link below to register.


A Charis Virtual Event

Tuesday, January 12.

4:30 pm on the West Coast; 7:30 pm East Coast.

From top: Robert Jones Jr., photograph by Alberto Vargas, courtesy and © the author, the photographer, and G. P. Putnam’s Sons; Brit Bennett, photograph by Emma Trim, courtesy and © the author and the photographer; Jones, The Prophets, cover image courtesy and © G. P. Putnam’s Sons; Bennett, The Vanishing Half, cover image courtesy and © Riverhead Books.


It’s about how we choose to love and how that can end up defining who we are. Pushing romance is not a part of the narrative at all; it’s about subtlety and nuance. — Kate Winslet, on AMMONITE

Join Winslet and AMMONITE writer-director Francis Lee for a Q & A, moderated by Alex Cohen. Your RSVP confirmation will include a free screener link to the film. See link below for details.


Neon and American Cinematheque

Saturday, January 9.

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

Francis Lee, Ammonite (2020), from top: Saoirse Ronan (left) and Kate Winslet; Francis Lee with Winslet, photograph by Agatha A. Nitecka / RÅN Studio; Ammonite poster; Winslet and Ronan. Images courtesy and © Neon.


Phil has written sonatas for other instruments before, but this would be his first for the piano. I imagined how much he would pour into it given that the piano is the instrument he has spent a lifetime playing (at home and on countless tours). However, Phil is not an artist to let the potential of a “first” be tethered to what is known. His exuberance came from writing something that would far surpass what he could play, or be able to entirely hear on the instrument itself beyond imagining it as the composer. There would need to be someone who could bring the music to life and bridge the musical space between themselves, the audience and the composer.

Phil composed his Piano Sonota for Maki Namekawa and Maki collaborated on its shape and dimensionality by adding her tremendous capacity and insight as a pianist. — Kristy Edmunds

In spring of 2019, Philip Glass sent Namekawa the score for the sonata, and the following summer the two longtime collaborators premiered the work at the Klavier-Festival Ruhr. The piece made its American debut in November of that year at the Morgan Library and Museum in New York City.

This weekend, UCLA’s Center for the Art of Performance (CAP UCLA)—in association with Ars Electronica in Linz—will stream a prerecorded performance by Namekawa of the piece. Also on the program: Mozart Camargo Guarnieri’s Sonatina No. 3 in G-clef (1937), Alban Berg’s Piano Sonata, Op. 1 (1907-1908), and György Ligeti’s Musica Ricercata.

See link below for details.


UCLA’s Center for the Art of Performance

Sunday, January 10.

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

From top: Philip Glass and Maki Namekawa at the Klavier-Festival Ruhr, 2019; Namekawa, photograph by Tom Mesic; Namekawa, photograph by Verena Lafferentz; Namekawa and Glass, Klavier-Festival Ruhr, 2019. Images courtesy and © the photographers, the musicians, and UCLA’s Center for the Art of Performance.


On the 27th of November, 2020, more than 300 artists, intellectuals, and Cuban citizens presented themselves at the Ministry of Culture to demand the government follow through on their supposed commitment to freedom and civil rights. This protest came as a result of police violence exerted the previous day against members of the San Isidro Movement—an activist group who over the course of the past few years has been vocal in demanding greater freedom of expression in Cuba. Using social media as a tool to bring awareness to their cause, they have sparked renewed attention and urgency in calling for an end to government censorship and repression against all artists, intellectuals, and activists in Cuba. This community adopted the name 27N and together have staged peaceful protests asking for freedom of artistic expression in the face of government repression.*

This week, MOCA Los Angeles will host a virtual panel with artist and activist Tania Bruguera and other members of the 27N. See link below to register.


MOCA x 27N

Thursday, January 7.

4 pm on the West Coast; 7 pm East Coast.

From top: Tania Bruguera poster image—with quote by José Martí—courtesy and © the artist; Bruguera, Poetic Justice, 2002–2003; Bruguera, The Francis Effect, 2014; Bruguera, Tatlin’s Whisper # 6, 2009; 27N in Havana, photograph by Reynier Leyva Novo, courtesy and © the photographer and 27N. Artwork images © Tania Bruguera, courtesy of the artist.


The official-artistic career of Frida Orupabo developed out of the digital world of algorithms: she was working as a social worker for sex workers and victims forced into prostitution when Arthur Jafa came across her Instagram account @nemiepeba three years ago. It is certainly not a convenient aesthetic that operates Orupabo’s feed and that ultimately led her to the Venice Biennale in 2019, but rather a relentless confrontation with omnipresent historical and simultaneously contemporary sociological problems: gender, racism, post-colonialism, violence, identity. Since 2013 the Norwegian-Nigerian artist has collected almost archivally authentic visual evidence distributed in popular media, amongst them photographic and film records of colonial violence and images of women.*

A show of recent work by Orupabo is on view in Vienna through the end of this week.


Through January 9.

Koenig2 by robbygreif

Margaretenstrasse 5, Vienna.

Frida Orupabo, Koenig2 by robbygreif, October 22, 2020–January 9, 2021, from top: Untitled, 2019, fine art print on Hahnemühle PhotoRag baryta paper; Untitled, 2019 (detail), video installation, looped; Untitled, 2018, framed pigment print on acid-free semigloss cotton paper; Untitled, 2018, collage with paper pins mounted on cardboard; Untitled, 2019, video installation, looped. Images © Frida Orupabo, courtesy of the artist and Koenig2 by robbygreif.