More stories

  • in

    Paper & Glue: A New Documentary Follows JR Through Some of His Most Iconic Projects

    
    Art
    Documentary
    Photography
    #film
    #public art
    #videoDecember 8, 2021Grace Ebert[embedded content]A new feature-length documentary goes behind the scenes with French artist JR to capture some of his most significant projects to date, including his poignant photographic work of a child peering over the U.S./Mexico border wall and pair of installations at a maximum-security prison in Tehachapi, California. Paper & Glue follows the renowned artist through the evolution of his practice from early graffiti days to his current undertakings—his anamorphic work at Florence’s Palazzo Strozzi earlier this year and his illusory transformation of the Louvre courtyard in 2019 are both evidence of his growth—that are increasingly massive in scope and impact and often shine a light on humanitarian issues.“The film is the culmination of years of my work and includes an archive of photography and videos that span back to my adolescence. At the time of many of these recordings, I had no intention or awareness they could be used in this way,” JR says. “I hope this film further uplifts the essentiality of art and the potential it holds to reshape even our most ingrained beliefs.“Paper & Glue is currently in theaters around the U.S. and premieres on December 10 on MSNBC.
    #film
    #public art
    #videoDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now! Share this story  More

  • in

    The Gaze: Barry Jenkins Directs a Stunning Non-Narrative Film that Preserves the Legacy of Black Ancestors

    
    Art
    History

    #film
    #video

    May 18, 2021
    Grace Ebert

    
    At the heart of Barry Jenkins’s extraordinarily moving new film is “the Black gaze; or the gaze distilled.” The Oscar-winning director shot the standalone project while filming the TV adaptation of Colson Whitehead’s The Underground Railroad, which premiered on May 14. Notably titled The Gaze, the parallel project isn’t an episode of the series but rather a compelling collection of non-narrative portraits captured spontaneously alongside the show.
    Early on in production, Jenkins says in a statement, “I looked across the set and realized I was looking at my ancestors, a group of people whose images have been largely lost to the historical record. Without thinking, we paused production on The Underground Railroad and instead harnessed our tools to capture portraits of… them.”

    Presented in the same order as the series which moves from Georgia to Indiana, the vignettes spotlight both principal and background actors who wear striking period costumes by Caroline Eselin—the designer also collaborated with Jenkins on his lauded films Moonlight and If Beale Street Could Talk. Each shot is an intimate and evocative portrayal of imagined kin. “We halted our filming many times for moments like these. Moments where… standing in the spaces our ancestors stood, we had the feeling of seeing them, truly seeing them and thus, we sought to capture and share that seeing with you,” the director says.
    Jenkins writes that he was inspired by Kerry James Marshall’s “Scipio Moorhead, Portrait of Himself, 1776,” which is an earnest rendering of the African American artist who actively painted throughout the 1770s while he was enslaved. Marshall’s homage secures Moorhead’s legacy in an urgent and necessary act of visual documentation that Jenkins replicates:
    We have sought to give embodiment to the souls of our ancestors frozen in the tactful but inadequate descriptor “enslaved,” a phrase that speaks only to what was done to them, not to who they were nor what they did… This is an act of seeing. Of seeing them. And maybe, in a soft-headed way, of opening a portal where THEY may see US, the benefactors of their efforts, of the lives they LIVED.
    Jenkins notes that The Gaze contains only abstracted scenes so it won’t spoil The Underground Railroad. Watch the entire film above, and read the director’s essay describing the project on Vimeo. (via Kottke)

    #film
    #video

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    ‘Black Art: In the Absence of Light,’ a New Documentary, Celebrates the Rich Legacy of Black Art

    
    Art
    Documentary
    History

    #art history
    #film
    #video

    February 17, 2021
    Grace Ebert

    
    “I saw the need to build cultural awareness by helping to revise and redefine American art,” says the renowned professor, artist, and curator David Driskell in Black Art: In the Absence of Light. His words echo throughout the new HBO documentary—which was directed by Sam Pollard, with executive producers Henry Louis Gates Jr. and Jacqueline Glover—that uncovers the rich and underappreciated lineage of Black art.
    Structured chronologically, the feature-length film was released earlier this month and stems from Driskell’s revolutionary exhibition Two Centuries of Black American Art, which opened in 1979 at LACMA and surveyed more than 200 works dating back to 1750 from 63 artists. The formative show went on to major museums in Dallas, Atlanta, and Brooklyn, breaking attendance records despite its unenthusiastic response from some critics and institutions, including two in Chicago and Detroit that rejected its visit entirely.

    David Driskell in his studio
    Two Centuries of Black American Art, though, had a widespread and profound impact, which the documentary explores through interviews with artists working today. Many conversations begin with Driskell, who died last April from the coronavirus before Black Art‘s release. The film probes a vast archive from Chicago artists like Kerry James Marshall (previously) and Theaster Gates (previously), alongside Amy Sherald (previously), Kehinde Wiley (previously), and Jordan Casteel, among others.
    Through a multi-generational lens, the documentary examines the nuanced effects of these figures’ contributions to the broader field of contemporary American art as it shares footage of their practices and reactions to their works. For example, Fred Wilson unveils what’s hidden within museum collections, while Wiley and Sherald both comment on the profound experience of painting the Obamas’ official portraits. Additional insights from Studio Museum director and chief curator Thelma Golden, who also is a consulting producer, are woven throughout the film.

    Amy Sherald working on Michelle Obama’s portrait
    Beyond galleries and museums, much of Black Art centers on the value of representation and unearthing a narrative that’s been obscured or outright dismissed. In particular, it considers the role of collectives like Sprial, which was founded in 1963 by Romare Bearden and Norman Lewis in order to highlight the work generated by Black artists in the Civil Rights Movement. While Sprial drew attention to otherwise ignored projects, it was largely dominated by men, a problem Faith Ringgold speaks to as she describes being rejected from the group. Sprial only admitted one woman, Emma Amos.
    The final segment focuses on the importance of collectors investing in Black artists, in addition to the long history of spaces like Studio Museum and historically Black colleges and universities. These institutions continue to foster communities that honor the legacy of those who’ve come before while backing those forging new ground, prompting questions like this one from Theaster Gates: “We are part of a continued renaissance—it’s been happening. What I’m most excited about is, do we have the capacity to be great makers in the absence of light?”
    Black Art is streaming on HBO Max through March 17. Educators also can download a coinciding curriculum with research tools and discussion prompts, in addition to another filled with activities designed to spur creativity.

    Kerry James Marshall in his studio

    #art history
    #film
    #video

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    Inside the odyssey: taking a closer look at Stanley Kubrick’s 2001

    At an expansive new exhibition in New York, the director’s defining science fiction opus is explored in detail with help from those who made it with him Though the calendar reads 2020 we’re still waiting for the future promised in 2001. Stanley Kubrick’s 1968 film, created concurrently with Arthur C Clarke’s novel, is recognized as […] More