In Garrett Bradley’s America, Black joy is integral to Black history. The acclaimed short film, now available to watch at Field of Vision, reimagines lost moments in African-American cinema in black and white — and offers original visions of a radical past.
Inspired by the earliest known feature-length film with an all-black cast, Bert Williams’s Lime Kiln Club Field Day, Bradley conjures a series of vignettes rooted in New Orleans that explore joy, domesticity, and triumph for her cinematic omnibus. America challenges the idea of Black cinema as a “wave” or “movement in time,” proposing instead a continuous thread of achievement. The film is scored by Trevor Mathison, a founding member of the Black Audio Film Collective.
America premiered at Sundance Film Festival in 2019, was nominated for an International Documentary Association Award for Best Short, and won the Sheffield/Doc Fest Short Award. The film was also the centerpiece of a celebrated weeklong screening series at the Brooklyn Academy of Music.
America is both a standalone film and a multi-channel video installation. The installation has been exhibited at the Museum of Modern Art (MoMA), New Orleans Museum of Art, and Contemporary Arts Museum Houston.
Field of Vision is a filmmaker-driven documentary unit that commissions, creates, and supports original short-form and feature-length nonfiction films and episodic series about developing and ongoing stories around the globe.
Curated by Jason Vartikar in collaboration with the artist, Companion Species (At What Cost): The Works of Marie Watt highlights tapestries among a variety of textile works.
An exhibition presents groundbreaking discoveries about van Gogh’s painting process and materials thanks to a years-long conservation and research project.
At the center of the exhibition is a letter penned by artist and activist Dana Chandler Jr. to the Museum of Fine Arts, Boston, addressing racism at the institution.
The artist will perform “Monumento II,” a site-specific installation about invisible power structures, during extended museum hours on the evening of November 10.
The noble ambitions of these shows doom them to be listicles, box-ticking exercises struggling to meaningfully speak to the issues of our sociocultural moment.
Curated by Amy Sadoa, the second installment of this exhibition is on view at the Lenfest Center for the Arts in New York City, while the first is available online.
The Japanese filmmaker’s international profile has skyrocketed over the past year thanks to his new films Drive My Car and Wheel of Fortune and Fantasy, both of which are now hitting theaters.
Philadelphia activists, UPenn students, and journalists contributed to the reckoning centering the museum’s holdings of the remains of MOVE bombing victims.
“There was no call out to galleries to submit any specific work, only to submit their best work,” said fair director Mia Nielsen.