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The Texture of the Gesture: Exploring Apostasy and Ancestry in Jeremy Moss' THESE WAYS I TRANSGRESS
Much of the imagery in the film, the landscapes, people, and audio recordings were the result of Moss’ travels and discoveries with Leigh Moss, who left the LDS...
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B.G-Osborne's A THOUSAND CUTS: Misconceptions of Trans People in Popular Culture
Thompson praises Osborne’s work, “I never felt that I saw someone like me represented on screen until I saw Sense8.9A Thousand Cuts shows just how rare a truthful portrayal...
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B.G-Osborne's A THOUSAND CUTS: Misconceptions of Trans People in Popular Culture
The New Gallery, who selected and exhibited the work, offered a number of accommodation options such as “the placement of a QR code in the vitrine allowing viewers...
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Editor's Note
I have been thinking a lot lately about whose stories are being told, and even more importantly who gets to do the telling. Is it important who the...
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Desolate Stillness, Infectious Creativity: Polina Teif at WRECK CITY
Between voice-overs, a soundtrack of solemn string instruments creates tension, a tightening, until eventual silence; an exhale. Polina uses the camera’s perspective to move us through a broken landscape—dry,...
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Desolate Stillness, Infectious Creativity: Polina Teif at WRECK CITY
After a three-year long project like Eulogy, the playfulness and camaraderie of Wreck City allowed Polina to explore the documentary format with a lighter hand and a shorter...
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Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike
Beyond the change in its name, the movie version will also have some significant changes in plot and characters. Schur says the film’s director Robert Adetuyi convinced him...
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Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene
The term Anthropocene was popularized in the early twenty first century by Dutch chemist Paul J. Crutzen, who proposed a new demarcation of geological time characterized by a variety...
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Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene
Sandy McLennan’s The Last Skate (2018) is a nearly opposite film, but one which is no less radical. McLennan abstracts the horizontal landscapes of a frozen Canadian lake, destabilizing...
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Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW
Ryan performed Love Me Like There’s No Tomorrow for the M:ST (Mountain Standard Time) Performative Art Festival, a biennial event that coordinates collaborations between numerous art and performance organizations...