Tags archives: Art For Progress
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7 years ago
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In Summer 1993, the lovely and evocative feature film debut by Catalan filmmaker Carla Simón, a six-year-old girl slowly comes to terms with grief and a new way of life. The film's straightforward observational style conveys complex emotions without veering into sentimentality, while the orphaned Frida (played with gravity and charisma by Laia Artigas) is not portrayed as pathetic, but realistically moody, alternating between mischievous and melancholy.
The autobiographical story (Simón lost her own parents when she was a child) begins with a busy scene of adults packing boxes around the small, watchful figure of Frida, who is being sent from her grandparents’ Barcelona home to live with her aunt and uncle in the countryside.
We discover this rustic new home along with Frida, as the camera trails her explorations around the sprawling property where crowing roosters, aggressive hens and farm life in general all seem very foreign. Esteve (David Verdaguer), the brother of Frida’s recently deceased mother, and his wife Marga (Bruna Cusi) are young and fairly laid-back, but also kind and attentive. Frida immediately befriends their daughter Anna (Paula Robles), introducing her little cousin to various toys with the standard, older-kid “hands off” proviso.
The film's overall tone is low-key and intimate, with many close-ups of Frida’s small, pensive face. She expresses her sense of displacement in small acts of rebellion and leads the ever-willing Anna through var[...]
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7 years ago
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The story of how Chloé Zhao’s The Rider came to be is as intriguing as the movie itself. While filming her first feature, Songs My Brothers Taught Me, on the Pine Ridge Indian Reservation in South Dakota, Zhao befriended some of its Oglala Lakota residents. Born and raised on the reservation, they are both Native American and genuine cowboys, as pure a distillation (and contradiction) of Americana as exists.
One charismatic young cowboy, Brady Jandreau, a horse trainer and rising rodeo star, particularly impressed Zhao. She wanted to feature him in her next film, but couldn’t think of a story line. In April 2016, fate tragically intervened when Jandreau was thrown off his horse while competing in a rodeo in Fargo, North Dakota. The horse nearly crushed his skull, necessitating surgery and a metal plate, followed by extensive rehab. When Zhao learned that Jandreau was back training horses just weeks after his accident, she knew she had her movie. Essentially a docu-drama, The Rider is an authentic and poetic film about a young man struggling to hold on to his identity.
The film has an immediate sense of place, as Zhao makes good use of Pine Ridge and the gorgeous, wide-open South Dakota prairie. Adding to the movie's authenticity is the cast, all playing versions of themselves. Aside from Jandreau himself (here named Brady Blackburn), his father Tim and sister Lilly have starring roles, as does former rodeo champ Lane Scott, shown recuperating from his own career[...]
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7 years ago
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Art for Progress (AFP) is thrilled and honored to present a night of musical improvisation featuring a one-time super group, created for this special evening to benefit AFP music and art education programs- The bill will feature Billy Martin, Nels Cline (Wilco), Marc Ribot and special guests, Brooklyn power trio Bad Faces, and AFP’s sensational student band, Big Sweater.
The Art for Progress Band - Billy Martin, Marc Ribot, Nels Cline and Special Guests - Best known as the drummer for the avant-groove band Medeski, Martin, and Wood, Billy Martin called up some friends to join him for a one off charity event titled “Once in a Lifetime.” When guitarist Marc Ribot, who’s released over 20 albums under his own name and has played on countless records (Robert Plant, Elvis Costello, John Mellencamp, Elton John) and Nels Cline, best known as Wilco’s lead guitarist and one of Rolling Stone’s “100 greatest guitarists” accepted, The Art for Progress Band was formed.
Bad Faces are a Brooklyn power trio as deeply rooted in American traditional music as they are reaching for new stratospheric heights in their improvisational explorations. Led by Singer/Guitarist Barry Komitor, Manager and teacher of AFP’s music education programs and fixture on New Yorks bluegrass and rock scenes, Bad Faces rhythm section is powered by Brian Stollery, one of the best known figures in NY jam music on bass, and NY’s most exciting young jazz drummer, Ethan Kogan.
Big Sweater is a unique blend o[...]
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7 years ago
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Dear Fabian, welcome to Art For Progress. As a contemporary artist based in Northern Germany, North Friesland. What is the focus of your art?
Hi Nerea, thanks for inviting me to this interview. I am delighted to contribute to Art for Progress. I am a sculptor focused on the human figure in the widest meaning. I try to find ways for contemporary depiction of the diverse spectrum of human expressions.
Having studied Fine Art Sculpture in Vienna, where modelling the human body has a long tradition – the so called “Wiener Schule,” I further worked in this direction in London, where I did my masters. I started to introduce new materials, inflatables and other ephemeral objects, as base bodies for my figurative constructions. When depicting an entire human figure, at some point you always need to decide whether or how much you show its gender. If you disregard it – partially or completely – you enter the world in-between genders. For the last five years in particular, I have been focusing on “Liquid Gender” and the liquidity of gender aspects in general.
I have noted that you chose the term “Liquid Gender” as a name for your recent exhibition in Barcelona. Can you please explain this choice.
“Liquid Gender” was indeed the title of the 2016 solo show, curated by Caterina Tomeo, at the end of a five-week residency at Espronceda (Centre for Art and Culture) in Barcelona. The central piece was a 2-channel video installation around my large-scale MENINA bronze series: A v[...]
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7 years ago
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They Remain, Philip Gelatt’s adaptation of Laird Barron’s short story “--3--," is a mysterious, slow-building thriller, as disquieting as it is visually striking. With an unsettling electronic score to match Sean Kirby’s stark, atmospheric cinematography, the film is haunting and hallucinogenic, with no straightforward answers and a somewhat open-ended resolution. Anyone looking for a tidy narrative or classic horror story won’t find it here.
The story concerns two young scientists, Keith and Jessica (William Jackson Harper and Rebecca Henderson, both very good), who have been sent to investigate a secluded wooded area to find an explanation for inexplicable changes in animal behavior. They are both aware that the area was once the site of a massacre by a Manson-like cult; in Jessica’s case, the subject is an admitted obsession. Aside from being told that the mission “could make you famous,” they’re not altogether clear on the motives of their shadowy corporate employer. As the days go on and they experience increasingly disturbing phenomena, their relationship becomes fraught, veering from wary professionalism to paranoia and worse.
Camped out in a triad of high-tech geodesic domes housing a lab and sleeping quarters, Keith and Jessica at first banter philosophically about the mission and the area’s history, as they get to know each other. During the day, he goes out exploring and sets up several cameras in the woods; Jessica runs tests on specimens he brings back, but t[...]
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7 years ago
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Like a good short story, a well crafted short film can really pack a punch. Unlike features, which often have the luxury of a couple of hours to set the scene, establish a tone, animate characters and tell a story, a short film must get the job done in (generally) less than 40 minutes. With his trio of debut shorts, British journalist-turned-director Neville Pierce skillfully manages to do it all in under 11 minutes each.
In Bricks, the scene is the basement of posh rich-boy William (Blake Ritson), who gets a bricklaying lesson from the earthy Clive (Jason Flemyng), hired to renovate the wine cellar. Clive is clearly dismissive of his effete employer, who doesn’t know one type of trowel from another. “You people and your money,” he sneers at one point. They seem to bond over a nice glass of Rioja, but things soon turn horrific. Great acting (especially from Ritson, creepy as hell); understated, unsettling music and quiet direction make for a chilling update of Edgar Allan Poe’s “The Cask of Amontillado.”
Ghosted, a charming, offbeat, black-and-white film, has quite a different vibe, though it too has a slightly surreal quality. Widowed artist Rebecca (Alice Lowe) suffers through a series of lackluster first dates, as the charismatic ghost of her late husband Nigel (Christian Anholt) looks on, wisecracking and generally getting in the way. Though he seems to be trying to help, we learn that he was far from an ideal mate, and in fact expired while cheating on his[...]
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7 years ago
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Maysaloun Hamoud’s debut feature In Between is not only entertaining and engrossing, but a cinematic rarity. The film is partially set in Tel Aviv’s Palestinian underground club scene, a hip mini-society that isn’t generally represented on film (or anywhere). Hamoud’s three main characters are young Arab-Israeli women, seemingly very different from one another on the surface, but each facing major challenges in a rigidly patriarchal society and, to a lesser degree—at least in this movie—as an unwelcome minority. The multi-layered narrative is buoyed by the charismatic performances of its stars: Mouna Hawa as droll lawyer/party girl Leila, Sana Jammelieh as soulful DJ Salma, and Shaden Kanboura as strictly observant Muslim college student Nour. Though Hamoud’s direction has a casual, verité-like vibe, the unfolding plights of each woman, especially Nour, add growing tension to the film. There are also flashes of levity in the drily humorous dialogue, especially on the part of the free-wheeling Leila.
Leila and Salma, roommates in the bustling Yemenite Quarter of the city, are denizens of a hard-partying club scene featuring pounding Palestinian hip hop and a variety of drugs. A successful lawyer by day, Leila lets loose at night with a cadre of male friends, while aspiring DJ Salma humors her strict Christian parents by attending arranged dinners they’ve planned in hopes of marrying her off. A lesbian, she clearly has no intention of acquiescing to their wishes. One[...]
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7 years ago
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Around a decade ago, Jonathan Olshefski began taking photographs of a basement music studio in North Philadelphia, a hangout for local hip hop artists. The planned photo essay would reflect working life vs. creative life, specifically that of music promoter/producer Christopher “Quest" Rainey, owner of the studio. But Olshefski got so caught up in Rainey’s life and that of his family, that he wound up switching to film and shooting for almost a decade.
The result is Quest, an intimate documentary about a working-class African-American family struggling — and ultimately coping — with crime, poverty and illness. For those who aren’t familiar with rough neighborhoods like North Philly, the film also offers a glimpse into an impoverished but tight-knit community that is both frustrated and hopeful about its prospects. Neither glibly upbeat nor utterly despairing, the film achieves a believable balance that seems to reflect the current situation of so many Americans.
Quest, which opens with the 2008 presidential election as backdrop and closes with Trump soundbites from the 2016 debates, includes various events as time markers, including Obama's second win in 2012. Though Quest, who exhorts his community to vote, is clearly thrilled with those victories and is suspicious of Trump’s promises to African-Americans, it becomes pretty obvious that the national political scene doesn’t really have much of an effect on the day-to-day realities of his neighborhood.
At the [...]
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7 years ago
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Streetwear designer Gosha Rubchinskiy may have burst on the scene in 2008, his eponymous line is finally heating up, as it's reported that athleisure is cooling down.
The former filmmaker, based in Moscow, melds a early-’90s Post-Soviet style of oversized sweatshirts with modern high-fashion suiting, demin and accessories. And the designer has also collaborated with brands, including Levi's, on the iconic trucker jacket.
Image Credit: Collier Schorr
Despite being lumped in a "Post-Soviet youth culture" fashion category along with Demna Gvasalia and Lotta Volkova, Rubchinskiy rejects the comparison.
"I feel, myself, like an international artist," he tells W Magazine. "Not like Russian, local thing," adding, "I don’t like when people say—‘Oh, Gosha does the post-Soviet Russian thing.’ I think, no.”
He goes on to say "I try to speak about the current moment. That’s why I’m hanging always with young kids, because I want to see what’s happening in their heads. And I mix my emotions, my great memories, with what is cool and great for now.”
Can't wait to see what this hypermodern designer has in store in 2018.
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7 years ago
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It’s a great time of year for New York's documentary lovers, as the nation’s largest nonfiction film festival comes to town. The eighth edition of DOC NYC runs November 9 –16 with screenings and panels taking place at the IFC Center, SVA Theater and Cinepolis Chelsea. Among the fest’s 250 films and events are 11 feature-length works, from already released films such as Agnès Varda’s acclaimed Faces, Places to films making their world premieres, including Sam Pollard’s Maynard, a portrait of Atlanta’s first black mayor, and Julia Bacha’s Naila and The Uprising, about a Palestinian woman in Gaza who must make an impossible choice between love, family and freedom.
Among the festival’s 18 categories are two competition sections: Viewfinders, for distinct directorial visions, and Metropolis, dedicated to stories set in NYC. More than 350 filmmakers and special guests (often film subjects) will be in attendance for Q&As after most screenings and for DOC NYC PRO panels, including Steve Madden (for Maddman), Dan Rather (for Fail State) and Susan Sarandon (for Soufra).
Opening the festival is Greg Barker’s The Final Year, which follows key members of outgoing President Barack Obama’s administration; closing it is Lili Fini Zanuck’s Eric Clapton: Life in 12 Bars, about the life and career of the legendary guitarist. In between are docs of all sizes and shapes including centerpiece film Far from the Tree, Rachel Dretzin’s world premiere adaptation of Andrew Solomon’s book,[...]
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7 years ago
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Many of us get dressed and undressed everyday without much thought. But for some people, changing in and out of clothing, or dealing with buckles, zippers and laces can be a frustrating task.
According to Fashionista.com, in the U.S. alone, there are 59 million people living with disabilities, and 'their clothing options are greatly limited.'
Thankfully, 'adaptive wear' has emerged as type of clothing made for people of all abilities that adheres to various function and style needs.
Photo Credit: Lucy Jones Design
And thanks to programs like Runway of Dreams Foundation and Parsons' Open Style Lab (OSL), there has been an increase in the availability of clothing geared for children and adults of all abilities.
In addition, Target has rolled out a 'collection of sensory-friendly apparel for children,' including items with zip-off sleeves, side openings, or openings in the back for those who are sitting or lying down.
At Parsons' Open Style Lab (OSL), designers, engineers, and occupational therapists work in unison to create accessible wearables.
OSL was initiated at MIT in 2014, the program aims to challenge the fashion industry to consider the variety and uniqueness of all bodies, ages and abilities in the world. And designing for the underserved leads to better products for everyone —a core tenet of Open Style lab’s curriculum
Watch video below to learn more about Runway of Dreams and adaptive wear
https://www.youtube.com/watch?time_continue=5&v=hEdCmCSPmJY
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7 years ago
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The subject of Lana Wilson’s documentary The Departure, Ittetsu Nemoto is a fascinating individual. The former rebel-turned-Buddhist priest has made it his life’s work to personally help people who want to kill themselves. Because he cannot turn anyone down when they call or text him—and because suicide is rampant in Japan—the 44-year old’s own health has been terribly compromised. This impressionistic portrait of a heroic yet flawed character is meditative and often quite beautiful, as befitting its extraordinary subject and his environment.
At the monastery where he lives with his wife and young children, we see Nemoto welcome visitors to the Departure, a retreat specifically geared to help people who are contemplating suicide. He does this by having them “experience” death; we see a small part of the process, which involves writing down things they’re leaving behind and crumpling up these pieces of paper one by one until nothing is left. The idea is to find something worth living for. Later in group discussions, the participants discuss their feelings. It's interesting that so many utterly despondent people have allowed themselves to be filmed. On the other hand, suicide has a long tradition of honor (kamikaze pilots, the ritual of seppuku) in Japan, so there’s probably less shame attached to it. This may make people more open about their feelings, but also guarantees that Nemoto is seriously overworked.
The film shows him riding his motorcycle to meet with the vari[...]
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