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Film

The television show – the director’s first – is a sequel to his 1997 film of California queer disillusion, Nowhere

By Andrew Durbin

Varda (1928-2019) provided a blueprint for an experimental, politically-radical, idiosyncratically personal and wide-eyed humanist cinema

By Sierra Pettengill
Gretchen Bender, People in Pain (detail), 1988 / 2014, ninety titles, silkscreen on paint and heat set vinyl, neon, transformers. Courtesy: © The Gretchen Bender Estate and Red Bull Arts New York; photograph: Lance Brewer

Once labelled a ‘TV terrorist’, the video artist returns with her first posthumous retrospective at Red Bull Arts New York

By Masha Tupitsyn

‘Black people don’t fear the dead, it’s the living we worry about’

By Nadia Latif
Stan Brakhage filming The Act of Seeing with One’s Own Eyes, 1971. Courtesy: © 2019 Carnegie Museum of Art, Pittsburgh; photograph: Michael Chikiris

Lynne Tillman on the clash between real-life and expectation

By Lynne Tillman
 Craig Baldwin, Tribulation 99, 1991. Courtesy: Canyon Cinema, San Francisco

A recent celebration of the American filmmaker provided a rare opportunity to come face-to-face with a major figure of underground cinema

By Dan Fox

The prolific artist championed filmmaking through the lens of feminist theory and queer politics

By Frieze News Desk

‘To Carolee, drawing, like painting, was as visceral as breath,’ writes Emma McCormick-Goodhart

By Emma McCormick-Goodhart
Carolee Schneemann, 1995. Courtesy: Getty; photograph: Jack Mitchell 

The pioneering US artist was best known for using painting, film, performance and installation to challenge ideas around sexuality and gender

By Frieze News Desk

From a travelogue drenched in the memory of colonialism to a bleak charting of European history in black and white, the festival presents urgent works for uncertain times

By Chris Sharratt

The highest-grossing film of 2019 pits a Chinese-led international coalition against the forces of cosmic destruction

By Gary Zhexi Zhang

The film adaptation of James Baldwin’s 1974 novel imbricates joyful moments within a fraught political and racialized landscape

By Kareem Reid