Docs in Sight
While there has been much hullabaloo about the current political influence of documentaries that criticize the Bushies and their foibles and supporters, we shouldn’t forget the critical documentaries made during the last Republican-dominated decade. These films were made by dedicated and often underappreciated filmmakers who fought budgetary odds and relied on 1980s technology, and whose work was often overlooked by distributors and the media. In the Reagan/Bush 80s, wars raged in Central America as the United States backed dictators in El Salvador and Guatemala and supported the Contras against the revolutionary Sandinista government in Nicaragua. In the case of Panama the United States supported a dictator and subsequently invaded the country (sound familiar?). Films like When the Mountains Tremble (see below) helped expose the atrocities committed by the U.S.-backed dictatorship in Guatemala and ultimately helped bring recognition to indigenous activist Rigoberta Menchu, who went on to win a Nobel Peace Prize. The Panama Deception by Barbara Trent and David Kasper went on to win the 1992 Academy Award but didn’t get nearly the kind of distribution some political docs are getting right now. Then as now, political filmmakers helped create an important part of the historical record, one that is increasingly becoming standard, recognized and wholly embraced.
When the Mountains Trembled
20th Anniversary DVD (available in stores or at docurama.com on August 24th)
I recently was reading a journal I wrote when I was traveling in Central America in 1990. I came across a passage I wrote while living in Guatemala and attending a language/cultural school in Xela, where at night we would sometimes watch documentaries. The passage went: "…then I watched When the Mountains Tremble—a great doc. about Guatemala with Rigoberta and all—real footage of strange things—funerals, massacres, URNG meetings, trainings—it was very intense—definitely—then I went back—read and wrote a poem—the next night actually—in español." I very much doubt that poem I wrote as a 21-year-old voyager was much good, but this seminal and Sundance-winning film about Guatemala by Pamela Yates and Newton Thomas Sigel should be seen and added to any collection.
The Take (opens September 22 at Film Forum)
Canadian No Logo author Naomi Klein writes and produces this film about the extraordinary drama of Argentina’s economic decline in the 1990s at the hand of structural adjustment and globalization. In 2001, Latin America’s most prosperous middle class found itself in a ghost town of abandoned factories and mass unemployment. The story mostly revolves around how 30 unemployed auto parts workers walked into their idle factory and took it recreating it within a wholly different alternative framework.
Fourth World War (August 26-29 & September 10-14 at Anthology Film Archives)
Big Noise Tactical produces this burgeoning epic from the makers of films like This Is What Democracy Looks Like and Black & Gold. It weaves together stories of popular movements rarely visited by the mainstream media including Argentina, Palestine, and South Korea as well as resistance footage from Quebec City and Genoa. It is an activist tool and a radical compendium of footage from around the world, perfect for dipping into during the RNC. If you bring a Republican you can watch them squirm; if you come as a protester you’ll see you’re not alone.
Lynne Drexler: The First DecadeBy William Corwin
DEC 22–JAN 23 | ArtSeen
In Lynne Drexler: The First Decade, simultaneously at both Berry Campbell and Mnuchin Galleries, we come across a voracious and novel form of late Abstract Expressionism. Its a path that runs parallel to color-field painting, and in playing with discreet nodes of color owes as much to Klimt, van Gogh, and Seurat, as it does to Drexlers mentor and teacher, Hans Hofmann. The paintings in these two exhibitions test out how best to manipulate the viewers response to associations of almost-pixelated color units, singular forms which attain a mosaic-like quality: working together but retaining their independence. This causes almost as much visual agita as it creates harmonic compositions.
sixBy Diana Rickard
MAY 2022 | Poetry
Diana Rickard is a poet and sociologist, and an Associate Professor at Borough of Manhattan Community College, CUNY. Her poems have recently appeared in a number of journals and magazines, and her book on documentaries about wrongful conviction is forthcoming from New York University Press.
No Endgame in SightBy Bradley Bailey
OCT 2022 | Critics Page
Intimidated but inspired, I identified an aspect of Duchamps life that had not been investigated quite so rigorously: his passion for chess, a pursuit that appeared to have been as curious to art historians as his art had undoubtedly been to his chess competitors.
Brenda Goodman: Hop Skip JumpNew Work 2022By Andrew L. Shea
MARCH 2023 | ArtSeen
These paintings work not in the realm of intellect, but that of feeling. Goodmans is a formalism that is never escapist or hermetic, but instead tied to an encyclopedic spectrum of human emotions, including terror, despondency, anger, hope, joy, even love. As she prepares to enter her ninth decade, Goodman has once again come upon a new abstract language that, somehow, remains intimately in touch with those important realities.