#Madeleine Hunt Ehrlich

[oldfilmsflicker]

new-to-me #842 - The Ballad of Suzanne Césaire

[usanewsrepost]

Berlin Film Festival Welcomes Madeleine Hunt Ehrlich to Talents Programm...

[newsguide0]

Madeleine Hunt-Ehrlich Among 2025 Talents Participants

Visual artist and The Ballad of Suzanne Césaire filmmaker Madeleine Hunt-Ehrlich is among the names that have been set for the Talents programme at this year’s Berlin Film Festival.  The Talents lineup was announced by the festival this morning alongside eight premiere titles added to its Berlinale Classics lineup and the ten books heading for the festival’s adaptations Co-Production…

[recentlyheardcom]

Cinema Guild Acquires 'The Ballad of Suzanne Césaire' in North America

Cinema Guild, the New York-based distributor of world cinema, has acquired the North American distribution rights for The Ballad of Suzanne Césaire, the first feature by artist and writer-director Madeleine Hunt-Ehrlich. The film is described as “a post-biopic about Caribbean surrealist Suzanne Césaire, deconstructing the process of bringing an actually-lived life to film. The film examines her…

[thefloatingindex]

1. The Power of Emotion, Alexander Kluge (1983) 2. Spiritual Voices (Dukhovnye golosa), Part 1, Aleksandr Sokurov (1995) 3. S21: The Khmer Rogue Death Machine, Rithy Panh (2003) 4. Two Laws, the Borroloola Community with Alessandro Cavadini and Carolyn Strachan (1981) 5. Canada Park, Razan Al Salah (2019) 6. Felix in Exile, William Kentridge (1994) 7. Für Frauen. 1. Kapitel, Cristina Perincioli (1971) 8. Méditerranée, Jean-Daniel Pollet (1963) 9. Spit on the Broom, Madeleine Hunt-Ehrlich (2019) 10. Purge This Land, Lee Ann Schmitt (2017)

[ilexproject]

Reposted from @simoneyvetteleigh (@get_regrann) - I’m delighted that my solo exhibition at the Guggenheim, Loophole of Retreat, which opens this Friday, has now been extended through October 27th The exhibition includes collaborations with Saidiya Hartman and Moor Mother. Also a daily film program includes two new groundbreaking works by Madeleine Hunt-Ehrlich. The Loophole of Retreat conference, organized with Tina Campt and Saidiya Hartman, sold out immediately but will be recorded and posted online shortly after. “Loophole of Retreat presents a new body of work by Simone Leigh (b. Chicago, 1967), winner of the Hugo Boss Prize 2018, an award for significant achievement in contemporary art. The exhibition’s title is drawn from the writings of Harriet Jacobs (1813–1897), a formerly enslaved abolitionist who pseudonymously published an account of her life. It refers to the grueling seven years she spent hiding from her master in a tiny crawl space beneath the rafters of her grandmother’s home—an act of astonishing fortitude that carved out a space of sanctuary and autonomy in defiance of an unjust reality. Over the course of a career that spans sculpture, video, and social practice, Leigh has continuously and insistently centered the black female experience. Her forms, rendered in materials such as ceramic, raffia, and bronze, unify a timeless beauty with valences that are both deeply personal and piercingly political. Summoning the ancient archetype of the female nude and inflecting it with vernacular and folk traditions, the artist merges the human body with domestic vessels or architectural elements, evoking the labors of care and protection that have historically fallen to women. Encompassing a suite of sculptures and a sound installation, as well as a text by the renowned historian Saidiya Hartman, Loophole of Retreat explores narratives of communal nurture, resilience, and resistance. The exhibition will be accompanied by a daily program presenting films by Simone Leigh and Madeleine Hunt-Ehrlich” Simone Leigh, Jug, 2019. Bronze, 211.5 x 130.8 x 130.8 cm, edition 1/3. Courtesy the artist and Luhring Augustine, New York © Simone Leigh. Photo: David Heald https://www.instagram.com/p/B21_ZSChr0z/?igshid=1g12vo8pab3ig

[projectrowhouses]

[Release]

For Immediate Release

Project Row Houses Welcomes Black Women Artists for Black Lives Matter to Houston, Highlights Issues of Race, Activism, and Self-Determination

Houston, TX – February 27, 2017 - Project Row Houses (PRH) is excited to present its 46th Round of artist installations, collectively titled Black Women Artists for Black Lives Matter at Project Row Houses. Black Women Artists for Black Lives Matter (BWAforBLM) is a collective of Black women, queer, and gender non-conforming artists formed in solidarity with the Black Lives Matter movement. The collective was originally organized during contemporary artist Simone Leigh’s residency at the New Museum in New York City.  In order to highlight and disavow the pervasive conditions of racism, they have since committed themselves to producing work that addresses the interdependence of care and action, invisibility and visibility, self-defense and self-determination, and desire and possibility.  

At Project Row Houses, BWAforBLM will utilize the seven art houses on PRH’s site as a platform for public dialogue. By engaging the Third Ward and greater Houston community, they hope to create a space to discuss issues that impact the lives and movement of Black people.

Installations will consist of a collection of joy and grief flags that cover the interior of the spaces, allowing viewers to participate by contributing strips of fabric inscribed with moments of grief and joy or desires they would like to manifest; altars for surviving and thriving, establishing space for examining liberation, contemplation and action; ephemera and a typographic exterior installation; performances including but not limited to gestures, sound installations and processions and rituals to explore transformation and language justice; and short video work and installation-based work by the many women of Black Women Artists for Black Lives Matter. Other art houses will present opportunities for the public to host meetings to creatively respond  to our nation’s current political climate.

“I am not only thrilled but honored to work with so many brilliant women artists on shaping Black Women Artists for Black Lives Matter at Project Row Houses,” said Ryan N. Dennis, public art director at PRH. Dennis points to the fact that while the co-mingling of art and activism is nothing new, it is timely and of the utmost importance for artists and spaces to speak to the issues that we face as a society. “Right now, we are in the fight of our lives, and art is a conduit for us to communicate and have meaningful conversations. This Round not only allows us to see the work of prominent black contemporary artists but forces people to face the issues that impact Black life in America.”

“We are delighted to locate ourselves in all seven of the art houses at Project Row Houses,” artist Simone Leigh stated. “We will use the Round to reflect on our recent projects and to organize for the future.” She added that the group plans to collaborate with black women artists in Houston, forming a local chapter and hosting a closing event.

Representative images are available here. Caption: Black Women Artists for Black Lives Matter occupy the New Museum for their first performative action, Photo by Madeleine Hunt Ehrlich

Round 46: Black Women Artists for Black Lives Matter at Project Row Houses is co-curated by Ryan N. Dennis and Simone Leigh. The Round will be on view from March 25 - June 4, 2017. The opening reception will be held on March 25, 2017 from 4-7pm at the art houses, 2505-2517 Holman St.

See the full release here. 

[oldfilmsflicker]

new-to-me #14 - Outfox the Grave

[nofomoartworld]

BWA for BLM Offers Space for Dialogue Between Black Female Artists in NY, LA, Houston, and London

A three-month long show offers a space for dialogue between black female artists and curators between New York, LA, Houston, and London. The collective Black Women Artists for Black Lives Matter (BWA for BLM, for short) was formed in July of last year out of solidarity for the Black Lives Matter movement and the seemingly endless number of unarmed black men killed by police. In such a short period of time, the group has become impressively established in the art world, and now presents in all seven rooms of Project Row Houses in Houston. 

Their first appearance together at The New Museum followed a call by artist Simone Leigh during The Waiting Room, her show that, separately, looked at the notion of medicine in African and diaspora communities. Leigh, shocked by the overwhelming response by over 150 multidisciplinary and experientially diverse artists, now co-curates the exhibition at Project Row Houses.

Documentation from the BWA for BLM intervention at the New Museum on 1 September 2016 by Lachell Workman

"This is an ideal place for us," she tells Creators. "Houston has a long history with community organizing. They're on a next level and I grew up in Chicago during Operation PUSH."

Social justice and racial discrepancies in art are an inherent factor in BWA for BLM's formation, as are the qualities that art possesses in pushing forward social change and grassroots gatherings. "The histories of Black Women's presence, or lack of presence, is unique in these different cities," she says. "Even the geography of the cities. The way LA is totally spread out, for instance, sort of effects the way we know each other. Even the work is different—there's lots of filmmakers in LA and a lot of painters and sculptures in New York."

BWA for BLM performance. Image: Madeleine Hunt Ehrlich

While a continued lack of diversity in the arts sector has been well-documented, more recently with a New York City survey comparing its population with the demographics of its cultural sector, BWA for BLM is focused on community building.

In Houston, each room of Project Row Houses is taken over by a different subgroup of the BWA for BLM collective, representing artist communities in London, LA and four from New York—separated by art practices named Object, Ephemera, Performance and Digital. One room is a dedicated meeting space for the formation of a BWA for BLM chapter in Houston.

BWA for BLM performance. Image: Madeleine Hunt Ehrlich

Alexandria Smith is part of New York's Digital group. They have created an audiovisual installation for the Project Row Houses exhibit called Well Read Women, which highlights literature from women of color. "I feel that art has become this elitist inaccessible world where people from the community feel like they cannot become a part of engage with," Smith tells Creators. "That's why I think what we're doing is so important because we are allowing the community to have a voice on a larger platform and in a different space, then just in their own communities or neighborhoods."

The Object group presents a room filled with a series of flags touching on traditions found in communities in the Caribbean and West Africa, now very much transplanted in various strands of African American culture.

For their part, the Ephemera group looks at how to create a Self Love Toolkit, while a series of performances exploring the idea of home will be put in and outside Project Row Houses by the Performance group. LA brings an augmented reality piece.

For Leigh, it's less about the work that's on display and more about getting these artists together. "I'm not really focused on outcomes," she says. "I'm interested in the discourse that we're developing, rather than the art products or objects that we create. I think that it's more important to just enjoy the experiences of working together."

It's something that the London BWA for BLM chapter—a group of four called Thick/er Black Lines—is also keen on getting at. It's apparent through their room, which displays a Transport for London inspired map charting the history of Black British art.

Image: Madeleine Hunt Ehrlich

"There's somewhat of a disconnect between the two diasporas," says London independent curator Rianna Jade Parker. "In the UK, we know much more about the American experience because their history is taught in school, whereas ours isn't. We need to learn much more about each other, start again and build some bridges."

Visibility of the heterogeneity of the Black experience has become a vital part in continuing to form the BWA for BLM powerhouse of talent, believing that there's strength in numbers that understand each other.

"So we're going to tell you what it's like to be a Black female artist in the UK, and then you're going to tell me what it's like to be a Black female artist in LA, New York and everywhere else," says Parker. "And that's great."

Black Women Artists for Black Lives Matter is on now until June 4, 2017 at Project Row Houses. See more here. 

Related:

Airbrushed T-Shirts Mourn Black Women Killed by Police

BronxArtSpace Presents a Rethinking of Black Rage and Resistance

With Joyful Photos, a 19-Year-Old Artist Confronts Media Bias Against Black Male Teens

from creators http://ift.tt/2nZ1w8N via IFTTT

[dapz24]

Partners in a “Great Life Project” Partners in a “Great Life Project”

By Unknown Author Madeleine Hunt-Ehrlich was disenchanted with love until she met “her person” in fellow filmmaker Jon-Sesrie Goff. They were married Feb. 19 in New York. Published: February 23, 2017 at 04:00PM from NYT Fashion & Style http://ift.tt/2kTKKbs via IFTTT

[michaelgabrill]

Madeleine Hunt-Ehrlich was disenchanted with love until she met “her person” in fellow filmmaker Jon-Sesrie Goff. They were married Feb. 19 in New York.

[fashionweekeditor]

Madeleine Hunt-Ehrlich was disenchanted with love until she met “her person” in fellow filmmaker Jon-Sesrie Goff. They were married Feb. 19 in New York.

[guernicamag]

The institution of cricket is in many ways closer to the black church than American athletic mainstays such as football or basketball. Many cricketers, especially throughout the diaspora, feel most connected, most celebrated and respected, at the Sunday cricket match. The culture of the match is also a platform for reinforcing and cultivating family. Although the leagues in the five boroughs are primarily male, every member of the family attends matches from the eldest to the youngest and they are all day events that include full dinner and music. The New York leagues are very much tied to the maintenance of the West Indian and Pakistani immigrant communities of the outer boroughs. Cricket has been able to flourish in Brooklyn, Queens, the Bronx, and Staten Island on the fringe of growing gentrification. Many of the parks the sport is played in are difficult to get to from Manhattan, buried in some of the vast and beautiful parks that serve communities such as Canarsie, East Flatbush, and East New York, as well as Pelham Bay in the Bronx. I do wonder how that will change as gentrification pushes farther out into the boroughs.

A Gentleman’s War, Ashley James interviews Madeleine Hunt Ehrlich - Guernica / A Magazine of Art & Politics

[guernicamag]

Images by Madeleine Hunt Ehrlich

On summer Sundays a group of men descend onto the green fields of Jamaica Bay’s Gateway Park in Brooklyn. Dressed in white from head to toe—trousers, sleeved shirts, and wide-brimmed hats—the scene almost resembles a religious ritual. But the men have gathered to play cricket, a bat and ball game that first originated in sixteenth-century England, and was later transmitted to the West Indies, Australia, and India through the country’s imperial pursuits—and that’s been continuously practiced about the globe ever since, taking on increased significance in the forging of post-colonial nationhood and identity. In the newly released A Gentleman’s War—a transmedia documentary that includes interviews with scholars of the sport, photographs of fans and players, as well as documentary shorts—filmmaker Madeleine Hunt Ehrlich follows one contemporary cricket team for a single season, staging a compelling story of black diaspora, belonging, and beauty.

—Ashley James for Guernica.