#Tamara Henderson

[brianrope]

2024 National Photographic Portrait Prize

Photography Exhibition Review | Brian Rope 2024 National Photographic Portrait Prize | Various Artists National Portrait Gallery, Canberra | 22 June – 13 October 2024 The National Portrait Gallery (NPG) website says the works by the 34 selected finalists in the National Photographic Portrait Prize (NPPP) this year provide a powerful visual record of the year, reflecting a particular time in…

[sapphicbookclub]

Author Spotlight: Tamara Jerée

Check out this wonderful essay on sapphic, Black, paranormal romances from Tamara Jerée. Tamara is the author of The Fall That Saved Us, a current club read out today!

As writers, we often hear that we should write the book we want to read. For me, that’s meant writing into a niche that feels largely unacknowledged. The more descriptors I stack—sapphic, Black, paranormal, romance—the shorter the list of books becomes. Finding darker sapphic romance by and about lesbians of color is hard. Stepping into a bookstore, I often feel like there is still a narrow range within which the publishing industry will allow us to exist. Readers don’t seek out our books in the same ways. Especially when compared to the diverse range of literary experiences for white women, I feel the lack.

I can immediately think of a few adult titles that fit into the Black sapphic paranormal romance genre. There’s Darknesses by Lachelle Seville, a romance featuring a sapphic Dracula. I was excited to find that Fiona Zedde, whose contemporary romances kept popping up as a recommendation for me, also writes paranormal romance. Every Dark Desire is the first in her vampire series. (If you’re interested in a comprehensive list, Tuesday Harper maintains a searchable database of Black WLW books here. I stumbled upon some new titles for my TBR!)

In lieu of paranormal romance, I often find myself reaching for sapphic horror to fill out my moody reading list. The Wicked and the Willing by Lianyu Tan is an F/F erotic horror novel set in Singapore that follows a maidservant and her vampire mistress. House of Hunger by Alexis Henderson is a gothic horror novel that doesn’t call its vampires vampires but nevertheless satisfied my need for bloody, brooding sapphics.

I’m compelled by erotic horror—and horror that winks at the erotic—because it confronts our personal and cultural fears and, in doing so, leaves us with nothing more to be scared of. Here, look at our depth and ugliness and resilience and strange pleasures. Ultimately, look at how we survived. Those darker elements influence all my work. I want the catharsis of safely staring down weird and terrible things. When combined with the structure of romance, the guaranteed HEA reassures. Maybe you’ve been through a long night, but you deserve happiness.

I want to talk about the first novel in the Black lesbian paranormal genre that ever made me feel seen as a writer, the one that sank its teeth into me and made me think this is possible; this is where my work wants to be. Published in 1991, The Gilda Stories by Jewelle Gomez follows a queer Black vampire through the antebellum era and into the present before casting her and her chosen family into a speculative future. The novel isn’t a romance, but it does catalogue Gilda’s lovers through the ages—who she chooses to bring into immortal life and how they care for each other in a hostile world.

In the introduction, Gomez discusses how nervous she was about the book because lesbians in her community were skeptical of the rep. Attaching something taboo like vampirism to a Black lesbian protagonist? It was risky. Their concerns remind me so much of the debate in queer circles today over what depictions of ourselves and our communities are proper. We worry about writing people like us as villains or monsters because it would give fuel to hegemonic perspectives that are already eager to see us as deviant and evil.

As one of those readers and writers who finds power in reclaiming the monster, of being an antagonist to an unjust society, I’m thankful for Gilda. And I’m so glad Gomez took the risk. It’s empowered me as a Black lesbian writing romance that confronts heavy themes of mental illness and healing from abuse through a paranormal and fantastic lens. In my debut novel The Fall That Saved Us, Avitue—the succubus love interest—is an unrepentant villain, a sexy bad girl unafraid to show her teeth to a world that’s hurt her. She’s a monster because others have said so, and she wears the title as a badge of honor. The main character Cassiel, however, views Avitue as a savior—from her scarred past and a stagnant present.

The Gilda Stories expanded for me what we can be and do. There’s an infinite number of Black stories we can tell. Black people can be anything we want, including the hot lady monster who gets the girl.

[simplylove101]

2024 Horror Challenge: [17/?]

↳“Why are you doing this?" "Why not?" The Strangers: Prey at Night (2018) dir. Johannes Roberts

Plot: A family of four staying at a secluded mobile home park for the night are stalked and then hunted by three masked psychopaths.

Starring: Christina Hendricks, Martin Henderson, Bailee Madison & Lewis Pullman

Well, at least I'm finally watching a movie that didn't just come out this year this time. lol I'm getting ready to watch the new Strangers movie out of curiosity (tho my expectations continue to lower even more the more I hear about it) and it occurred to me that I'd never watched this one. It felt like I should mostly because I've seen the reactions over it to be way more vocal than for the original and I needed to see where I stood. As someone who wasn't a particular fan of the first one, I actually didn't hate this one?? lol Like, yeah, very bad decisions are made throughout by people to an almost comical degree but I was more entertained this time, which I think with a movie like this, that's really all I'm aiming for. The original has a few moments that are actually pretty memorable (if you've seen it, you know which ones) but I do think there were plenty in here as well. I'm already very sick of the "Is Tamara home?" schtick that Dollface uses with the victims so I know I'll be annoyed when I watch the remake (everyone who's watched it declared it impossible to be a prequel so that's what I'm calling it now) I will say I loved the unexpected needle drops in this movie so props to the soundtrack people for the choices. And well, the acting was committed so props to that too. And I liked the setting of a trailer park. Is it a great movie? Not necessarily but minus the dumb decisions made by everyone, I was pretty entertained and isn't that all you want from a movie like this? Be honest. Or maybe I just was in the mood for a clear homage to 80's slashers. lol

[tundrakatiebean]

Media List 2023

Ok I’m making a list of the things I want to watch/read/have been suggested to me etc before I lose track lol and so people can look if they want to see I guess. I’m putting suggestions on this list too even if I haven’t looked into them very hard and I think it goes without saying that just because it’s on the list doesn’t mean I’ll get to it.

None of these are in any real order, but I’m doing a numbered list so I can use a random number generator if I’m getting decision paralysis. I’m putting where I can personally watch them for reference, they may be available other places that I don’t have a subscription to.

Movies

Pinocchio (2022), Netflix

Glass Onion (2022), Netflix

Girl in the Picture (2022), Netflix

Pan’s Labyrinth (2006), rent/buy

Bird’s of Prey (2020), HBOMax, Owned

Carol (2015), Prime

Blue is the Warmest Color (2013), rent/buy

Love Simon (2018), rent/buy

Moonlight (2016), rent/buy

Parasite (2019), Hulu

The Batman (2022), HBOMax

Lighthouse (2019), rent/buy

Bladerunner 2049 (2017), Hulu

Vertigo (1958), Rent/buy

Pleasure Unwoven (2009), youtube?

Weird: The Al Yankovich Story (2022), ?

The Last Unicorn (1982), Prime

The Green Mile (1999), rent/buy

Spirited Away (2001), HBOMax

Princess Mononoke (1997), HBOMax

Everything Everywhere All At once (2022), rent/buy

Possession (1981), rent/buy

Bicycle Thieves (1948), HBOMax

The Menu (2022), HBOMax

Amélie (2001), ?

Brokeback Mountain (2005), Netflix

Wall-E (2008), rent/buy

Black Girl (1956), rent/buy

Yi Yi (1999), rent/buy

Sunset Boulevard (1950), rent/buy

Imitation of Life (1959), rent/buy

The Apartment (1960), Paramount+

Taxi Driver (1976), Paramount+

Seven Samurai (1954), HBOMax

The Godfather (1972), Prime

2001: A Space Odyssey (1968), HBOMax

Tokyo Story (1953), HBOMax

The Invitation (2022), Netflix

Shows

Castlevania, Netflix (started and need to finish)

The Haunting of Bly Manor, Netflix

Midnight Mass, Netflix

Fleabag, Prime

Xena, ?

The Two People Who Can’t Fall in Love, ?

Dead End: Paranormal Park, Netflix

Wellington Paranormal, HBOMax

James Acaster comedy, Netflix

Centaurworld, Netflix

Tuca & Bertie, Netflix

Kid Cosmic, Netflix

What We Do In the Shadows, Hulu

Veronica Mars, Hulu

Defunctland, YouTube

Ted Lasso, Apple+

Books

How to Hide an Empire by Daniel Immerwahr

Unmasking Autism by Devon Price

The Roots of Desire by Marion Roach

Why Does He Do That? by Lundy Bancroft

The Kalevala

Armed Struggle: The History of the IRA by Richard English

The Age of Surveillance Capitalism by Shoshana Zuboff

ADHD After Dark by Ari Tuckman

Your Brain’s Not Broken  by Tamara Rosier (audiobook)

Misfit Mage by Michael Taggart

The Ballad of Songbirds and Snakes by Suzanne Collins (audiobook)

The Affair of the Poisons by Anne Somerset

Where the Crawdads Sing by Delia Owens

Fun Home by Alison Bechdel

The Ex-Con, Voodoo Priest, Goddess, and the African King by William Jones

My Name is Ron by the family of Ron Goldman

I did it by Fred and Kim Goldman

Death of Innocence by Mamie Till-Mobley

The Kitchen God’s Wife by Amy Tan

Colorless Tsukuru Tazaki and his Years of Pilgramage by Haruki Murakami

If Walls Could Talk by Lucy Worsley

How to be an Artist by Jerry Saltz

The Blood Never Dried by John Newsinger

Bright Dead Things by Ada Limón

History of the World in 6 Glasses by Tom Standage (audiobook)

A Woman of No Importance by Sonia Purnell (audiobook)

Hate to Want You by Alisha Rai (audiobook)

Lazy Does Not Exist by Devon Price (audiobook)

How to be an Artist by Jerry Saltz (gift)

An Anthology of Finnish Folktales edited and translated by Helena Henderson

Games

Venba (spring 2023)

Dordgone (spring 2023)

Storyteller (March 23, 2023)

Fe (skipping, it makes me cranky)

LOVE

A Short Hike

To The Moon

Finding Paradise

Night in the Woods

Life is Strange one and two

Spiritfarer

Life is Strange: True Colors

Powerwash Simulator

[charlesbryan]

Tamara Henderson at PALAS

http://dlvr.it/T8S0Xc

[docrotten]

DON’T BE AFRAID OF THE DARK (1973) – Episode 215 – Decades Of Horror 1970s

“When will they come? When will they come? When will they come and set us free?” Who are “they?” Who are “us?” Free from what? Sheez, so many questions. Join your faithful Grue Crew – Doc Rotten, Bill Mulligan, Chad Hunt, and Jeff Mohr – as they visit the Farnham household for answers in Don’t Be Afraid of the Dark (1973).

Decades of Horror 1970s Episode 215 – Don’t Be Afraid of the Dark (1973)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A young couple inherits an old mansion inhabited by small demon-like creatures determined to make the wife one of their own.

  Directed by: John Newland

Writer: Nigel McKeand

Music by: Billy Goldenberg

Cinematography by: Andrew Jackson (director of photography)

Makeup Department: Michael Hancock (makeup artist) (as Mike Hancock); Robert Sidell (makeup artist); Bruce Jossen (hair stylist) (as Jossen);

Selected Cast:

Kim Darby as Sally Farnham

Jim Hutton as Alex Farnham

Barbara Anderson as Joan Kahn

William Demarest as Mr. Harris

Pedro Armendáriz Jr. as Francisco Perez (as Pedro Armendariz Jr.)

Lesley Woods as Ethyl

Robert Cleaves as Doctor

Sterling Swanson as Policeman

Joel Lawrence as George Kahn (as J.H. Lawrence)

William Sylvester as Tom Henderson

Don Mallon as Bob

Celia Milius as Anne (as Celia Kaye)

Elizabeth St. Clair as Party Guest

Monika Henreid as Party Guest (as Monica Henreid)

Robert Priest as Party Guest

Ted Swanson as Bartender

Felix Silla as Creature

Tamara De Treaux as Creature (as Tamara DeTreaux)

Patty Maloney as Creature

Nigel McKeand as Demon (voice) (uncredited)

Ah, the “movie-of-the-week” in the Seventies in the States, when the family gathered around the boob tube deciding which network to watch. On occasion, the decision was to catch a scary movie, perhaps, such as this episode’s topic, Don’t Be Afraid of the Dark (1973). The film is littered with small, creepy, whispering “demons” out to get Sally (Kim Darby). Will they succeed in claiming Sally as one of their own? All the while, her husband (Jim Hutton) and their handyman (William Demarest) argue on the phone and her friend (Barbara Anderson) gets locked out of the house. How does this TV quickie hold up? Trust that the grue Crew has an opinion.

At the time of this writing, Don’t Be Afraid of the Dark is available to stream from archivedotorg and PPV from Google Play and YouTube, and on physical media in Blu-ray format from Warner Archives.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by Chad, will be The Alien Factor (1978), a science fiction, horror film shot on a micro-budget with some ringers hiding in the credits for the film’s special effects. 

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com. 

Check out this episode!

[irisfilmcollective]

This Sunday, April 28th 2024, be sure to check out N DIMENSIONAL SPACE, an experimental film screening and gathering organized by XINEMA (Iris Film Collective member Sidney Gordon) + UNIT/PITT to accompany Al Razutis’ exhibition GRAVITY WINS, ENTROPY RULES curated by Felix Rapp. Featuring works by Kasper Feyrer, Tamara Henderson, Peter Lipskis, Sam Perry, and Al Razutis released between the years of 1965-2023, this program showcases a range of voices from Vancouver’s experimental film history, representing a community of filmmakers influenced by the shifting ethos and environments of the Pacific Northwest.

Sunday, April 28, 2024, 8pm The Garden - UNIT/PITT 2954 W4th Ave Vancouver BC

**Please note, this event is taking place outside. Pay-what-you-can tickets will be available at the door. Please plan to arrive early to secure a seat. If weather is poor, the screening will be rescheduled**

[nando161mando]

"🚨 #Vegas Goyim Defense League (GDL) neo-Nazi unmask featuring VegasWaffen aka 777vivian aka Tamara Sandoval, 47 years old from Henderson, Nevada.

Welcome to the light scumbag."

#NameTheNazi

[theories-of]

Tamara Henderson 

[contemporaryartdaily]

Tamara Henderson at KW–

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of April 15th, 2019

Night crawlers on the web by Johanna Drucker-Charlottesville, Va : Jabbooks ; New York : Granary Books 2000

Distilled water by Stuart Pid- Athens, Ohio : Izen, 1990

Fyrste natt pa manen by Kurt Johannessen- K. Johannessen, 1992

Bottles at the round table by Tamara Henderson- Mayne Island : Perno Verlag, 2013

Variations on a natural theme for orchestra by Richard Carter ( Dick) Higgins- Barrytown: Printed Editions, 1982

[mimeticspace]

Tamara Henderson

[slcvisualresources]

Tamara Henderson

Concord Residuum, 2014

Plaster, paper, neon

Dimensions variable 

Courtesy of the artist and Andrew Kreps Gallery

[go-benzina]

Tamara Henderson at Oakville Galleries

via http://artviewer.org

[fromthestacks]

The Red Road: the complete second season