You only have mere days to help fund Hanna Watches a Porno on Kickstarter! If you like the trailer and want to see the film, $15 gets you a digital download of the finished film!!!
The teaser trailer for my film Hanna Watches a Porno is here! Check it out, then reblog, repost, facebook, twitter, help get the word out there! Help me finish the film by funding us on kickstarter today!
On “Who Took The Bomp: Le Tigre On Tour”
Sunday night, Oscilloscope Laboratories and Ace hotel hosted a free screening of Who Took the Bomp: Le Tigre on Tour. The aforementioned Manhattan cool kids/hip tourists spot lived up to it’s reputation to this first time visitor (though showing free movies on Sunday is a pretty great way to cozy up to me). It was my second time seeing the film, and if you didn’t see Le Tigre live, like me, this is certainly the next best thing. However, the risk of making such a statement is that it could downplay that the film, directed by Kerthy Fix, is also an insightful, funny, and well-made documentary that stands on its own as a great example of non-fiction story telling (so luckily I included that qualifier!).
Of course, loving Le Tigre’s music or feminism doesn’t hurt, but even if you don’t know about the band or feminism, there’s a good chance you are going to come away with a love of, an appreciation for, and at the least, knowledge of both (half the battle, right?), thanks in large part to the fact that the women of Le Tigre, Kathleen Hanna, Joanna Fateman, and JD Samson are charming, funny and endearing people on which to base a film. And while I want to say that the trio make excellent spokespeople for feminism, I really can’t because no one person can speak for the movement, or even three people who make rad beats, but they can certainly give a glimpse into what it means to be a feminist and a feminist artists, and that’s something that is often not shown. Not only is feminism often treated like a four letter word, frankly, it’s just as often misunderstood (and the two, of course, go hand in hand). Also, when most movies don’t pass The Bechdel test, it’s BEYOND refreshing to see a film featuring more than two women, who do indeed talk to each other, and not about men, unless of course the men to which they refer are touring with them and expressing a strong desire to do battle with a shark.
There hasn’t been a picture of Laurel Nakadate on my blog in a while, so I thought I’d remedy the situation! This incredible photograph is from 365 Days: A Catalogue of Tears (2011), and please don’t forget her solo show Only the Lonely, which I wrote about back on Valentine’s Day, is currently on view through August at PS 1.
(image via Leslie Tonkonow)
Untitled #96 (1981) from and of photographer Cindy Sherman just became the world’s most expensive photograph when it sold at auction on Wednesday for $3,890,500. Read why and hey, why not on the NPR blogs.
(Image via Christie’s)
MEN perform an acoustic version of Credit Card Babie$ in Vienna for the Austrian videographer Playgrrround. The intimate recording really highlights JD Samson’s politcal, yet humorous, lyrics that deal with the challenges of gay adoption. As anyone familiar with MEN’s music knows, they (as a band and live) are an incredible pop, dance, electro, dance party (oh, wait I said dance already?), but they are fueled by some of the most consciousness raising lyrics out there.
MEN is playing a special show at The Brooklyn Museum this Friday (5/13). They are doing a site specific performance of their songs, and I can only imagine what they have in store if this is what they can do in a parking lot.
The Brooklyn Museum is also home to the Elizabeth A Sackler Center for Feminist Art, an entire wing of the Museum devoted to, yep, Feminist Art! They have a current exhibit from Brooklyn based artist Lorna Simson that I’m looking forward to seeing, and then there’s the centerpiece of the center: the famed, iconic installation The Dinner Party, from Judy Chicago and and a small army of artisans. A work that is phenomenal in ambition, it’s scope, and it’s ultimate rendering, using folk art (in the past, one of the only pathways of artistic expression for many women) to begin by illustrating the role of the feminine across vast periods of time and cultures, then showing how the feminine and women began to be suppressed, and and culminating with a celebration of the achievements of women artists, scholars, and pioneers of the women’s rights movement. It is incredibly humbling to stand in that room and think of the herstory.
When MEN played at the Music Hall of Williamsburg last month, they encored with a Bikini Kill song in recognition of the musicians and activists that came before them. If you’re an activist, a musician, an artist, a scientist, you can’t proceed without learning from those who preceded you, and I’m really excited to see MEN play in a museum that honors and educates about feminist art, while consistently looking to engage feminists in meaningful ways.
The show is included with the price of sliding scale admission to the museum.
Bonus: You saw those awesome green shoes, right?
