To honor the late Palestinian artist Laila Shawa (1940-2022), the Institute for Palestine Studies and Dar El-Nimer for Arts & Culture in Beirut will be hosting a seminar celebrating the work of three Palestinian artists from the diaspora; Taysir Batniji, Hani Zurob and Mohammad Joha. The seminar is entitled: "Longing and Belonging: Palestinian Art in Exile" at Dar El-Nimer on
THE INAUGURAL FILM of postwar queer cinema and a watershed event in the history of the American avant-garde, Kenneth Anger’s Fireworks of 1947 is an autobiographical account of the awakening of desire. Shot when the filmmaker was only seventeen years old,1 the film is the sadomasochistic fantasy of a young man, played by the teenage Anger, who dreams he is sexually assaulted by a gang of sailors. Like its young author, the film was precocious. Made in the immediate aftermath of World War II, just as the United States was entering the Cold War, in which it imagined itself to be the policeman of
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IN A RICKETY WOOD-FRAME BUILDING near Eureka, California, along a slough that leads to Humboldt Bay, there is a self-portrait by Martin Wong. He left it unfinished a quick acrylic underpainting in shades of blue. It shows the artist cross-legged and palms open, some contours so faint they disappear into the canvas. The painting’s surface is slightly buckled from exposure to the fog that rolls over the region, rusting metal, peeling away house paint, and activating blooms of mold. Its slight weathering makes it appear at home among the other relics (retired buoys, milk-stand signs) that a local