In an artworld so clearly molded and regulated to serve the needs of the dominant and most privileged sectors of our society and their ways of doing business-the same sectors which benefit from the perpetuation of major conflicts of national, class, race and gender interests-what are the possibilities for oppositional, critical practices to assert themselves and be received?
These films offer artifacts of our American film heritage, inventing a coziness and togetherness of Christmas with a dash of entertainment that is apparently only available to and enjoyed by white people.
All of them appeared to be composed of sharp angles between muscle and bone, stretched taught and teasing the notion that a body can rip—that theirs hadn’t yet.
The Netherlands Carillon can only be understood against a background of two nations trying to reinvent themselves during the Cold War.
Before long, I found myself thinking and dreaming in German, and I wondered what Dad would have thought of that.