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On February 8, 1915, at Clune’s Auditorium in Los Angeles, California, D. W. Griffith’s Birth of a Nation premiered. The fledgling art form of film would never be the same, especially in America, which even half a century after the end of the Civil War struggled to come to terms with race. Now, a century after Birth of a Nation’s premier, America still struggles not only with race, but also with how race plays out on the silver screen. For good and ill, Birth of a Nation marks the beginning of the first 100 years of the American Cinema—epically beautiful, yet often racially ugly.
“The extasy [sic] of abstract beauty,” artist Richard Pousette-Dart scrawled in 1981 in a notebook on a page across from a Georges Braque-looking abstract pencil drawing. Although included in Nina Leen’s iconic 1951 Life magazine photo “The Irascibles” that featured Abstract Expressionist heavyweights Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman, Pousette-Dart has always stood on the edges, as he does in the photo, of full identification with that group.
All you need are clear skies, a telescope, and a plan. Make it a great one. “For my confirmation, I didn’t get a watch and my first pair of long […]
Michael Jackson proudly wore the crown as the “King of Pop” until his death in 2009. In the visual arts, at least for Americans, Andy Warhol’s ruled as the “King […]
Just as poet William Blake asks us “To see a world in a grain of sand” in his poem “Auguries of Innocence,” painter Paul Cézanne asks us to see the […]
An entire generation of baby boomer men grew up thinking that the office was going to always look like the set of Madmen. Instead, these men today are confused and bewildered by all the the changes in our culture.