Celebrate the opening of HELEN CAMMOCK: I WILL KEEP MY SOUL—the artist’s inaugural museum exhibition in the United States—with a musical performance by Cammock and Roshanak Kheshti at Art + Practice. A multimedia installation—incorporating performance, poetry, a print series, and

Dorian Wood: “The idea of impermanence can be frightening for many of us. We enter spaces that can offer familiarity and comfort, and in doing so we accept the relative briefness of what these spaces offer us. With CANTO DE

CLOSE, Lukas Dhont’s deeply felt new feature, portrays the fraught passage from childhood to adolescence—from an age of blind trust to one of knowledge and suspicion—as lived by best friends Léo and Rémi. Fresh from a summer spent investigating the

This weekend, to mark the fortieth anniversary of Kathleen Collins’ LOSING GROUND—one of the first feature-length motion pictures directed by a Black American woman—the Academy Museum, the California African American Museum, and USC’s Visions and Voices program presents a screening

NO BEARS—written, directed, and produced by Jafar Panahi, the great image smuggler of contemporary cinema—is an astonishing examination of narrative responsibility and the consequences of visual depiction. Set in a rural Iranian border town, Panahi is directing—remotely, via computer—a film

A panel discussion and reception will kick off the exhibition TOM OF FINLAND: HIGHWAY PATROL, GREASY RIDER. AND OTHER SELECTED WORKS at David Kordansky Gallery in New York. Join Nayland Blake, Claire Gilman, Brontez Purnell, and Durk Dehner—keeper of the

Mounting predatory Pac-Man mouth/heads atop metal stands swaddled in black velvet and topped with a red bow, Liz Craft presents MS. AMERICA, a silent-scream insurrection, ripe for subjective ventriloquization.

Although the art writer and professor Richard Shiff didn't meet Jack Whitten until 2014—three years before the artist's death—the personal encounter proved critical to both Shiff’s practice and our understanding of Whitten's work. Over the past decade, with imaginative lucidity

In her essay “A Century of Cinema,” Susan Sontag addresses a second Golden Age of film which began in the mid-1950s and lasted nearly two decades, when “vanguard ideas took hold again”—mostly in Europe and Asia—and “a dazzling number of

“Regeneration”—in the 1923 silent “race” film that shares its title—is an imaginary island of castaways who have discovered a treasure chest on its beachfront. As a concept, regeneration—which suggests both a renewal of potentialities as well as a return—also informs