Basking in the Afterglow: Barry Jenkins’ ‘Moonlight’

Laura Hackshaw

Edited by Veronica Vivi

Artwork by Maia Walcott

Moonlight has been an unprecedented and much needed piece of art which transcends the basic categories and labels that accompany the ideals of it simply being a unique ‘independent’ movie or at its most reductive, a movie about what it is like to be a young, black, gay boy becoming a man. Moonlight is about running through doors with your eyes closed not knowing how to find your way to the other side. It is about the fear, the panic, the discomfort and the frustration of having to come to terms with your own identity when your identity itself is based on societies preconceptions and expectations of who you should be, how you should talk, walk and who you should love – all before understanding how to first love yourself. It is profound because it transforms and challenges common ideologies surrounding black male-hood; black male tenderness and affection, the redemptive power of mentors, music and community and how these all shape the people we become. 

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Kumar Shahani’s ‘Maya Darpan’

Elroy Pinto

Edited by Ketaki Zodgekar

Artwork by Camilla Anvar

Kumar Shahani is one of the finest film makers in the post-Independence era of India. He was born in Larkana, Sindh in Pakistan, and raised in Mumbai after his family lost their ancestral home after Partition. In 1966, he joined the Film and Television Institute of India under the tutelage of Ritwik Ghatak, the great Marxist film maker from West Bengal. Ritwik Ghatak’s own preoccupations had been with the idea of Myth, folk tales, and the layering of sound, music, and noise within the cinematic realm of melodrama. Shahani spent time learning with the finest polymath from India – D.D. Kosambi. In later years, Shahani was to learn music first from Neela Bhagwat and then rigorously under Pandit Jal Balaporia. In sum, Shahani only made four full feature films, a handful of documentaries, several short films, and Khayal Gatha, a film which was never fully realised as a complete documentary or feature in categorisation. However, Shahani’s ambitions stretched beyond this: his primary concern was to formulate a vision of cinema that explores the Epic form. In the years that followed, Shahani’s work continued Ghatak’s practice; eventually leading him to master his own Idiom.

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Learning To Listen To The Real Refugees: An Exploration Into The Wider Message Behind Candice Breitz’s 2017 Biennale Showcase

Elspeth Walker

Edited by Veronica Vivi

Illustration by Alice Tyrell

In 2017, artists Candice Breitz and Mohau Modisakeng showcased for South Africa in the Venice Biennale country pavilion. Both used film installations and/or photography to create poignant pieces of work. For her piece, Breitz looked at refugee narratives within the wider context of identity under capitalism – a prevalent theme throughout the art exhibitions.

Breitz is an artist renowned for her video installations that mix both mainstream media and Hollywood cinema to create out of context work delivered by famous actors, often against a blank screen. This style is evident in her work exhibited in the pavilion.

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Tracey Emin

Clare Appezzato

Edited by Veronica Vivi

Illustration by Holly Summerson hollysummerson.wix.com/arts

Tracey Emin’s work is provocative and personal. Her art is produced in a variety of ways including painting, drawing, sewing and sculpture. However, arguably her most notable and analysed media is neon text. With these, she stretches the limits of art and calls into question whether a phrase hung up in lights can be considered artwork. One look at it and you will think that yes it can, undoubtedly so. Her relative popularity aside (she was nominated for a Turner Prize) her achievements are consistently undermined, and her art is constantly critiqued for being ‘trivial’ and ‘vulgar’ by those who believe that art must adhere to some sort of strict guidelines. Emin hits back at these critics (mainly men) with her continually beautiful collections of neon lights. Emin belongs in the world of academia and she deserves to be studied, because she is a clear cut woman who is redefining what can be considered ‘art’. In this age of technology, new media and the internet, her neon lights are representative of a new age of art that comes along with it.

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Becoming Unbecoming by Una

Martha Blow

Edited by Abigail Eardley

Art by Livi Prendergast https://liviprendergast.wordpress.com/

On the 5th October 2017, The Times published a story presenting decades of allegations of sexual harassment against film mogul Harvey Weinstein. What followed was the uncovering of an endemic culture of sexual harassment within Hollywood, followed by the seismic #MeToo hashtag. The Weinstein Scandal forced the conversation about sexual violence into global discourse and brought to light its ubiquity. While Becoming Unbecoming was published in 2015, prior to the Weinstein Scandal, it nonetheless addresses the rape culture that normalised Weinstein’s—amongst others—actions. That the graphic novel is set in the 1970s does not diminish its relevance to contemporary society, as evidenced by Weinstein’s exposure, and for that reason it is crucially important to academic curricula.

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Postcolonial Climate Change: John Akomfrah and a discourse of difference

Clara de Massol

Edited by Muireann Crowley

Art by Sarah Summers https://www.instagram.com/ssssummers/

This article considers the ways in which postcolonial studies are integral to understanding climate change. Our planet is warming at an alarming rate; islands and coasts all around the planet are slowly drowning; and species are disappearing in the thousands each year as a result. In less than 100 years, climates and ecosystems will be completely altered; this will have profound implications on humanity in terms of our survival as well as our collective identity. In the last few years, the discussion around ecology and identity has crystallised around the concept of the Anthropocene, the name given to the geological epoch superseding the Holocene, in which human activity on earth becomes the main geological force. Confronting anthropogenic climate change involves destabilising the dominant cultural narratives regulating societies to understand and formulate the intersection of ecology and postcolonialism.

The Anthropocene was introduced by Paul Crutzen and Eugene Stoermer in 2000 and urges us to rethink our relationship to our planet and to the life forms inhabiting it. The Anthropocene debate, along with concepts of globalisation and cosmopolitanism create the illusion that ‘we are all in this together’ (Braidotti, 2017), that with the advent of climate and ecological disasters, a kind of planetary citizenship and solidarity has formed. But this apparent interdependence and planetary empathy is in fact a neoliberal system of differentiation and hierarchy. Butler explains that in this climate, ‘some lives are grievable, and others are not; the differential allocation of grievability that decides what kind of subject is and must be grieved, which kind of subject is not, operates to produce and maintain certain exclusionary conceptions of who is normatively human’ (2004, xiv).

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Black is Beautiful: A Philosophy of Black Aesthetics

Temitope Ajileye

Edited by Veronica Vivi

Art by Anonymous

“I don’t know where to begin […] because nothing has been written here. Once the first book comes, then we’ll know where to begin”. Barbara Smith

There is some irony in how I came across Black is Beautiful, a masterpiece created by African American scholar Paul C. Taylor. I was looking for Russell’s History of Western Philosophy and, while waiting for the bookshop staff to locate it (their attempts would eventually prove unsuccessful despite their certainty that ‘Russell has to be in the shop’), my eyes wandered and settled on Taylor’s book. How lucky I was!

        The opening quote, taken from Barbara Smith’s Toward a Black Feminist Criticism, immediately presents us with the urgency that the book tackles and tries to solve. There is much art by, about, and with black people, but not enough thought to connect them together, help us think more productively about black expressive culture, which would allow us to contextualise and understand our reactions to black art. There is a strong feeling that much can be said about this art and an even stronger desire for these intentions to be finally clearly stated.

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Continuing The Unfinished Conversation: Stuart Hall through the lens of John Akomfrah

The archive has been the space of intervention from the beginning. One of the few spaces, reservoirs of memory, for diasporic subjects is the archive.

John Akomfrah (2014)

Benjamin E.I. Lubbock

Edited by Maria Elena Carpintero Torres-Quevedo and Rianna Walcott

Art by Maïa Walcott https://maiawalcott98.wixsite.com/mysite

Memory and the moving image are John Akomfrah’s materials. In The Unfinished Conversation, a three-screen video installation, his subject matter is the formation of identity, which, for individuals struggling to define themselves in their social contexts, is a matter of urgency. It is not easy to explain how identities are created, and there are few who have considered the matter in greater depth than Stuart Hall, around whom the film revolves. Born in Jamaica before immigrating to Oxford, Hall became editor-in-chief of the New Left Review and a founding figure of the New Left movement. He was an activist, regularly televised for his analyses of media reports, and co-authored seminal texts such as The Popular Arts (1964), which advanced the claim that film, media and pop culture should be taken seriously as objects of study. But what he was arguably most renowned for were his theories of identity: “Identity is formed at the intersection between the political and the personal” (Hall, 2013).

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Launch Night Excerpts

Art by Priyanka Meenakshi https://www.priyankameenakshi.com/

We celebrated Project Myopia with a beautiful launch event towards the end of semester 2. It was a night of music and poetry, as well as an opportunity for some of our contributors to elaborate on their essays and ideas. Our performers touched on a wide range of serious issues: from the exclusion of racial minorities’ contribution to the canon of literature, to the oppressive nature of zero-hour contracts that prevent tutors from being able to fully engage in helping all students get ahead, let alone those from a minority background who need assistance most. We’re incredibly grateful to everyone who performed and shared their experiences, and we also have to thank everyone who attended and helped us drink the wine we provided! Project Myopia aims to bring marginalized people together and amplify their voices, and our launch felt like a perfect culmination of our semester’s work: people came together and shared their experiences of an academic world we need to change.

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Kerry James Marshall: A New Old Master

Emma Nance 

Art: ‘Asleep’, by Horace Pippin

Editing by Rianna Walcott

We are unable to embed the work of Kerry James Marshall here for copyright reasons. To view the works of art discussed in this review, please click the links provided.

Update 6/11/17: The Seattle Art Museum is scheduled to exhibit Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas. At Artsy you can find more information about Kerry Marshall, including a biography, over 60 of his works, exclusive articles, and up-to-date Marshall exhibition listings.

A riot of domestic hues. We take in the boxy blue couch, the yellow table with the half-eaten meal, the worn, braided rug, the music swirling above the heads of the lovers. We can vaguely make out the tune if we strain and cock our heads, but the song is not meant for us. We are intruding on their private space, and yet she is accustomed to this interruption, so she lets her eyes slide to the left and relaxes into her partner’s body. Faceless and steady, he imperceptibly sways her hips to the rhythm. She exudes subdued serenity. Finally. Alone together. We quietly slip out and leave them to their slow dance. 

https://www.artsy.net/artwork/kerry-james-marshall-slow-dance

Slow Dance, 1992-1993, Kerry James Marshall: Mastry 

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