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librarycards · 9 days

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Following months of escalating protest over the organization’s response to Israel’s war on Gaza, and the recent withdrawal of over a third of this year’s nominees, the 2024 PEN America Literary Awards have now officially been cancelled. In the last hour, PEN America confirmed this cancellation in a press release published on the organization’s website: PEN America announced today the cancellation of its annual Literary Awards ceremony, and released the names of its 2024 award finalists and winners. It was a very difficult decision not to move forward with a public celebration to recognize this year’s honorees, according to PEN America’s Literary Programming Chief Officer Clarisse Rosaz Shariyf. “We greatly respect that writers have followed their consciences, whether they chose to remain as nominees in their respective categories or not,” said Rosaz Shariyf. “We regret that this unprecedented situation has taken away the spotlight from the extraordinary work selected by esteemed, insightful and hard-working judges across all categories. As an organization dedicated to freedom of expression and writers, our commitment to recognizing and honoring outstanding authors and the literary community is steadfast.” [...] For the cash prizes that could not be conferred, a decision about how to allocate the funds will be made on a case-by-case basis, according to the specifications of each award contract and the wishes of our generous award underwriters. Of the 61 authors and translators nominated for a book award this cycle, 28 authors chose to withdraw their books from consideration. Nine of the ten authors recognized as nominees for the PEN/Jean Stein Book Award withdrew their work from consideration. Katrina Vanden Heuvel, Wendy Vanden Heuvel, and Bill Clegg, on behalf of the foundation and the Literary Estate of Jean Stein, provided the following statement: “Jean Stein was a passionate advocate for Palestinian rights who published, supported, and celebrated Palestinian writers and visual artists. While she established the PEN America award in her name to bring attention to and provide meaningful support to writers of the highest literary achievement, we know she would have respected the stance and sacrifice of the writers who have withdrawn from contention this year. To honor their decision the Estate of Jean Stein has directed PEN America to donate the $75,000 award to the Palestine Children’s Relief Fund.”

#GUYS WE FUCKING DID IT!!!!!!!!!!!!!!!!!#FREE FREE PALESTINE!!!!!!!!!!!!!!!!#gd what a fucking pesach gift b"H #mine #palestine #news #readings #gd i am so fucking proud. this is the kind of joy that sustains us

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filmsposts · 3 years

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“Why do we assume that all this information is what we’re told it is? Maybe there are people out there who are more important than us, more powerful, communicating things in the world that are meant for only them and not for us.”

Under the Silver Lake (2018) dir. David Robert Mitchell.

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meitalpo · 2 years

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Andrew Garfield cinematically had love/kissing scenes with: Michelle Dockery ,Rebecca Hall ,Sean Harris(In a violent kind of way Sean kissed him),Jessica Chastain, Keira nightly ,Carey Mulligan, Claire Foy ,Riki Lindhome, Alexandra Shipp, , Wendy Vanden Heuvel, Mia Hawk, Riley Keough, Callie Hernandez , Nathan Stewart-Jarrett,Brenda Song, Karen Miller ,Katie Lyons,Nat Wolff, Chris Martin and at least 3 others that I don't remember their names.

Not character related, as Himself, he willingly kissed actors such as Stephen Collbert, Ryan Reynolds James McArdle And Emma Stone 😆

Yes I keep the count 😎

#andrew garfield

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11ersfilmkritiken · 5 years

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Under the Silver Lake [2018]

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View On WordPress

#Andrew Garfield #David Robert Mitchell #Deborah Geffner #Filmjahr 2018 #FSK 16 #Riki Lindhome #Riley Keough #USA #Wendy Vanden Heuvel

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deadlinecom · 2 years

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ownerzero · 4 years

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Two Plays by Downtown Legend María Irene Fornés

“Mud [table work]” by María Irene Fornés, directed by JoAnne Akalaitis, music by Philip Glass, performers: from left, Paul Lazar, Wendy vanden Heuvel, and Bruce MacVittie, Mabou Mines (photo by Julieta Cervantes) Mud/Drowning: [table work]/an Opera is a stellar, intimate production of two short plays by María Irene Fornés, presented by Mabou Mines, the venerable […]

The post Two Plays by Downtown Legend María Irene Fornés appeared first on AWorkstation.com.

source https://aworkstation.com/two-plays-by-downtown-legend-maria-irene-fornes/

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giarts · 4 years

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Navigating Toward Justice

Submitted by Tiffany Wilhelm on May 27, 2020

Reflecting on: What advocacy is being done to address the needs of African, Latinx, Asian, Arab, and Native American (ALAANA) arts communities in need of greater support?

At the top of my to-do list, I keep a list of links to resources that help me navigate philanthropy. They help me wrestle with questions like: how do I/we keep moving in the direction of justice? How can I/we acknowledge that systems of white supremacy, patriarchy, and capitalism have been extracting resources and labor from land and people for centuries and that I/we’ve played a role in that? How can those of us in philanthropy (in its many forms) support the artists and organizers fighting to upend those systems with a myriad of strategies daily? Before the pandemic, during, and after. I’ve shared those links at the end of this post, and my work and words here are indebted to the individuals and collectives whose words are represented there, as well as many others.

• • •

I’m honored to work as a program officer at Opportunity Fund in Pittsburgh, PA. The foundation is the legacy of Gerri Kay, who was a white woman like me, whose values and passions guide our work every day. She fought for (her words) “civil rights for African American and LGBTQ people” and for “humanistic values,” a philosophical and ethical stance emphasizing the value and agency of human beings. Our Executive Director Jake Goodman has said, “Gerri believed that art has precious value, in the lives of individuals and to greater society. Art can break down barriers, build empathy, illuminate new perspectives, criticize existing systems, connect us, humanize us and make the world more beautiful.”

When this crisis hit, we moved quickly to send a message to our grantee community. About a week later, we made deeper commitments to many things called for in this time: increased payout, a COVID-19 Response Fund, loosening restrictions, minimizing reporting, sending approved payments in advance, and a commitment to listen. Jake’s voice and leadership is always full of heart, care, and empathy. I’m so grateful for that.

Then we set about the work to honor those commitments. Jake immediately began spending time in virtual and phone space with our grantees to hear what was happening, how folks were responding, and what was needed. We attended organizing meetings, joined Zoom town hall meetings, and talked to artists and arts organization folks.

Although we’ve been moving toward participatory panel processes in our regular funding cycles, we believed that this moment called for fast, trust-based funding decisions. The Opportunity Fund board reviewed notes from the many conversations, and determined that prioritizing support for grassroots entities and small arts organizations would align with our values and have a strong impact in communities, especially communities of color. These are also the entities least likely to have access to larger foundation emergency funds or government assistance.

As we do in our regular cycles, we looked at the racial representation of our funding in “real time” as we made draft and final decisions about unsolicited grants from our COVID-19 Response Fund with a spreadsheet that was constantly updating the demographic distribution of our funding. It is clear to us that COVID-19, as well as nearly every other system in this country, has disproportionate negative impacts on people of color, so our funding needed to reflect that greater need.

In the end, 43% of our COVID-19 Response Fund went to Black-led organizations, 35% to white-led organizations, and 23% went to organizations with Latino or multi-racial-team leadership. Over half the funds went to entities with budgets under $500,000 and 79% went to entities with budgets of $1.5 million or less. Much of the funding was unrestricted. We have also pre-approved some general operating grants for arts organizations in our next cycle, no application required. We sent our list of grantees to foundation colleagues, knowing that funding from one foundation can be the vote of confidence needed for another foundation to give, especially to small organizations.

• • •

Beyond the Opportunity Fund, it’s also my deep honor to be a facilitator and board member for artEquity. Early in the pandemic, philanthropist Wendy vanden Heuvel made a strategic and justice-centered decision. She asked artEquity—a community whose values align with how she wanted to distribute resources—to take full control and power over how to allocate $1 million toward COVID-19 relief. The team at artEquity, led by Carmen Morgan, sought advice from people throughout the community by asking questions including, “How can we disrupt old patterns of philanthropy? What can we do to rebuild a system of giving informed by our values and ethos of justice? When this moment is over, what can we take away from this new model of giving?” Soon after, the team developed a plan to launch the Artist + Activist Community Fund, a rapid response fund targeted specifically to alumni of artEquity national facilitator training and organizations and funds recommended by that alumni community.

The list of entities, funds, and artists supported to date is fierce. Scroll down that page and you will see the artEquity team's transparent report to the community about where the funding is going and the demographic representation of the distributed funds. The team is analyzing that data to identify who isn't receiving sufficient funding and asking how we can seek out those folks for the next rounds of funding.

artEquity has shared some lessons learned relevant to all of us well beyond 2020:

Give support to individuals, not just institutions;

Build relationships 365 days a year, not just when needs are acute;

Provide support to individuals [and organizations] without asking them to prove their worthiness;

Be mindful of your identity (race, gender, disability, immigration status, sexual orientation) and how that may impact which people and organizations you support;

Give to people with social justice values who will in turn exponentially spread those ideals through their work and art-making.

• • •

To the question, “What advocacy is being done to address the needs of African, Latinx, Asian, Arab, and Native American (ALAANA) arts communities in need of greater support?”

While some institutions have used their resources to enter public conversations, amplify voices, conduct policy research, develop communications campaigns and advocate for policy change, the small organizations I work with most intimately have responded to the crisis largely through practices that deliberately prioritize communities of color.

This everyday advocacy is being done by people of color—often Black women—doing mutual aid work, leading grassroots organizing, providing healing and mental health support, distributing resources, and advocating in predominately white institutions and funding entities. I’m grateful it’s being done at Opportunity Fund and artEquity. It’s being done by each human committed to justice speaking up for levels of support long stolen or withheld from Black, Indigenous, People of Color artists/individuals, and organizations. It’s being done anytime someone points out that predominantly white institutions still receive the vast majority of funding.

It’s not yet enough, but I hope it represents navigation in the direction of justice.

A Just Transition for Philanthropy

Philanthropy Has Changed How It Talks — But Not Its Grantmaking

Can Foundations Achieve Equity?

Pretty much everything that Vu Le writes

Justice Funders Assessment

5 Lessons to Guide the Transition to a More Just Philanthropy

Resonance: A Framework for A Philanthropic Transformation

Trust-Based Philanthropy Project

Barcelona Commitment from EDGE Funders

It Takes Roots Challenge to Philanthropy (during COVID and always)

COVID-19: Using a Racial Justice Lens Now to Transform Our Future

All of Justin Laing's work

Tiffany Wilhelm is program officer at the Opportunity Fund.

Posted by Tiffany Wilhelm on May 27, 2020 at 01:22PM. Read the full post.

#arts #philanthropy #nonprofit

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doomonfilm · 5 years

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Review : Under the Silver Lake (2018)

At long last, Vudu has come through for me. Since the earliest days of this blog, I’ve had a (perhaps unhealthy) fascination with Under the Silver Lake, the trailer I saw early in 2018 that grabbed my attention and would not let go, only to never manifest itself in a theater even remotely near me. The festival buzz was raving, the reviews were positive, and yet, some mysterious issue was keeping me from seeing the movie. Finally, nearly a year and a half later, I have the film in my grasp.

Sam (Andrew Garfield) is a resident of the Silver Lake neighborhood in Los Angeles, where he spends most of his days aimlessly spying on his elderly exhibitionist neighbor (Wendy Vanden Heuvel), spending quality time with his actress friend (Riki Lindhome), wandering around the area with no real purpose, and studying the lore of Under the Silver Lake, a local zine he is fascinated with that talks about local urban legends. One day, Sam meets Sarah (Riley Keough), a beautiful and mysterious young lady he’s seen around for a day or so, and they hit it off beautifully. Just as they are about to get intimate, however, Sarah’s roommates return home, and Sam is asked to leave, but given permission to return the following day. Upon his return, however, he is shocked to find the apartment almost completely emptied, with no trace of Sarah or her roommates remaining, except for a small shoe box full of personal effects (which is retrieved) and a mysterious marking on the wall behind her bedroom door. Sam, being the conspiracy fanatic that he is, finds himself immediately immersed in a deep and winding mystery to discover what happened to Sarah, in hopes of locating her and reconnecting.

For people that love paranoia portrayed on-screen (such as myself), this film is a beautiful fever dream that manages to echo classics like Pi, The Big Lebowski, Magnolia, Vertigo and Sunset Boulevard. The way that the film sets up and immediately doubles down on its narrative stems is wholly engaging, like some sort of quicksand or tractor beam that keeps pulling you deeper and deeper into the story. Like some sort of twisted descent into madness, we follow our main character down a manic rabbit hole as the discoveries he makes hit him deeper and deeper at his core, as if to illuminate his disillusionment.

The web of intrigue spun by this film is truly admirable, as it finds ways to integrate cult-like killer messages, the missing, hobo graffiti, Vanna White, secret messages in the open, zines, pop culture references and so much more into its menagerie. This is more than matched by the diversity of locations visited in the search for the common thread that ties the entire mystery together. The way that Andrew Garfield’s character acquires knowledge and items only to turn around and use them in the manner that a video game character would was certainly not lost on me. It’s almost as if the whole film is a grand, over the top allegory about us learning to ‘read the signs’.

The camera is kinetic, wavering between dynamic push-ins and the use of unique perspective rigs, actually substituting for the perspective of our protagonist, and sometimes going all out artistic with its movements. The lighting gets ultra moody when in the indoor locales and in the nighttime, punctuating the tone of the narrative quite well. The animation portions put us as close to reading a comic as a film can, further helping to establish a sense of lore and mystery in the film. The soundtrack is money, ranging through a collection of songs that would make a college radio DJ proud. If I were a costume or set designer, this would be the type of film that I’d like to put together. The editing carries us along the course of the narrative the way that one would flip pages of the book, with each turn promising more and more revelations from scene to scene. There are tons of references to old and new Hollywood, Los Angeles, and even a pretty funny Spider-Man joke at Andrew Garfield’s expense.

Andrew Garfield’s ‘leaf on the wind’ meets ‘Rainman’ mentality works perfectly for this film, as he seems fragile enough to be pulled along the narrative, but intuitive enough to decipher each riddle along the way. Riley Keough turns the charm and flirtation up for her early brief appearances, providing just enough of a hook for us to dedicate ourselves to Sam’s journey to find her, and the answers surrounding her. Patrick Fischler takes Garfield’s code-mind and amplifies it to the highest degree, coming off just a shade under crazy. Callie Hernandez is another one who maximizes her brief screen time, with her character’s personal tragedy causing a dichotomy that plays against her party-based nature. Jimmi Simpson (one of my favorite actors) hits the ball-busting best friend on the nose, also providing occasional sage advice in offhanded ways. The cast of this film is sprawling, but many of the members make standout appearances, including Don McManus, Jeremy Bobb, Topher Grace, Grace Van Patten, Wendy Vanden Heuvel, Luke Baines, David Yow and a handful of other individuals.

Happily, I can say that Under the Silver Lake (in my opinion) was well-worth the wait. Maybe one day I can find out why it was delayed so long (possibly it was due to the one bit of over the top violence), but regardless, I plan on spreading the word about this one.

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