Premiere Screening: A Long, Long Now
August 30, 2018 @ 1:00 pm– 2:00 pm EDT
Brought to you by: Squeaky Wheel Film & Media Art Center, Buffalo Center for Art & Technology
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Join us at The Burchfield Penney on Thursday, August 30th at 1 pm for the premiere screening of our Buffalo Youth Media Institute’s film, A Long, Long Now. The film will be presented with the students and a Q&A with the young filmmakers after the screening.
American Artist: Interdisciplinary Artist whose work extends dialectics formalized in Black radicalism and organized labor into a context of networked virtual life. Their practice makes use of video, installation, new media, and writing to reveal historical dynamics embedded within contemporary culture and technology.
Stacey Robinson: Designer, Illustrator and Professor of Art at University of Illinois at Urbana-Champaign. His art speculates futures where Black people are free from colonial influences. Along with John Jennings, he is part of the collaborative duo ‘Black Kirby,’ which explores Afro Speculative existence via the aesthetic of Jack Kirby. Robinson’s work is rooted in traditional comic illustration and is calm and beautiful. Subtly expressing a desire for an equitable future for bodies and identities of color.
Devin Hentz: is a researcher and writer based in Dakar, Senegal. She recently participated in the second session of the RAW Academie, directed by Chimurenga, at RAW Material Company before working there as a librarian and researcher. She is the founder of the B/Look Club which meets once per month to activate the archive of RAW Base (RAW’s Library). Her writings have been published in LESS Magazine and the upcoming issue of Something We Africans Got. Her areas of interests include, Afro/African futures, development narratives in Africa, dress practices, and radical pedagogy.
Phillip Stearns: is the creator of the Year of the Glitch, a yearlong glitch-a-day project, and Glitch Textiles, a project exploring the intersection of digital art and textile design. Stearns’ work is concerned with our relationships with technologies. Through deconstruction and reconfiguration the technologically mediated environment is approached as an assemblage, where human activity plays a role of equivalent importance to environmental agency. From this perspective, the development and application of our technologies, machines and tools reveals our perceptual biases, desires, dreams and fears—both conscious and unconscious. Cultural values and meaning, then, can be viewed as derivative, shaped by the particular conditions facilitating the distribution of agency through cascading exchanges of mediated interactions.