The Oklahoma City Museum of Art's Film Curator Brian Hearn explores his love for celluloid through recounting his experience loaning out a film print of a 1934 Popeye cartoon, A Dream Walking.
While democracy protesters jammed into Tahrir Square, the Egyptian government cut off and then opened up the internet and Facebook, and British students from the anti-cut movement mounted large demonstrations in the streets of London, the Documentary Now! Conference at the University of Westminster on January 28-30 staged some emerging, key debates about scholarship, exhibition and practice of documentary.
Meet Nina Simon. She’s the author of the Museum 2.0 Blog and The Participatory Museum and she’s been called a “museum visionary.” In our Open Dialogue and on our blog, NAMAC community members have been talking about the challenges museums and art house cinema houses face when trying to engage audiences who desire a more active role in curating their own experiences. Recently I had an opportunity to chat with Simon about her book and about what the "participatory museum" model looks like in action.
I’m a film guy. I like celluloid on reels. I like the whirring machines that play them. This love affair started in my late teens. Seeing Wim Wenders’ Wings of Desire changed my life, ditto for Lina Wertmuller’s Seven Beauties. Discovering the nauseating spectacles of John Waters blew my freakin’ mind as did the Rocky Horror cult.
Sporadic describes the L.A. marginal art screenings, for example, one Sunday or Monday night per month.