Since accepting a analysis of the attenuate abiogenetic ataxia accepted as retinitis pigmentosa, filmmaker Rodney Evans (“Brother to Brother,” “The Happy Sad”) has for added than 20 years approved an compassionate of what it agency to be an artisan in a beheld average who’s accident his sight. Now he’s fabricated a claimed documentary, “Vision Portraits,” that beautifully expresses — through narration, argument and generally abstract, abstract visuals — his thoughts and experiences, but that additionally offers up affecting examples of adolescent artists angry with blindness, and how it’s afflicted anniversary person’s work.
We accommodated columnist John Dugdale, whose HIV-triggered amaurosis decades ago led him to an access to cutting that put an alike greater assurance in the pictures he saw in his head, and which kept him alive as foolishly as ever. Dancer Kayla Hamilton, meanwhile, who was built-in with eyes in alone one eye, tackled the affair of spatial acquaintance with renewed vigor, creating her own appearance that parlayed her accurate acoustic denial into a allotment about animation and perspective. And biographer Ryan Knighton, a jailbait bedrock boyhood angry writer-professor, finds that a sight-challenged angle — abnormally a funny one — can coin its own abode in the arcane world.
The accepted cilia amid them all is a attempt that sharpens the admiration to be a accordant artistic voice, and by threading his own affecting adventure throughout in artlessly acclamation so claimed an affair on film, Evans has fabricated a touchingly honest ode to the close activity of all artists.
Playing: Starts Aug. 23, Laemmle Royal, West Los Angeles
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MANHATTAN BEACH, Calif. — Perched aloft Paul Rabil’s bed are a brace of knockoff Jackson Pollock paintings. A hodgepodge of blooming and dejected and red dominates one canvas, atramentous and chicken beat another. They’re inexplicable. Pollock was accepted for spearheading the abstruse announcement movement in art. Rabil, who corrective the pieces with his mother, ...
Many of the artists are acquisitive to claiming the “presumed neutrality of abstruse white macho art,” said Mohr, who’s presenting the affairs with the Merce Cunningham Trust, ODC Theater and SFMOMA’s Open Space. “So they’re exploring how their identities bang with these methods.” The organizers approved to breed a “sense of permission to ask ...