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    ‘Becoming King’ Review: An Actor Marches On

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    This documentary about Ava DuVernay’s 2014 Martin Luther King drama “Selma” plays more like a David Oyelowo tribute than a proper look at the difficulties of making the film.“Becoming King,” a documentary on Paramount+, traces the actor David Oyelowo’s journey to playing the Rev. Dr. Martin Luther King Jr. in Ava DuVernay’s 2014 drama “Selma.”Directed by Jessica Oyelowo (the actor’s wife), it’s a lackluster, dutiful affair that plays more like a hagiographic appreciation of David Oyelowo than a tribute to the making of “Selma.” In part, the documentary seems like a reaction to Oyelowo’s Oscars snub the following year in the best actor category, though it does a lousy job at making its case.The first part of the film digs into Oyelowo’s origins: first, as a child who grew up poor in Lagos, Nigeria; and then, as a theater prodigy who took on leading roles in London’s Royal Shakespeare Company. The next step was Hollywood, where Oyelowo established himself with parts in films that, when strung together, create a history of civil rights in America: Think “Lincoln,” “Red Tails” and “The Help.”Throughout, the director weaves what appears to be home-video footage from the nearly seven-year process it took to make “Selma.” Around these snippets, which show David at home, taking work calls, or verbalizing his anxieties about playing the civil rights leader, we hear from talking heads like Oprah Winfrey (a producer on the film), Lee Daniels (who was at one point signed on to direct) and DuVernay.Nothing they say is particularly interesting; they shower the expected compliments on Oyelowo and, otherwise, offer little else beyond their own symbolic power. These are Black entertainers, coming together to make a rare high-profile Hollywood feature about Dr. King, but the documentary only rehashes these facts without truly exploring what made “Selma” such a risky project to mount. Aside from a brief segment with the actor’s dialect coach, we never really get a sense of Oyelowo’s process, either — or the challenges he faced portraying an icon who was also a flesh-and-bones human with imperfections and ambiguities. “Becoming King” exhibits the kind of self-importance that ultimately diminishes the subject, be it Dr. King or Oyelowo.Becoming KingNot rated. Running time: 1 hour 6 minutes. Watch on Paramount+. More

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      Aunjanue Ellis-Taylor and Ava DuVernay on the Emotional Journey of ‘Origin’

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      Ava DuVernay and Aunjanue Ellis-Taylor were in the middle of shooting their new drama, “Origin,” when Ellis-Taylor gave the writer-director some last-minute homework.The two were hours away from filming a scene in which the actress’s character, Isabel Wilkerson, the Pulitzer Prize-winning author of “Caste: The Origins of Our Discontent,” gets into an argument with her husband, Brett (Jon Bernthal), after a party. Ellis-Taylor felt the scene required a few extra beats of dialogue and asked DuVernay to write some.“She said, ‘I think we need something here,’” recalled DuVernay, who agreed to write the new material during her lunch break. “I trusted that she, inside the character, knew what she was talking about.”That level of trust, amid the daily high wire act of a modestly budgeted production — filmed at a brisk pace across three continents — was typical of a collaboration that DuVernay called her deepest with an actor since working with David Oyelowo on “Selma,” her breakout film released nearly 10 years ago.Jon Bernthal with Ellis-Taylor in a scene from “Origin.”NeonIn Ellis-Taylor, DuVernay saw an actor of “outsized power,” capable of giving her imaginative take on the making of Wilkerson’s book a vital emotional anchor. Ellis-Taylor, nominated for an Oscar in 2022 for “King Richard,” saw in DuVernay a “director of consequence,” perhaps the only person who could successfully adapt “Caste” — a best-selling, Big Idea book that links systems of oppression in the United States, Nazi Germany and India.“She is a freedom fighter,” Ellis-Taylor said. “There are consequences and repercussions because of the work that she does, and that separates her, I believe, from most artists.”In a joint interview last month in Manhattan, the actor and filmmaker discussed finding the heartbeat of the critically acclaimed drama in personal material not included in the book, the transformative influence of shooting in Berlin and Delhi and the importance of Bernthal’s swagger. These are edited excerpts from the conversation.Ava, one of the fascinating things about this film is that it’s not a typical adaptation. It’s part adaptation and part bio-drama, tracking a harrowing period of Wilkerson’s life while she was researching and writing “Caste.” What led you to make that decision?AVA DUVERNAY I needed a character who could personalize the concepts — the psychology and the history and the legacy of caste. I didn’t know [Wilkerson], but I watched interviews with her and thought that she could be the one to take us on this journey. When I pitched her, I told her I would need to hear the stories that are behind the book, none of which are in the book, and she very generously shared them with me. As a writer, I think she instinctively knew that I would need freedom to interpret the story. And she gave me that.With DuVernay’s films, “There are consequences and repercussions because of the work that she does, and that separates her, I believe, from most artists,” Ellis-Taylor said.Gioncarlo Valentine for The New York TimesAunjanue, you didn’t meet Wilkerson before filming. What did you draw on to create your performance?AUNJANUE ELLIS-TAYLOR I watched her famous TED Talk about “The Warmth of Other Suns” [her award-winning 2010 book about the Great Migration] and her interviews with Bryan Stevenson and Michael Eric Dyson. But [“Caste”] was my bible. Her writing is so intimate and personal — you can feel her blood coursing through every sentence. Often, she’ll be talking about a subject, and she’ll say, “This happened to me, too.” I felt like I knew where she was coming from just by reading her words.The film is inventive in the way it turns the book’s ideas into visual entertainment. Scenes of Wilkerson honing her thesis with friends, family and colleagues alternate with dreamlike, historical re-enactments of some of the central stories she is citing. How did you figure out what was enough and what was too much when it came to unpacking the concepts and the history?DUVERNAY One thing that was really important was just to have people to talk about it with. I had a handful of people who were living inside the book with me and who were fluent in its ideas. Aunjanue; my producing partner, Paul Garnes; my cinematographer, Matt Lloyd; and my friend Guillermo del Toro. David Oyelowo read the script and was really helpful, too. They helped me figure out how to turn the book into a springboard to conversations about these things.Wilkerson’s husband, Brett, is mentioned only briefly in the book’s epigraph and acknowledgments, but he is central to the movie’s emotional arc. What made you think of Bernthal?DUVERNAY As soon as Aunjanue said yes, we had the challenge of who could hold the frame with her. Jon not only believed in the project, he was very interested in working with Aunjanue, specifically. [The two co-starred in “King Richard.”] He flew out to Savannah, where I was working, just to meet with me, on his own dime, which is something that doesn’t happen to me very often. Plus he had the appropriate swagger — that was important. I had to be able to look at this guy and think, “He can pull her.”ELLIS-TAYLOR He is just a lovely and generous human being. He supported me in a way that our performances felt lived in — they didn’t feel performed.Did filming on location — in Berlin and Delhi — influence the way you told the story, or even your understanding of the text?ELLIS-TAYLOR In every way. Because Isabel going to India, smelling things that she had never smelled before, learning things that she had only heard about, all of that stuff was happening to Aunjanue, to me personally. I’m not a scholar, but I was able to get a sense of what that experience was like. I’m so grateful to Ava for insisting that we go to these places.When Ellis-Taylor asked for a scene rewritten, “I trusted that she, inside the character, knew what she was talking about,” DuVernay said.Gioncarlo Valentine for The New York TimesDUVERNAY Paul Garnes and I, we always knew that, even though we were on this very finite independent budget, we needed to get to the real places. We needed to be in the real square of Bebelplatz [in Berlin], where the books were burned. [In 1933, a Nazi group and supporters burned more than 20,000 blacklisted books in the square.]Could I have found a square in Georgia to do it and enjoyed the tax credit? Probably. Would it have felt as emotionally resonant as it was for everyone when we were actually standing there in the place where it happened? Certainly not. Or to go to Delhi, in a country that is closely associated with caste, and to be there as an African American and just fall into a sea of beautiful Brown people. To understand that even as I look at them all and see them as one, they don’t see each other that way? That these divisions have been ingrained in their faith, culture and society?For me, coming from a society where it’s all about skin color, it helped me understand that we as human beings will always figure out how to bifurcate and categorize and create hierarchy. That’s the core of so many of our problems. If you don’t know that, then you’re treating the symptoms and not the disease.Ava, there’s a way in which this movie feels like a synthesis of all the work you’ve made since your narrative feature debut more than a decade ago. There’s a meditation on grief à la “I Will Follow,” an intimate love story like in “Middle of Nowhere,” and historical figures involved in the struggle for racial justice as in “Selma” and “13TH.” Were you conscious of that while you were making it?DUVERNAY I wasn’t. But my editor, Spencer Averick, who I’ve worked with since my first movie, said that to me at one point. I feel like everything I’ve done before, even shooting internationally for “A Wrinkle in Time,” which is a whole different discipline, prepared me for this film. I felt really in the pocket. There was nothing on set that was like, “I don’t know how to do this scene,” or, “I don’t know what’s next.” It was, “I got this,” which was an overwhelmingly fulfilling experience.I felt like, if tomorrow I decided I just was going to be a painter or, I don’t know, go back to being a publicist, I could, because making this movie was so satisfying. In the past, I would finish a movie and feel like, “I hope they like it!” But this time was different. I think a lot of that feeling comes from using their money — the Hollywood machine. This was made outside of the machine, and it felt very free and very liberating. More

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      ‘Origin’ Review: Ava DuVernay’s Film Explores the Roots of Our Racism

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      Ava DuVernay’s new feature film, adapted from the Isabel Wilkerson book “Caste,” turns the journalist into a character who examines oppression.Ava DuVernay’s “Origin” is as audacious as it is ambitious. At its core, it concerns an intellectual argument about history and hierarchies of power, but it’s also about the fraught process of making this argument. It’s a daunting conceit that DuVernay has shaped into an eventful narrative that is, by turns, specific and far-ranging, diagnostic and aspirational. It is a great big swing about taking a great big swing, and while the film is more persuasive as a drama than the argument it relays, few American movies this year reach so high so boldly.The inspiration for “Origin,” which DuVernay both wrote and directed, is Isabel Wilkerson’s acclaimed, best-selling 2020 book “Caste.” In it, Wilkerson argues that to fully understand the United States and its divisive history, you need to look past race and grasp the role played by caste, which she sees as an artificial and static structural “ranking of human value that sets the presumed supremacy of one group against the presumed inferiority of other groups.” Caste, she writes, separates people — including into racially ranked groups — and keeps them divided. These separations, as the subtitle puts it, are “The Origins of Our Discontents.”For the film, DuVernay has turned Wilkerson into a dramatic, at times melodramatic character of the same name — a moving Aunjanue Ellis-Taylor — who develops her thesis while traversing history and continents on a journey from inspiration to publication. The movie also includes segments of varying effectiveness that dramatize Wilkerson’s understanding of specific caste systems: One is set in Nazi Germany in the 1930s, another in Depression-era Mississippi and a third in India over different time periods. This last interlude focuses on Dr. Bhimrao Ambedkar (Gaurav J. Pathania), who helped draft India’s Constitution and championed the rights of Dalits, people once deemed “untouchables.”Isabel’s intellectual quest is bold, sweeping and determinedly personal — a handful of close relatives have decisive roles — and DuVernay’s version of that venture is equally expansive. She gives it tension, tears, visual poetry, shocks of tragedy, moments of grace and many interlocking parts. “Origin” opens in 2012 with a re-enactment of the last night in the life of Trayvon Martin (Myles Frost), the unarmed 17-year-old who was fatally shot by George Zimmerman, a neighborhood watch volunteer. The killing becomes the catalyst for her thesis about caste because, the more she considers it, the more she believes that racism alone can’t explain it. Racism, she says at one point, has become “the default” explanation.Isabel’s process unfolds rapidly and is framed by her resistance to the default. Her resistance surfaces in a discussion that she has with her husband, Brett (a sympathetic Jon Bernthal), and mother, Ruby (Emily Yancy), as they watch President Obama address Martin’s death on TV. It also informs Isabel’s talks with an acquaintance (Blair Underwood), who early on urges her to write about the case, pushing her to listen to the 911 calls that were made the night Martin was killed. (Wilkerson is a former bureau chief for The New York Times; her first book is “The Warmth of Other Suns: The Epic Story of America’s Great Migration.”)Isabel does listen to the 911 calls one quiet evening at home. Steeling herself, she begins the recordings, at which point the scene shifts to the night of the killing; it’s as if she had hit play on a grotesque movie. As DuVernay cuts back and forth between Isabel and that night, you hear George Zimmerman, a largely offscreen presence, talking to a dispatcher as he follows the worried teenager in his car. (“He’s running.”) You also watch as a terrified Martin struggles for his life. DuVernay’s staging here is blunt, visceral and harrowingly intimate. Isabel is shaken and so are you, in part because the 911 calls in the re-enactment are real.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Venice Film Festival Finds Drama Without Zendaya

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      Day 1 brought challenges but not “Challengers,” the film that had been scheduled to open this usually starry event until it was delayed by the strikes.The sky in Venice wept on Wednesday, for there were no pictures to be taken of Zendaya in couture clambering from a speedboat.No? Too much? Well, it’s hard not to sound melodramatic at a film festival where the movies are big but the mood swings are even bigger. Let me clear my throat, take a swig of this Aperol spritz, and start again …The 80th edition of the Venice Film Festival kicked off on this rainy Wednesday with several big-name auteurs in attendance but few of the stars that this event has come to count on. With dual strikes by the writers and actors guilds forcing a Hollywood shutdown, and the actors forbidden from promoting studio films during the labor action, Venice will inaugurate a fall film season that is still in significant flux.The first day was meant to be turbocharged by the presence of Zendaya, who turned heads here two years ago in a series of stunning dresses while publicizing the first installment of “Dune.” But the shutdown cost Venice the new film she stars in, Luca Guadagnino’s “Challengers,” in which she plays a tennis pro who has to make a romantic choice between two best friends, played by Josh O’Connor and Mike Faist (the cheeky marketing materials tease that on at least one night, she chooses both).Without its lead available to support the film, MGM delayed the release of “Challengers” to spring 2024 and yanked it from the Venice lineup. Taking its place as the festival’s opening-night film was “Comandante,” a World War II film told from the point of view of Italian submariners. While it’s well-shot and full of suspenseful battle sequences, “Comandante” features exactly zero tennis hotties contemplating a threesome, which may hinder its ultimate appeal with a Venice audience that was promised starry romantic high jinks.Though the festival’s artistic director, Alberto Barbera, admitted at a news conference on Wednesday that the likes of Emma Stone (“Poor Things”) and Bradley Cooper (“Maestro”) will not be attending Venice because of the strike, other actors who hail from more independent productions have managed to secure guild waivers, including “Ferrari” star Adam Driver, “Memory” lead Jessica Chastain, and the cast of Sofia Coppola’s “Priscilla.” They’re expected to show up on the Lido this week alongside a posse of high-powered directors that includes David Fincher (“The Killer”), Ava DuVernay (“Origin”) and Richard Linklater (“Hit Man”).Still, the strikes loom large. At Barbera’s news conference, the jury president, the filmmaker Damien Chazelle (“La La Land”), dressed for maximum solidarity, donning a “Writers Guild on Strike!” shirt and a similar button on the lapel of his sport coat. He noted that as of Wednesday, the writers had been on strike for 121 days, with the actors joining them for the last 48 days, and he called on studios to compensate those artists fairly.“I think there’s a basic idea that each work of art has value unto itself, that it’s not just a piece of content, to use Hollywood’s favorite word right now,” Chazelle told reporters, adding that that idea “has been eroded quite a bit over the past 10 years. There’s many issues on the table with the strikes, but to me, that’s the core issue.”Chazelle was joined by the directors Martin McDonagh and Laura Poitras, who both wore shirts supporting the Writers Guild. They are part of a jury that includes the filmmakers Jane Campion and Mia Hansen-Love, among others.“I’m not sure I entirely deserve this spot, but I will do my best to live up to it,” Chazelle said. “I thank Mr. Barbera for his foolishness in letting me try it out.”Though Chazelle has been to Venice a few times before, to debut “La La Land” and his follow-up, “First Man,” he said he still found the place quite surreal. “That fact that you take a boat to a screening, it’s silly,” Chazelle said. “Cinema, to me, is a waking dream and that, to me, is Venice.”See what I said about melodrama? When you’re in Venice, where even the paint peels in the most picturesque way, you just can’t help yourself from indulging. That’s how your columnist felt last night in the rain, mulling over two of the worst disasters to hit Italy in quite some time: St. Mark’s Square was flooded, and there was no Zendaya. But at least the sun will come out tomorrow here, as will the new films by Michael Mann and Wes Anderson. More

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      Venice Film Festival 2023: What to Watch For

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      New films from David Fincher, Sofia Coppola, Ava DuVernay and Michael Mann will make up for the absence of stars kept away by the Hollywood strikes.A year ago, the Venice Film Festival had enough star power to put even celebrity-worshiping Cannes on notice. Highlights were quickly beamed all over the world, including the notorious “Don’t Worry Darling” kickoff that fueled endless speculation about the film’s director, Olivia Wilde, and her stars Florence Pugh and Harry Styles; the news conference where an unexpectedly sagacious Timothée Chalamet predicted imminent societal collapse; and the tearful Brendan Fraser comeback that began on the Lido and culminated in his best actor Oscar win.But without all of those celebrities, can Venice still go viral?The 80th edition of the festival, which begins on Wednesday, will be significantly affected by continuing strikes by the Screen Actors Guild (or SAG-AFTRA) and the Writers Guild of America, since the actors’ union has instructed its members not to do press for any studio movies until the strike against those companies is resolved. That puts Venice in a bind, as it’s regarded as one of the best places for Hollywood to unveil starry awards-season titles. Few major actors will even be permitted to attend this year.The actors’ strike has already cost Venice its original opening-night film, Luca Guadagnino’s sexy tennis romance, “Challengers,” since MGM delayed it from September to spring in the hopes that its lead, Zendaya, will be allowed to promote it several months from now when the strikes might be resolved. (A low-profile Italian film is opening instead.) And I’ve heard of a few more starry fall films that were earmarked for Venice but opted for the Telluride Film Festival instead, since that event is less driven by the photo ops and news conferences that are no longer feasible in Italy.Despite some of those trims, the Venice lineup is still enticing, with an auteur-heavy list featuring directors nearly as famous as their leads. And Venice has proved before that it can adapt to unfavorable limitations: Amid the pandemic in August 2020, the festival opted for a smaller, partly open-air edition that still went on to premiere the eventual winner of the best picture Oscar, “Nomadland.”Emma Stone, left, and Mark Ruffalo in “Poor Things,” from Yorgos Lanthimos. Atsushi Nishijima/Searchlight Pictures, via Associated PressThis year’s program includes two films about assassins-for-hire: David Fincher’s new thriller, “The Killer,” stars Michael Fassbender, while Richard Linklater’s “Hit Man” features the “Top Gun: Maverick” breakout Glen Powell, who also served as a co-writer. I’m curious about the off-kilter comedy “Poor Things,” directed by Yorgos Lanthimos (“The Favourite”) and starring Emma Stone as a sexually curious Frankenstein’s monster. Ditto “Maestro,” Bradley Cooper’s second directorial effort, after “A Star Is Born.” He’s cast himself as the composer Leonard Bernstein, opposite Carey Mulligan as Bernstein’s wife, Felicia, and his decision to wear a prosthetic nose has already set off controversy.Baz Luhrmann’s “Elvis” was a big hit last year, but what will that story look like through Sofia Coppola’s lens? The “Lost in Translation” and “Marie Antoinette” director puts her spotlight on Elvis Presley’s wife with “Priscilla,” featuring Cailee Spaeny as teen bride Priscilla Presley and the “Euphoria” star Jacob Elordi as the singer. Ava DuVernay has adapted the Isabel Wilkerson book “Caste” for her new film, “Origin,” which stars the Oscar nominee Aunjanue Ellis in an examination of racism and systemic oppression. And though Michael Mann has secured a guild exemption that would allow the cast of “Ferrari” to promote it in Venice, I’m curious whether his new film’s press-shy lead, Adam Driver (as the racer-turned-car-magnate Enzo Ferrari), is willing to do a full-blown media blitz for the movie, which the hot indie studio Neon is releasing in theaters on Christmas Day.Two years after the release of his Oscar-winning breakthrough “Drive My Car,” the director Ryusuke Hamaguchi returns to the festival circuit with “Evil Does Not Exist,” which originated as a dialogue-free short and became a feature-length film about ecological collapse. And two months after releasing his feature-length “Asteroid City,” the director Wes Anderson is opting for something shorter with “The Wonderful Story of Henry Sugar,” a 37-minute Roald Dahl adaptation for Netflix.Harmony Korine premiered his biggest film, “Spring Breakers,” at Venice back in 2012, and he’ll return with the mysterious “Aggro Dr1ft,” which stars the rapper Travis Scott and was shot solely using infrared photography. He’s not the only director taking chances: Pablo Larraín, the director of “Jackie” and “Spencer,” has set the divas aside for a moment to make “El Conde,” a black-and-white supernatural fable that reimagines the Chilean dictator Augusto Pinochet as a bloodsucking vampire.And then there are the chances that Venice itself is taking when it comes to three auteurs: It is premiering “Dogman” from Luc Besson, who was accused of sexual assault but cleared by prosecutors; “The Palace” from Roman Polanski, who was convicted of unlawful sex with a minor but fled before he could be sentenced; and “Coup de Chance” from Woody Allen, who has denied sexual abuse accusations by Dylan Farrow, his adopted daughter.Venice will also serve as an elegy of sorts for the director William Friedkin, who died earlier this month and whose final film, the naval drama “The Caine Mutiny Court-Martial,” will premiere posthumously on the Lido. Adapted by Friedkin from the Pulitzer Prize-winning novel by Herman Wouk, it stars Jake Lacy and Kiefer Sutherland. More

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      Portraits of Serena and Venus Williams, Ava DuVernay Coming to the Smithsonian

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      Serena and Venus Williams and Ava DuVernay, and the artists who portrayed them, talk about their choices, which will be on view at the National Portrait Gallery.Three strikingly personal and introspective new portraits of three famous women — the tennis champions Serena and Venus Williams and the filmmaker Ava DuVernay — go on view at the Smithsonian’s National Portrait Gallery in Washington on Nov. 10 as part of the institution’s Portrait of a Nation Award.The award, recognizing individuals who have made extraordinary contributions to the United States, includes the gallery’s acquisition of the new portraits of these groundbreaking Black women and the other honorees this year — the chef José Andrés, the music executive Clive Davis, the president’s chief medical adviser, Anthony S. Fauci, and the children’s rights activist Marian Wright Edelman. (For Edelman, the gallery’s curators acquired a photograph by Ruven Afanador from 2013.) Each of the other honorees worked with the curators to select the artist to represent them, and the works will remain on view in the exhibition “Portrait of a Nation” until Oct. 22, 2023.This award program, begun in 2015 and honoring people every two years, is an effort “to grow our collection in a way that truly recognizes the diversity of the country,” said the director, Kim Sajet, “working with dynamic contemporary artists who are pushing the boundaries of what portraiture can be.”The Williams sisters and DuVernay each chose to collaborate with a rising Black artist on the new commissions (as did Andrés, selecting Kadir Nelson; Davis worked with DavidHockney and Fauci with Hugo Crosthwaite). DuVernay took the opportunity to support Kenturah Davis, an artist she knows and collects. Serena Williams had followed the career of Toyin Ojih Odutola and selected her from a shortlist under consideration. Venus Williams was more exploratory, meeting with multiple artists culled by the gallery’s curatorial team and her own research and picking Robert Pruitt from some two dozen possibilities.Here is how those three portraits came together.From left, Robert Pruitt, Toyin Ojih Odutola and Kenturah Davis.From left: Brandon C. Luckain; Beth Wilkinson; via Kenturah DavisVenus Williams and Robert PruittThe idea of Venus Williams dropping by for a visit was surreal to Pruitt, born in Houston and based in the Bronx. He typically hires models for his large-scale figurative portraits, informed by comic book graphics and symbolic objects, which explore Black experiences and mythologies. “She came to my studio and was so down to earth,” Pruitt said. They immediately bonded over his huge comic book collection on display.The Fine Arts & Exhibits Special SectionBigger and Better: While the Covid-19 pandemic forced museums to close for months, cut staff and reduce expenses, several of them have nevertheless moved forward on ambitious renovations or new buildings.A Tribute to Black Artists: Four museums across the country are featuring exhibitions this fall that recognize the work of African and African American artists, signaling a change in attitude — and priorities.New and Old: In California, museums are celebrating and embracing Latino and Chicano art and artists. And the La Brea Tar Pits & Museum is working to engage visitors about the realities of climate change.A Cultural Correction: After removing all references to Columbus from its collections the Denver Art Museum has embraced a new exhibition on Latin American art.More From the Special Section: Museums, galleries and auction houses are opening their doors wider than ever to new artists, new concepts and new traditions.After being selected, Pruitt visited Williams in Florida armed with a massive photo download. “I wanted to get a sense of what kind of images of herself she likes and she was very clear, picking a photo she had taken of herself in the mirror,” Pruitt said.He used that as the compositional reference to build out his double-figured portrait of her — with Williams in one instance facing the viewer and encircled by a celestial halo of kinetic white beads (referencing her beaded hair in motion on the court as a young girl). A mirrored Williams, shown from behind and in profile, wears a tennis skirt made of raffia and the Wimbledon trophy dish refashioned as a collared chestplate apropos for a warrior superhero.Williams gave Pruitt information about her family and her relationship to tennis history that he has embedded, such as studding the swirling beads with the birthstones of her siblings. “It was really interesting to work with another voice involved in the process,” he said, a first for him.Pruitt sees “a fertile space of reflection” between his two Venuses. “My hope,” he said, “is that the duality of the portrait gives us this sense of a person looking back at themselves, considering where they came from and where they’re going.”Ava DuVernay and Kenturah DavisKenturah Davis’s portrait of Ava DuVernay. “I wanted to push myself in a different direction than I’m used to seeing myself,” DuVernay said.National Portrait Gallery, Smithsonian InstitutionKenturah Davis takes language as a departure point, using rubber stamps of letters spelling out personal texts meaningful to her portrait subjects to draw their images. This process mesmerized DuVernay when she first met Davis several years ago.When the two women, based in Los Angeles, met up to discuss the portrait, Davis suggested using a blur technique she has recently introduced. “I was really interested in making a figure in motion and thought it paired well given Ava’s relationship with motion pictures,” Davis said. DuVernay was hesitant initially, she said, but “I wanted Kenturah to feel free.” And, she added, “I wanted to push myself in a different direction than I’m used to seeing myself.”They collaborated on a photo shoot, where Davis used a long exposure to capture the turning of DuVernay’s face from front to side view in a single elongated image. Then, Davis translated the photographic information onto a larger-than-life-size drawing, rendering DuVernay’s double-faced image pixel by pixel using rubber stamps dipped in ink spelling out a message of encouragement that DuVernay received from her father shortly before he died.“It’s a kind of embodiment, that she’s made up of these words,” said Davis. DuVernay likes that the message is only legible in pieces up close, like “a secret inside of the work.”DuVernay described being startled, in a good way, when she saw the result. “I’ve never seen anything like that of myself — that large, that personal,” she said. “There’s a spirit moving between the two countenances that feels revelatory.”Serena Williams and Toyin Ojih Odutola“I wanted to show her physique but also show her relaxed,” Ojih Odutola said of her portrait of Serena Williams.National Portrait Gallery, Smithsonian Institution“What I am interested in as an artist is what is often overlooked, what people might not notice about a subject,” said Toyin Ojih Odutola, the Nigerian-born, New York-based artist known for her life-size figurative drawings exploring identity and rendered in charcoal, pastel, ballpoint pen and pencil. With Serena Williams, among the most photographed people in the world and often framed as fierce or glamorous, what was missing in representations was her sense of joy, Ojih Odutola felt.“I thought about her being a mother, a sister, a daughter, and how funny she is,” Ojih Odutola said. In a first exploratory Zoom conversation, the artist asked about depicting her laughing, Ojih Odutola said. “Serena loved that.”Ojih Odutola traveled to Williams’s home in Florida to take reference photos, from which she would construct a composite. “Serena looked at them on the day and liked it, but kind of left it to me,” Ojih Odutola said.Ultimately, the artist decided to go with her gut, presenting Williams with a wide rapturous smile and resting her head on her hand, almost becoming enveloped by vibrant green foliage encroaching from behind.“I wanted to show her physique but also show her relaxed,” Ojih Odutola said. “I wanted to show her as a beautiful Black woman.” She finished the portrait before Williams announced she would step away from tennis after the recent U.S. Open, giving the image another layer of meaning.“This year had been a season of change and evolution for me,” Williams said in an email. “Toyin’s perspective as an artist is unparalleled and to be able to say Toyin Ojih Odutola painted my portrait feels surreal.” More

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      ‘This Is the Life’ Review: A Valuable Part of Hip-Hop History

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘This Is the Life’ Review: A Valuable Part of Hip-Hop HistoryAva DuVernay’s 2008 documentary, now streaming on Netflix, is a personal love letter to a slice of Los Angeles’s 1990s hip-hop scene.Medusa is one of the hip-hop artists featured in Ava DuVernay’s 2008 documentary “This Is the Life.”Credit…ArrayFeb. 23, 2021This Is the LifeNYT Critic’s PickDirected by Ava DuVernayDocumentary1h 37mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Ava DuVernay’s 2008 debut feature, the documentary “This Is the Life,” is a refreshing portrait of a 1990s California hip-hop subculture that thrived separately from gangsta rap. DuVernay’s documentary, now available to stream on Netflix, is a personal project. She performed as part of the rap duo Figures of Speech at the Good Life Cafe — a South Central Los Angeles health food cafe that became a mecca for the underground rap community.Throughout the ’90s, the modest space’s open-mic nights fostered a bevy of young, raw, untainted lyrical voices telling stories of everyday life in L.A. DuVernay combines performer interviews with VHS footage and audio clips of their shows to retell a magical period in the hip-hop scene.In its intertitle graphics and visual typography, “This Is the Life” often mirrors VH1’s “Behind the Music” documentaries. When staging her interviews, however, DuVernay imprints unique compositions onto the familiar music-doc style by using the respondents’ spacious surroundings to frame them. To paint the cafe’s milieu, she identifies the institute’s stalwarts, such as supportive fans lovingly referred to as “Jean in the front row” and “Big Al.” Not only does DuVernay feature the cafe’s Black male M.C.’s like Abstract Rude and Chillin Villain Empire, she underscores the white, Latino and female artists who also appeared on the Good Life stage.[embedded content]The venue’s traditions are also outlined: No leaving gum on the floor; no leaning on the paintings; avoid the phrase “wiggidy wiggidy” in freestyles; and no profanity — meant to ensure a clean space and substantive rhymes. Audiences at the Good Life wanted to hear idiosyncratic freestylers using distinct techniques to tell unique stories. Rappers who failed to meet crowd expectations, in scenes akin to an amateur nightat the Apollo, were booed off the stage. In recalling the night the rapper Fat Joe bombed at the cafe, DuVernay creatively soundtracks the audio from the event over a time lapse of a chalk artist sketching the scene.Word of mouth inspired record deals for some Good Life performers. Jurassic 5, for instance, became gold record-certified in Britain. By 1994, the cafe had built such a reputation that artists like Ice Cube and Bone Thugs-n-Harmony came to listen. And it is claimed (by the rapper Abstract Rude) that those artists incorporated the underground style into their work. When DuVernay plays the Good Life M.C. Myka Nyne’s verse on Freestyle Fellowship’s “Mary” (1993) next to Bone Thugs-n-Harmony’s “Tha Crossroads” (1996), it’s a difficult assertion to dispute.Outside of the film’s director, however, few from the Good Life became household names. But in the illuminating “This Is the Life,” DuVernay not only fills in an important formative gap in California’s hip-hop history, she displays the inventive eye that would later lead to her future cinematic successes.This Is the LifeNot rated. Running time: 1 hour 37 minutes. Watch on Netflix.AdvertisementContinue reading the main story More