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The film charts her journey from Rome to the global stage, distilling the essence of these poignant artistic exchanges in a single word: sisterhood.",2.3919,"\u002FaAjd0D6GtAYqfIfHW8nW0Qd4Ius.jpg","2025-03-09",{"adult":8,"backdrop_path":249,"genre_ids":250,"id":251,"title":252,"original_language":134,"original_title":252,"overview":253,"popularity":254,"poster_path":255,"release_date":256,"softcore":8,"video":8,"vote_average":87,"vote_count":57},"\u002FbotiJOT6X3ZdQJX25NCWuIenDw7.jpg",[14],1437063,"Stones and Flies: Richard Long in the Sahara","In the fall of 1987, Philippe Haas accompanied the sculptor Richard Long to the Algerian Sahara and filmed him tracing with his feet, or constructing with desert stones, simple geometric figures (straight lines, circles, spirals). In counterpoint to the images, Richard Long explains his approach. Since 1967, Richard Long (1945, Bristol), who belongs to the land art movement, has traveled the world on foot and installed, in places often inaccessible to the public, stones, sticks and driftwood found in situ. His ephemeral works are reproduced through photography. He thus made walking an art, and land art an aspiration of modern man for solitude in nature.",0.7815,"\u002Fowyn1LPEbSXbTXf6LiEY5SEZgrZ.jpg","1988-01-01",{"adult":8,"backdrop_path":10,"genre_ids":258,"id":259,"title":260,"original_language":179,"original_title":260,"overview":261,"popularity":262,"poster_path":263,"release_date":264,"softcore":8,"video":8,"vote_average":11,"vote_count":11},[14,176],1070939,"Black Is the Color: African-American Artists and Segregation","Black Is the Color highlights key moments in the history of Black visual art, from Edmonds Lewis’s 1867 sculpture Forever Free, to the work of contemporary artists such as Whitfield Lovell, Kerry James Marshall, Ellen Gallagher, and Jean-Michel Basquiat.  Art historians and gallery owners place the works in context, setting them against the larger social contexts of Jim Crow, WWI, the civil rights movement and the racism of the Reagan era, while contemporary artists discuss individual works by their forerunners and their ongoing influence.",0.8845,"\u002F8IDAKCXIXxHU5q678ugx6lNRRfU.jpg","2016-07-07",{"adult":8,"backdrop_path":266,"genre_ids":267,"id":268,"title":269,"original_language":134,"original_title":269,"overview":270,"popularity":271,"poster_path":272,"release_date":273,"softcore":8,"video":8,"vote_average":11,"vote_count":11},"\u002Fw2fBbVJbWbEik4jAgyBZhXhKbTd.jpg",[14],1273295,"The Warhol Effect","Lifting the lid on the fascinating last decade of Andy Warhol's life and the legacy he left for future artists, through never-before-seen footage and interviews with insiders.",0.8741,"\u002FndfkxbHkr9V0FoTQOulZrqm9TMa.jpg","2024-04-10",{"adult":8,"backdrop_path":10,"genre_ids":275,"id":276,"title":277,"original_language":134,"original_title":277,"overview":278,"popularity":279,"poster_path":280,"release_date":281,"softcore":8,"video":8,"vote_average":11,"vote_count":11},[14],1432230,"Il Grande Cretto di Gibellina","An enormous shroud of white cement covers a hillside in the remote of western Sicily. It is both land art and a memorial to the town of Gibellina that was devastated by an earthquake in January 1968. It’s a work by the Italian artist Alberto Burri. He covered the ruins of the town with white cement and fissures function as pathways that wind through an area of roughly 20 acres. Petra Noordkamp captures Il Grande Cretto di Gibellina by Alberto Burri as an experentiental work of art filled with a sense of place and history.",1.0436,"\u002Fq4Mfh2gpqScSWIqZPBh1CYzyrxb.jpg","2015-10-09",{"adult":8,"backdrop_path":10,"genre_ids":283,"id":284,"title":285,"original_language":134,"original_title":285,"overview":286,"popularity":287,"poster_path":288,"release_date":289,"softcore":8,"video":8,"vote_average":11,"vote_count":11},[14],1238604,"Freeze: But is it Art?","In 1988, art student Damien Hirst and a group of like-minded associates mounted an exhibition in a building in the East End of London. Entitled Freeze, it was a huge critical and commercial success, propelling Hirst and the group into the spotlight of the avant-garde.  More than five years later, Hirst exhibits to international acclaim and is regularly derided in the tabloid press.  This portrait of Hirst, which resumes the Omnibus season, is presented as a drug-induced nightmare after Hirst has been put to sleep by a sinister dentist, played by Donald Pleasence. In between interviews with fellow  Freeze artists including Angus Fairhurst , Sarah Lucas and Tracey Emin , Hirst is seen preparing Mother and Child Divided, his work for last year's Venice Blennale. 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What emerges is how very differently these two highly successful South African artists approach image making. Dumas’ method is deeply intuitive – she often works on the floor as though embracing her paintings, pouring and dabbing paint to produce her remarkable portraits. 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