Media Arts Program
 


Saturday, December 2, 2006

CINNAMON

Presented at:
Hallwalls

CINNAMON

CINNAMON (Kevin Jerome Everson, 2006, 71 min) Set in the world of African-American drag racing, CINNAMON is Kevin Jerome Everson's experimental film about the consistent routine of a young bank teller and a mechanic as they prepare for a race. Theirs is a relationship similar to a composer and a musician, with the mechanic as composer and the driver as interpreter of the music. CINNAMON uses both documentary and scripted narrative to construct this ode to the beauty and relentlessness of repetition and routine in the pursuit of excellence. ñI'm trying to upset the assumption that you have to be uniquely knowledgeable or involved in any activity to find the portrayal of it appealing.î Ultimately a celebration of craft, this film is an intimate and immersive ride into the preparation and performance required in sport, life and art. Kevin Jerome Everson was born and raised in Mansfield, Ohio. He has made over twenty-five short films, four of which have screened at Sundance (Eleven Eighty-Two ('98), Imported ('00), Vanessa ('03), Pictures from Dorothy ('04)). In 2005, his debut feature Spicebush, a meditation on rhythms of work and the passage of time in Black American working class communities, world premiered at the Rotterdam International Film Festival and won best documentary at the New York Underground Film Festival. Everson's photographs, sculptures, and films have exhibited internationally at museums and film festivals. A recipient of numerous awards, including a Guggenheim Fellowship and the Rome Prize, Everson is an Assistant Professor of Art at the University of Virginia. He is currently developing the narrative feature Lowndes County (with Playwright Talaya Delaney) and is in pre-production on a film based loosely on Alessandro de'Medici.


Some publications related to this event:
November and December, 2006 - 2006

 
 
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Laylah Ali
Paintings and Drawings


Laylah Ali's work explores power dynamics and interpersonal conflict through compositions that position culturally, racially and sexually ambiguous figures in precarious, loaded, and unexpectedly humorous situations. Ali uses concise—even minimal—imagery that is specific in rendering and intent. While there are narratives in Ali's work, they are stories whose open spaces often give them the atmosphere of fables.