L.Franklin Gilliam
Curated by Greg de Cuir Jr
about the artist
L.Franklin Gilliam (USA) is an American filmmaker and media artist born in Washington, DC in 1967, whose creative practice is research-based and multidisciplinary. Their father is noted African-American color field painter and lyrical abstractionist Sam Gilliam. Their mother Dorothy Pearl Butler Gilliam is an activist and journalist who became the first African-American female reporter at The Washington Post. Their parents were both instrumental in exposing them to cultural production early in life. Gilliam received a BA in Modern Culture and Media from Brown University (1989), an MFA in Film and Twentieth Century Studies from the University of Wisconsin-Milwaukee (1992), and a Masters in Professional Studies, Games and Interactive Media Design from New York University (2008). They have completed 10+ films, videos, interactive installations, and games since 1992. Their work has been widely exhibited at festivals, museums, and galleries internationally, including the Whitney Museum of American Art, Institute of Contemporary Arts (London), New Museum of Contemporary Art, International Short Film Festival Oberhausen, Thread Waxing Space, Festival panafricain du cinéma et de la télévision de Ouagadougou, and New York Underground Film Festival. They have taught at the School of the Art Institute of Chicago, the University of Wisconsin-Milwaukee, Vermont College of Fine Arts, and held various positions at Bard College, including Director, Integrated Arts Program (2003–2006); Chair, Division of the Arts (2004–2006); Faculty, Masters Fine Arts Program (2005–2006); and Associate Professor, Electronic Arts (2002–2007). Gilliam is the recipient of a Creative Capital Emerging Field Award (2000), and the New Visions Video Award from the San Francisco International Film Festival. They are former Vice President for Education, Strategy & Innovation at Girls Who Code, are presently Senior Strategy and Design Officer at Lambent Foundation, and Board President at Out in Tech, the world’s largest non-profit community of LGBTQ+ tech leaders, with over 40,000 members worldwide. Gilliam will be an artist in residence at the Center for Afrofuturist Studies in Iowa in 2022. They live and work in New York.
Sapphire and the Slave Girl (1995 )
L.Franklin Gilliam
Sapphire and the Slave Girl L.Franklin Gilliam USAdigital18 min1995
Racial politics are positioned at the core of the intrigue, the theme around which the mystery spins. And the city, Chicago, provides the premises from which a theorem is proved. Action passes for fiction; architecture and streets pass for avenues of control. Things are not always what they seem, and yet? – The Film-Makers’ Cooperative
tidal networks of black people cross / the road / a Walgreens and pizzeria we / follow as they walk / time-marked / downtown area, early computers / Welcome to Chicago. / It could be New York, Detroit, Cleveland— / in each, sections where only black people / live like this. Sapphire, or / the many women who represent her, / changes into a suit in an alleyway / in a blond wig hides / from sight / from behind / a wall / from TV and radio / the black male, close up, / melted down, he is brushing his hair. / there are things that are facts because / nothing / makes sense otherwise / a part of you / will always remember the transgression, inevitable / buildings, bold movements / at a table as man asks, is it safe? / “Have you ever received a call on your wrist?” She gets dressed / in bathroom—since Sapphire came to London, she learned / to pass for white. The first Negro / of high-school age to enter a school after it was integrated, many whites / shouting epithets / she refuses to say / anything to the reporter (14:00) title: / open spaces—black woman / as white man says what’s important / is for the space to feel closed – Anaïs Duplan, “Leah Gilliam, Sapphire and the Slave Girl, 1995, 18:20”
Streaming Details
This film is available to stream globally.
Program Partners
This screening is co-presented with Video Data Bank, School of the Art Institute of Chicago and Three Fold Press.
Image credits: all artworks, stills, and portraits courtesy of the artist © L.Franklin Gilliam and Video Data Bank, School of the Art Institute of Chicago. Special thanks to Emily Martin and Zach Vanes.
Apeshit (1999)
L.Franklin Gilliam
Apeshit L.Franklin Gilliam USAdigital6 min1999
Interspecies battle becomes a metaphor for xenophobia, homophobia, and white supremacy while signaling the inevitable outcome: annihilation. – The Film-Makers’ Cooperative
Apeshit commandeers an obscure object, an 8mm trailer for Battle for the Planet of the Apes (1973), and processes the footage to underscore the ideological bias. – BAMPFA
Streaming Details
This film is available to stream globally.
Program Partners
This screening is co-presented with Video Data Bank, School of the Art Institute of Chicago and Three Fold Press.
Image credits: all artworks, stills, and portraits courtesy of the artist © L.Franklin Gilliam and Video Data Bank, School of the Art Institute of Chicago. Special thanks to Emily Martin and Zach Vanes.