On q kqed 2017 february
londre
tv PBS News Hour PBS February 6, 2017 6:00pm-7:01pm PST
days. this is a pause, not a complete ban. i think anybody concerned with national security, and if you look at our constitution, he kept talking about being constitutional, the constitution states clearly the number one task of our government is to provide for the common defense and protection of this country, and i think, when you look around the world, other areas that have not done this, i think they're wishing they would haved been a little bit more stringn't in the examination of people coming in in the refugee program. you know, look at belgium, paris, germany, and i think this is the time that we have to do that, and, again, it's a temporary pause and people, i think, just need to calm down, let us work through the processo the courts will work this out, but i think it's also good that it brought to light how we have to fix our immigration policy, so i welcome that, too. >> yang: the opponents of this are also arguing in their court challenge that this creates --
6,881 RESULTS
RESULTS
9595
tv
for instance muslims or if you look atthenorthcarolinadispute, i think that will go down in the history books as the event that led transgender individuals to really be accepted into america. >> you look at the level of civic discontent right now, but also link that to apathy. where would you say we're more likely to see civic discontent actually challenge the model in your book, if in five or ten years time we look back and say actually no, this was-- tyler cowen's book was exactly when people started becoming less complacent. they were becoming less complacent for what reason? >> keep in mind complacency doesn't work forever. it feels good, it's safe and secure. but you run out of the ability to replin-- replenish the sources of your own and your own creativity. so something stops working. that can be a debt crisis as in the case of parts of the euro zone but in the united states i feel it's been a leadership crisis. we have today an unorthodox leader no matter what you may think of him, he cannot pretent-- pretend to really be a leader for all of america. and that's where we're seein
for instance muslims or if you look at th
Born 1973, Frankfurt, Germany
Lives and works in Los Angeles, USA
Selected Press
artnet, 5 Talents From the Artnet Gallery Network We’re Keeping an Eye on as the Fall Season Kicks Off, 13 September 2022
Artforum, Critic's Picks: Esther Pearl Watson, Philomena Epps, 28 June 2022
GalleriesNow Weekender, Must-see exhibitions in Paris, New York, Rome, Berlin, Hove, London, Tokyo, 10 June 2022
Boutique Homes, Pandemic Paintings by Esther Pearl Watson, Roshan McArthur, 22 January 2021
Hyperallergic, Esther Pearl Watson Channels Strange Pandemic Life in 100 Paintings, Eva Recinos, 12 January 2021
LA Weekly, Esther Pearl Watson Paints the Pandemic's Daily Strangeness, Shana Nys Dambrot, 10 December 2020
Studio International, Esther Pearl Watson – interview: ‘I really search out moments of awkward humour’, Allie Biswas, Esther Pearl Watson, 16 September 2019
The Art Newspaper, Private View: must-see gallery shows
opening in September, Anna Brady, Margaret Carrigan, 4 September 2019
The Paris Review, Dear Diary: An Interview with Esther Pearl Watson, Meg Lemke, 20 June 2014
Education
2012
MFA, California Institute of the Arts, USA
1995
BFA, Art Cente
Chloe Zhao’s The Rider reconfigures the iconography of the western. Jasmine Nadua Trice shows how the film evokes indigenous sovereignty by challenging settler-colonial ideas of landscape and time.
To examine the possibilities of a spatiotemporal “in-between,” this article considers the 2017 feature, The Rider, made by Chinese diasporic director Chloe Zhao in collaboration with the Lower Brule Sioux rodeo actor and horse trainer Brady Jandreau, who plays a variation of himself in the film. The film is not about a city, but as Anishinaabe geographer Heather Dorries notes, there is a dialectical relationship between Indigeneity and urbanism.The Rider’s existence was premised on a presumed absence of the urban that would drive its genre conventions; in the western genre’s settler colonial ideology, the film’s landscapes are spaces for cities yet-to-come. But the film disorders this gentle of linear chronology. Based on Zhao’s short, 65-page screenplay, the film includes several interludes of horse training that were not described in the script itself, set against the landscape of the badlands. The sequences produce a sp