Jim Dickinson

A corrupted border agent decides to clean up his act when an impoverished woman's baby is put up for sale on the black market.

Second in the series by the Maysles brothers documenting the monuments/sculptures of Christo, whose art projects are landscape-scaled, and more "pop" performance art designed to question how we relate to art in the public sphere, especially when it's as oblique, non-political (at least, that is what he would claim), and neutral as running a fence through a landscape.

In 1973, photographer William Eggleston picked up a Sony PortaPak and took to documenting the soul of Memphis and New Orleans.

It’s the Summer of 1969. The temperature hovers around 105 degrees on a humid weekend in Memphis, Tennessee. It’s only been a year since the assassination of Dr. Martin Luther King Jr. But on this particular weekend, everyone in town, all races, creeds and colors have come out for the Fourth Annual Memphis Country Blues Festival. The lineup is the most ambitious in years, welcoming blues masters like Bukka White, Sleepy John Estes, Furry Lewis and the 106 year-old Nathan Beauregard, coupled with more notable headliners like Rufus Thomas & The Bar-Kays, John Fahey and rocker Johnny Winter. One attendee that year was Gene Rosenthal, who brought along a couple of cameras, a small crew and left with 40,000 feet of color film that was left untouched for nearly 50 years….until now. ‘Memphis 69’ is a time capsule. If you’re a blues enthusiast, watching this film feels like you’ve opened up a treasure chest and discovered that you’ve hit the motherload.