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Tuesday 2.26


Screen Society, Duke Campus—Italian film director Michelangelo Antonioni's first English speaking production, the1966 film Blowup, attempts to make a profound statement about the vanity, frivolity and rebellious nature of the Beat Generation through a cavalcade of loopy psychedelic colors, mod phrases and easy sex. While Antonioni, who died last summer on the same day as Ingmar Bergman, wasn't completely successful in condemning the lifestyle of Swinging London's smooth hipster culture, the film still stands as a spellbinding thriller and a sublime illustration of mod decadence. Worth catching at 7 p.m. in the Bryan Center for free. Visit fvd.aas.duke.edu/screensociety. —Kathy Justice

Dean & Britta
Cat's Cradle—Dean Wareham, founder of dream-pop band Luna, ushered in a new decade of sound in the early '90s after the breakup of his Galaxie 500. Britta Phillips linked up with the band in 2000, adding her sex kitten soprano to Luna's already gauzy set. But when Luna called it quits, the newly wed Wareham and Phillips struck out on their own. The result is best heard on 2007's Back Numbers, where a synthesis of airy, whimsical pop threads like layers of atmospheric guitar and slinky girl/ dude vocals coalesce. They have the sort of easy intimate interplay that only lovers could create, Phillips' feathery-light vocals bouncing off Wareham's reedy tenor with lust and anxiety. With Keren Ann at 8:45 p.m. for $15-$18. —Kathy Justice

Bart Ehrman and God's Problem
Regulator Bookshop—Bart Ehrman, biblical scholar and great ponderer of faith, has asked (and answered) some very frank questions concerning the relationship between human suffering and the Almighty in his new book, God's Problem: How the Bible Fails to Answer Our Most Important Question: Why We Suffer. Join Ehrman this evening as he reads from his latest and discusses his own personal transformation from a man of faith to a wholly agnostic outlook. Open your mind and ears at 7 p.m. for free. —Kathy Justice

Thelma Golden
Nasher Museum of Art—As the esteemed director of Harlem's Studio Museum and former curator of the Whitney Biennial, Thelma Golden stood at the forefront of modern art when she coined the term "post-black art" in the late '90s. This new era of artwork, one that is "both post-Basquiat and post-Biggie," is a definitive movement of our time as it redefines terms of blackness and African Americans' artistic identities. An important authority on contemporary African-American art, Golden's appearance comes in conjunction with programming around the current Barkley L. Hendricks exhibition and will also be the Nasher's Annual Semens Lecture. The free event begins at 7:30 p.m. —Kathy Justice


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