Across a diverse body of work spanning thirty years, Black British artist and filmmaker Steve McQueen (b. 1969, London) has documented stories of incarceration and violence, intimacy and vulnerability. On October 28 and 29, the Yale Center for British Art will convene an international symposium that investigates the range of McQueen’s artistic and film practice. To coincide with and precede the program, a single work by the artist, “Lynching Tree” (2013) will be on view at the museum through October 30.
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This is a free program for families with children who are five to twelve years of age and on the autism spectrum. Participants look at artwork in the galleries and create a follow-up project in a museum classroom. While the needs of individuals with autism are prioritized, it is also fun for parents, siblings, and other relatives too! Preregistration is required.
This program is conducted by the Education department of the Yale Center for British Art in consultation with the Yale Child Study Center and is recommended by the Autism Parents Community (APC).

Lovers Rock (2020)
Directed by Steve McQueen (rated TV-MA; 70 minutes)
To coincide with a two-day international symposium on the work of Steve McQueen at the museum Friday and Saturday, October 28–29, 2022, two screenings of the film Lovers Rock are offered in the Lecture Hall. Lovers Rock is from McQueen’s Small Axe British anthology film series, five films that tell distinct stories about the lives of West Indian immigrants in London from the 1960s to the 1980s.
About “Lovers Rock”

Lovers Rock (2020)
Directed by Steve McQueen (rated TV-MA; 70 minutes)
To coincide with a two-day international symposium on the work of Steve McQueen at the museum Friday and Saturday, October 28–29, 2022, two screenings of the film Lovers Rock are offered in the Lecture Hall. Lovers Rock is from McQueen’s Small Axe British anthology film series, five films that tell distinct stories about the lives of West Indian immigrants in London from the 1960s to the 1980s.
About “Lovers Rock”

THE GLOBAL RISE OF THE RADICAL RIGHT meets the CRESTING WAVES OF ART & PROTEST with particular potency on the streets of Brazil as the world waits between elections that will decide the fate of Bolsonaro’s regime—and potentially much more—in this moment of tension and crisis. How did Brazil come to this juncture? What is it like to make art and protest, and what does the view look like from the ground in São Paulo and other active clusters of creative resistance throughout the country today? What is at stake in the coming second round of Brazil’s elections?