Newly published book: “L’amour Encore” (Love Again) now available on Blurb

Book description L’Amour Encore (Love Again) is a flip-book based on entries in an artist’s sketchbook. It is an accounting of love and art, and a meditation on life. The pages become like mantras to self; sayings and memories that become a long-form poem over an extended period of time.

“L’amour Encore” is also a short film.

Author website http://www.maladobaldwin.com
Category Arts & Photography Books
Language English, French


I was invited to share my films at FAIR Miami, December 2017 – An all female art fair running concurrently to Art Basel. Thank you extraordinary curator Micol Hebron – and co-collaborator Sarah Walko.

Still from: LUX/NOX an Alchemical Journey, by Malado Baldwin and Sarah Walko


Miranda July / Joanie-for-Jackie Film Archive

One of my early films “Day Ditty”  (1997) was recently acquired by the Getty Museum as a part of Miranda July’s Joanie-for-Jackie feminist film archive. See the page here

A devotion to women and their complexities is at the heart of all of the creative endeavors undertaken by Miranda July, the artist, writer, filmmaker — and radically motivated movie mogul. The latter gig, begun in 1995, was inspired by the Riot Grrrl scene then raging in Portland, Ore. Frustrated by the casual misogyny of mainstream and indie films, July, who had routinely built communities around herself, launched the feminist video series Big Miss Moviola (later changed to Joanie 4 Jackie); the hope was to offer an antidote to Hollywood’s disinterest in the lives of women, and to open up a dialogue among girls, as music and fanzines were doing in the mid-’90s. Joanie 4 Jackie quietly thrived until the early 2000s, providing an intimate, easy and invaluable way for female artists to reveal and share their lives.

Twenty-two years after the project began, the Getty Research Institute in Los Angeles has acquired the Joanie 4 Jackie collection (some 300 videos, documentation and press materials) from July, contextualizing the project within feminist and queer history, alongside the archives of, among others, the Guerrilla Girls and Robert Mapplethorpe.”

-New York Times, January 30th 2017 –  full article here