Isaac Julien

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Western Union Series No. 2 (Flight Towards Other Destinies 1), 2007 Duratrans In Lightbox 47 1/4 X 96 In © Courtesy of Metro Pictures
© Isaac Julien
TEN THOUSAND WAVE, 2010 49 Mins, Colour 35mm, Hd Transfer, 9.2 Surround Sound © Courtesy of the artist & ShanghART H-space
Glass House (Ten Thousand Waves), 2010 © Courtesy of the artist & Victoria Miro Gallery
Red Chamber Dream (Ten Thousand Waves), 2010 Two Endura Ultra Photographs 70.87 X 90.55 Inches (Each Image Size) © Courtesy of the artist & Metro Pictures
Green Screen Goddess © Courtesy of the artist and Bass Museum of Art
Light Based Arts And Multi Media © Kunsthalle Detroit Museum
© Courtesy of the artist & ICA (The Institute of Contemporary Art - Boston)
Long ago: homage to the tuhoe – True south sereies, 2008 © Courtesy of the artist & Tel-Aviv Museum of Art
Isaac Julien Glass House (Ten Thousand Waves) , 2010 Endura Ultra Photograph 180 X 240 Cm © Courtesy of the artist, Metro Pictures, New York and Victoria Miro Gallery, London
Glass House (Ten Thousand Waves), 2010 Endura Ultra Photograph 70.87" X 94.49" © Image courtesy of the artist and Metro Pictures, New York
© Courtesy of the Artist and Museum of Contemporary Art San Diego-Downtown
Cast No Shadow (Western Union: Small Boats Series No. 1), 2007 Fujitran In Lightbox 120 X 120 Cm © Courtesy of Isaac Julien, Metro Pictures, New York and Victoria Miro Gallery, London
Yishan Island, Voyage (Ten Thousand Waves), 2010 Endura Ultra Photograph 120 X 160 Cm © Courtesy of the artist and Victoria Miro Gallery, London
Maiden of Silence (Ten Thousand Waves) , 2010 Endura Ultra Photograph 180 X 240 Cm © Courtesy of the artist and Victoria Miro Gallery, London
Yishan Island, Long March (Ten Thousand Waves), 2010 Endura Ultra Photograph 180 X 240 Cm © Courtesy of the artist and Victoria Miro Gallery, London
True North Series, 2004 Digital Print On Epson Premium Photo Glossy 100 X 100 Cm. © Courtesy of Isaac Julien Studio
© Courtesy of the artist & Galería Nara Roesler
Better Life (Ten Thousand Waves), 2010 Single Screen Video Projection With Audio © Courtesy of the artist & The De Pont Museum of Contemporary Art
Maiden of Silence (Ten Thousand Waves), 2010 © Courtesy of the artist, Metro Pictures, New York and Victoria Miro Gallery, London
ECLIPSE (Playtime), 2013 Endura Ultra Photograph 106.3 X 70.87 In (270 X 180 Cm) © Courtesy of the artist & Metro Pictures
Eclipse (Playtime), 2013 © Courtesy of the Artist and Victoria Miro Gallery
Mirage (Playtime), 2013 © Courtesy of the Artist and Victoria Miro Gallery
The Long Road to Mazatlán, 1999 © Courtesy of the artist and The Art Institute of Chicago
Emerald City, Capital (Playtime), 2013 Endura Utra Photograph 160 X 240 Cm © Courtesy of Galerie Ron Mandos (Amsterdam)
Mirage (Playtime) © Courtesy of Galerie Ron Mandos (Amsterdam)
Altar (Playtime) © Courtesy of Galerie Ron Mandos (Amsterdam)
The Attendant, 1993, Film Still, 0' Colour, Sound © Courtesy of Isaac Julien
Trussed I, 1996 Kodak Premier C Print Mounted On Aluminum 41.7 X 31.9 Inches / 106 X 81 Cm © Courtesy of the Artist and Jessica Silverman Gallery
© Courtesy of the Artist and Galerie Ron Mandos
Quick Facts

Born 1960
Lives and works in London


1987-1989 Les Entrepreneurs de L’Audiovisuel Europeen (EAVE), Brussels (Post-Doctoral)
1980-1984 Central St.Martin’s School of Art, BA Fine Art Film (1st Class Honours)

Selected Awards

Aurora Award, Aurora Picture Show, Houston, Textas, USA

Surrey Institute of Art and Design, London, UK, Master of Arts (Honorary Degree).
Grand Jury Award, KunstFilmBiennale, Cologne, Germany.
6th Festival International de Cortometraje y Cine Alternativo de Benalmadena (ficcab), Prize for outstanding career in cinematography, Benalmadana.

Frameline Lifetime Achievement Award, San Francisco, USA.
Bohen Foundation Commission, New York, USA.
Eyebeam’s Moving Image Commission program, Artist in Residence, New York, USA.
Ford Foundation Commission, New York, USA.

The McDermott Award, MIT, Cambridge, Massachusetts, USA.

Art Pace, International Artist in Residence, San Antonio, Texas, USA.

Jerome Foundation Award, USA.
Andy Warhol Foundation Award, USA.

Pratt and Whitney Canada Grand Prize, 15th International Festival of Films on Art for Frantz Fanon, Black Skin White Mask.

Wexner Museum Fine Arts International Artist Award, Columbus, Ohio, USA.

Rockefeller Humanities Fellowship Award, New York University, Centre for Media, Culture and History, USA.

John McKnight International Artist Award, Minneapolis, Minnesota, USA.

Semaine de la Critique Prize, for Young Soul Rebels, Cannes Film Festival.

Solo Exhibitions

New Media Works from the Goetz Collection, Centre for Contemporary Art, Warsaw, Poland (Fantôme Créole)
Currents 99: Isaac Julien, St. Louis Art Museum, Missouri, USA (True North photographs)
Isaac Julien, True North, Roslyn Oxley9 Gallery, Sydney, Australia (True North)

Isaac Julien, The Lab at Belmar, Lakewood, Colorado, USA (Fantôme Afrique).
Isaac Julien, kestnergesellshaft, Hanover, Germany (True North, Fantôme Afrique).
Isaac Julien, Brändströme & Stene Gallery, Stockholm, Sweden (True North, Fantôme Afrique).
Isaac Julien, Metro Pictures, New York USA (Looking for Langston, film and photographs with Sunil Gupta).

Isaac Julien, Museum of Contemporary Art, Miami, USA (True North).
Isaac Julien, Victoria Miro Gallery, London, UK (True North, Fantôme Afrique).
Isaac Julien, Irish Museum of Modern Art, Dublin, Ireland (Long Road to Mazatlán, Paradise Omeros, Baltimore).
Isaac Julien, MAK Center, Los Angeles, USA (True North photographs).
Isaac Julien: Centre Georges Pompidou, Paris, France (Fantôme Creole, Baltimore).
Isaac Julien, Moderna Museet, Stockholm, Sweden (Paradise Omeros).
Isaac Julien Deslocamentos, VIVO Open Air, São Paulo, Brazil (Paradise Omeros, Baltimore, Long Road to Mazatlán, Radioactive).

Isaac Julien, GL Strand Kunstoreningen, Copenhagen, Denmark (Paradise Omeros, Vagabondia, Radioactive).
True North, Musee d’art contemporain de Montreal, Montreal, Canada (Baltimore, Paradise Omeros).
Black Atlantic, House of World Cultures, Berlin, Germany (True North, Paradise Omeros).
Baltimore, The Contemporary, Baltimore, USA.
Baltimore and Baltimore Series, Galeria Helga de Alvear, Madrid, Spain.
Paradise Omeros (with accompanying photo works), Three and Frantz Fanon, Museum Boijmans Van Beuningen, Rotterdam, Netherlands.
Baltimore (with accompanying photo works), TENTCentrum Beeldende Kunst, Rotterdam, Netherlands.
Baltimore (single screen version). Eyebeam, New York, USA.

Isaac Julien: Baltimore and Paradise Omeros, Art Pace, San Antonio
Isaac Julien: Baltimore, Metro Pictures, New York
Isaac Julien: Baltimore and Paradise Omeros, Victoria Miro Gallery, London
Isaac Julien: Trussed, Sketch, London
Isaac Julien: Baltimore, The Aspen Art Museum, U.S.A
Isaac Julien Yvon Lambert, Paris
Isaac Julien Bohen Foundation, New York
Isaac Julien FACT, Film Art & Creative Technology, Liverpool

Isaac Julien, Fabric Workshop, Philadelphia, U.S.A
MIT List Visual Arts Center, Cambridge, Mass.

Vagabondia, Studio Museum, Harlem. NY
The Long Road to Mazatlan, Museum of Contemporary Art, Chicago.

The Film Art of Isaac Julien, Bard Curatorial College, Annandale on Hudson, NY, touring to: Museum of Contemporary Art Sydney, Bildmuseet Umeå Sweden, Henie Onstad Museum Norway, Yerba Buena Center San Francisco

Cinerama Corner House Museum, Manchester, touring to South London Gallery
After Mazatlan, Victoria Miro Gallery, London
The Long Road to Mazatlan, Grand Arts, Kansas City

The Long Road to Mazatlan, Art Pace, San Antonio
Three, Victoria Miro Gallery, London
Fanon S.A., The Arena, Oxford Brookes University

Selected Group Exhibitions

Wrestle, CCS Bard Hessel Museum, New York, USA (Trussed)
Video: An Art, A History 1965-2005, MCA Sydney, Australia (Baltimore)
Light, Camera, Action: Artists' Films for Cinema, Whitney Museum of American Art, New York, USA (The Attendant)
Turbulence: 3rd Auckland Triennial, St Paul Street Gallery, Auckland, New Zealand (True North)
Video: An Art, A History 1965-2005, ACMI, Melbourne, Australia (Baltimore)
The Secret Public. The Last Days of the British Underground 1978-1988, Institute of Contemporary Arts, London

Les Expositions de l’Eté, Magasin – Centre National d’Art Contemporain, Grenoble, France (Trussed).
Rethinking Nordic Colonialism – A Postcolonial Exhibition Project in Five Acts, Iceland, Greenland, The Faroe Islands, Sápmi and Denmark, Finland, Norway and Sweden (Looking for Langston).
New Media Collection, 1965–2005, Centre Pompidou, The Taipei Fine Arts Museum, TW (Baltimore triple screen).
40 years Yvon Lambert Gallery, Yvon Lambert, Paris, France, (Long Road to Mazatlán).
Video collection of Jean-Conrad and Isabelle Lemaître, Le Maison Rouge, Paris, France (Territories).
A Short History of Performance, Part VI, Whitechapel Art Gallery, London, UK (Baltimore triple screen).
Contemporary Commonwealth, ACMI (Australian Centre of Moving Image), Melbourne, Australia (Paradise Omeros triple screen).
Speaking with Hands. Photographs from the Buhl Collection, Guggenheim Bilbao, Spain.
Making History: Art and Documentary in Britain from 1929 to Now, Tate Liverpool, UK (Paradise Omeros single screen, Territories). Vidéodanse 2006, Georges Pompidou, Paris, France (Fantôme Afrique single screen).

Temps de Vídeo, Fundació “La Caixa”, works from the collection of the Pompidou, Barcelona (27 September ‘05–8 January ‘06).
Emergencies, MUSAC, Léon, Spain, (Paradise Omeros single screen) (1 April).
Deutsche Bank 25th Anniversary Collection, Deutsche Guggenheim, Berlin, Germany (30 April–19 June).
The Projected Image, Tate Modern, London, UK (Encore: Paradise Omeros).
3’, Centro Galego de Arte Contemporánea, Spain (Encore II: Radioactive) (1 April–30 May).
ShowCASe Contemporary Art for the UK, City Art Centre & Talbot Rice Gallery, Edinburgh, UK After Mazatlán) (22 January–12 March).

Stranger Than Fiction, Leeds City Art Gallery, touring to: Tullie House Museum and Art Gallery, Carlisle, Aberystwyth Arts Centre, Usher Gallery, Lincoln, Nottingham Castle and Brighton Museum and Art Gallery.
Whitney Biennial. Whitney Museum of American Art, New York.
Berlin Biennale 04, Germany. Baltimore (triple screen version)
3’, Schirn Kunsthalle Frankfurt, Germany (Encore: Radioactive).
Spread in Prato, Drypoint Arte Contemporanea, Prato, Italy (Paradise photoworks).
DAK’ART 6eme Biennale de l’Art Africain Contemporain 2004: Nanook Cinema curated by Hans Ulrich Obrist,(Frantz Fanon, Baltimore single screen).
Permanent Collection, Territories (1984), Pompidou, February–December, curated by Christine van Assche.
Busan Biennale, Korea (Baltimore).
Deviant Bodies, CEPA Gallery, New York, USA (The Attendant)

Art, Lies and Videotape : Exposing Performance, Tate Liverpool.
Only Skin Deep, International Center of Photography, New York, touring to Seattle Art Museum (Mar25 – June 13, 2004).
Centre Georges Pompidou, Paris
Love/Hate Ursula Blickle Stiftung, Germany
East Wing Collection, Courtauld Institute of Art, London
Edinburgh International Film Festival. Edinburgh College of Art. Scotland
Utopia Station Poster Project, 50th Venice Biennale, Italy and Haus der Kunst, Münich, Germany
Secession Vienna.
Independence, South London Gallery, London
Double Vision, Photo Espana, Madrid, Spain

Documenta 11_Platform5: Ausstellung/Exhibition, Binding Building, Kassel Germany
The Gap Show, Museum am Ostwall, Dortmund, Germany
Screen Memories, Art Tower Mito, Japan
New Narratives in Contemporary Photography and Video, Rose Art Musuem, Brandeis University, Waltham, MA
The Future of Cinema ZKM, Germany (cat)
Les Enfants du Paradis, Yvon Lambert Gallery, Paris

Unpacking Europe, Haus der Kulturen der Welt, Berlin
Museum Boijmans Von Beuningen, Rotterdam
The Short Century, Museum Villa Stuck Munich,touring to House of World Cultures in the Martin Gropius-Bau Berlin, Museum of Contemporary Art Chicago, P.S.1 Contemporary Art Center and The Museum of Modern Art New York
Enduring Love, Klemens Gasser & Tanja Grunert Inc., New York
Turner Prize Tate Gallery, London
Strength and Diversity: African American Artists, Harvard University, Cambridge.
Raw, Victoria Miro Gallery, Wharf Road, London

Retrace Your Steps, Sir John Soane Museum, London

Rhapsodies in Black, Museum of Fine Arts, Houston

Rhapsodies in Black, The Corcoran Gallery of Art, Washington,
Rhapsodies in Black, The California Palace of the Legion of Honour, Fine Arts Museum of San Francisco

Rhapsodies in Black, The Hayward Gallery, London
Scream and Scream Again, The Irish Museum of Modern Art (cat.)
Scream and Scream Again, Helsinki Museum of Contemporary Art
2nd Johannesburg Biennale, Johannesburg (cat)
The Look Of Love, The Approach, London & Southampton City Art Gallery
Beauty and the Beast, Banff Centre for the Arts, Vancouver

Hotter Than July, Margo Leavin Gallery, Los Angeles
Scream and Scream Again, Museum of Modern Art, Oxford
British Art Now, Roslyn Oxley 9 Gallery, Sydney
New Histories, ICA, Boston (cat.)
AIDS World, Centre d’Art Contemporain Geneve (cat.)
AIDS World, Centro d’Arte Contemporanea Ticino

Mirage:Enigma of Race, Difference and Desire, ICA, London (cat.)

Abject art: Repulsion and Desire in American Art, Whitney Museum of Art, New York, (cat.)

Cabaret, Walker Art Gallery, Minneapolis

Edge 90, Various Sites: London and Newcastle (cat.)

Selected Screenings/Festivals

Baltimore, Kino Eye Festival, Antwerp, Belgium.
Looking for Langston, 20th Gay and Lesbian film Festival London, UK.
True North, Fantôme Afrique, Sundance Film Festival 2006, Salt Lake City, Utah, USA.

Paradise Omeros, Baltimore, True North, Locarno International Film Festival, Locarno, Switzerland.
Three, Long Road to Mazatlán. Outfest, Los Angeles, USA.
Territories, Looking for Langston, Franz Fanon: Black Skin White Mask. Museum Ludwig, Cologne.
Three. Long Road to Mazatlán. Vagabondia, Paradise Omeros. La Rochelle, France.

Baadasssss Cinema. ZKM, Fate of Alien Mides, Germany.
Baltimore (single screen). KunstFilmBiennale tour of Latin America: São Paulo, Rio de Janeiro and Buenos Aires.
Frantz Fanon. Åarhus Festival of Contemporary Art, Denmark.
The Long Road to Mazatlán. Pink Screens, Brussels, Belgium.
Frantz Fanon, Dakar Biennale, Senegal.
Baltimore and Paradise Omeros, Jeonju International Film Festival, Korea.
Paradise Omeros, Be-bop Sessions Festival, Exeter.
Paradise Omeros. Museé du Louvre, Paris
Baltimore (triple screen version) Berlin Biennale 04, Germany.
Artist in Focus at Rotterdam Film Festival, showing Baltimore (singlescreen) Paradise Omeros (single Screen, Vagabondia (single screen), The Long Road to Mazatlán (single screen).

The Attendant, Tate Liverpool, Liverpool.
Frantz Fanon, Contemporary Art Museum, St. Louis, Missouri.
Paradise (single screen version), Raindance Film Festival/Dazed & Confused, London
Baltimore (single screen version), KunstFilmBiennale, Cologne, Germany
Territories, A Century of Artists' Film in Britain, Tate Britain, London
Vagabondia, The Long Road to Mazatlán, Baadasssss Cinema, Three, The Attendant, Looking for Langston, MOMA, New York
Baadasssss Cinema, The Jeonju International Film Festival, Korea
Three, Electromediascope, The Nelson-Atkins Museum of Art, Kansas

The Attendant, Nuit Blanche/Nuit Video, Paris
Paradise Omeros, Vagabondia, The Long Road to Mazatlan, Three, The Attendant, Territorie, Brief Encounters Film Festival, Arnolfini, Bristol
The Long Road to Mazatlán, The Attendant, Three, Looking for Langston, Contemporary Film and Video, Moderna Museet, Stockholm. Touring to: Borås Kunstmuseum, Sweden (12th Sept) and Platform Garanti Contemporary Art Center, Istanbul (27th Sept)
Franz Fanon: Black Skin, White Mask Malmö Film Festival, Sweden
Paradise Omeros, Tate Britain
Looking for Langston, The Attendant, Trussed, Vagabondia, Future Past of Visual Culture, Tate Britain
Looking for Langston, The Long Road Mazatlán, Fierce & Warwick Arts Centre

Umeå Film Festival, Bildmuseet, Sweden

Franz Fanon: Black Skin, White Mask, Looking for Langston, The Attendant Künslterhaus, Stuttgart
Three, International Film Festival Rotterdam
Three, Lesbian and Gay Film Festival, London


2005 Fantôme Afrique, triple screen projection, 16mm colour film, DVD transfer, 5.1 sound, 17 mins.
2005 Fantôme Créole, four screen projection, 16mm colour film, DVD transfer, 5.1 sound, 23”27’.
2004 True North, Triple screen projection, 16mm black & white/colour film, DVD transfer, sound, 14”20’.
2004 Encore II (Radioactive), 16mm Super 8/Digital Betacam, 3”00’
2003 Baltimore, Triple screen projection. 16mm black&white/colour film, DVD transfer. Sound. 11.36min.
2002 Paradise Omeros, Triple screen projection. 16mm black&white/colour film, DVD transfer. Sound. 20.29 min.
2000 Vagabondia, Double screen rear projection. 16mm, colour film, video transfer. Sound.7min
1999 Long Road to Mazatlan, Triple screen rear projection. 16mm, sepia/colour film, video transfer.Sound.20min
1999 Conservators Dream, Triple screen projection. 16mm, sepia/colour film, video transfer. Sound. 6 min.
1999 Three, Single screen projection.16mm, sepia/colour film, sound 20min
1997 Fanon SA, Double screen projection. 16mm, colour film, video transfer. Sound. 10 min.
1996 Trussed, Double screen projection 16mm, black & white film, video transfer. Sound. 10 min
1995 Cartooned Life, Series of seven photographs, linotronic print.

Filmography (selected)

2005 Fantôme Afrique, (single screen), 16mm, colour film, DVD transfer, 5.1 sound, 17’’.
2005 True North (single screen), 16mm black & white/colour film, DVD transfer, sound, 14’’20’.
2004 Encore II (Radioactive), 16mm, Super 8/Digital Betacam, 3”00’.
2004 True North (single screen), 16mm black & white/colour film, DVD transfer, sound, 14”20’.
2003 Baltimore, (single screen) - 16mm black&white/colour film, DVD transfer. Sound. 12.43min.
2002 BaadAsssss Cinema - DVD 56 min.
2002 Paradise Omeros, (single screen) - 16mm black&white/colour film, DVD transfer. Sound. 18.51min.
2000 Vagabondia, - 16mm, colour film, video transfer. Sound.7min
1999 Long Road to Mazatlan, - 16mm, sepia/colour film, video transfer.Sound.20min
1999 The Conservators Dream, - 16mm, sepia/colour film, video transfer. Sound. 4 min
1999 Three, - 35mm, sepia/colour film. Sound. 14 min.
1996 Frantz Fanon, Black Skin White Mask, - 35mm, colour film. Sound 73 min.
1995 That Rush!, - 16mm, colour film, video transfer. Sound. 7 min.
1994 The Darker Side of Black, - 16mm, colour film. Sound. 59 min.
1993 The Attendant, - 35mm, colour film. Sound. 10 min.
1991 Young Soul Rebels, - 35mm, colour film. Sound. 105 min
1989 Looking For Langston, - 16mm, black & white film. Sound 40 min.
1987 This is Not an AIDS Advertisement, - Super 8 colour film, video transfer. Sound 14 min.
1986 The Passion of Remembrance, - 16mm, colour film. Sound 95 min.
1984 Territories, - 16mm, colour film. Sound. 25 min


Isaac Julien, True North – Fantôme Afrique, Kestnergesellshaft, Hanover, Germany.

Isaac Julien, True North, MoCA, Miami and MAK Center of Art and Architecture, Los Angeles, USA.
Isaac Julien, Centre Georges Pompidou, Paris, France.
Isaac Julien, Irish Museum of Modern Art, Dublin, Ireland.
Isaac Julien Deslocamento, VIVO Open Air, Brasil.

Isaac Julien, GL Strand Kunstoreningen, Denmark.
3’, Schirn Kunsthalle, Frankfurt, Germany.
True North, Musee d’art contemporain de Montreal, Canada.
Black Atlantic, House of World Cultures, Berlin.
Experiments with Truth, Frabric Workshop and Museum, Philadelphia, USA.
Berlin Biennale 04, Berlin, Germany, Baltimore (triple screen).
Stranger Than Fiction, Leeds City Art Gallery, touring to: Tullie House Museum and Art Gallery, Carlisle, Aberystwyth Arts Centre, Usher Gallery, Lincoln, Nottingham Castle, Brighton Museum and Art Gallery, UK.

Love/Hate, Ursula Blickle Stiftung, Germany
Creolite and Creolization, Documenta 11_Platform 3"

Documenta 11 Kassel, Germany
The Gap Show, Museum am Ostwall, Dortmund
Screen Memories, Art Tower Mito, Japan

Unpacking Europe, Haus der Kulturen der Welt, Berlin, Germany

Isaac Julien, Ellipsis Minigraph, London
Turner Prize, Tate Gallery, London

The Film Art of Isaac Julien Bard Center for Curatorial Studies, U.S.A

Frantz Fanon (French text) K Films Edition

Selected Bibliography

Martin Hebert, “Pole Positions: Art’s Artic Adventures”, Modern Painters, London, April (True North).
Program of the 20th Gay and Lesbian Film Festival, London, March–April (Looking for Langston).
Carly Berwick and Eileen Kinsella, ARTnews, New York, February (True North).
Jonathan Kahana, “Cinema and the Ethics of Listening: Isaac Julien’s Franz Fanon”, Film Quarterly, Bd. 59, No. 2 (Franz Fanon).
Holly Willis, “Art meets cinema: celluloid and highbrow ideas converge at pic fest” (Sundance Film Festival), Daily Variety, 19.01.2006.

MOCA at the moment, MOCA, Miami, Winter (True North and performance).
Fréderic Bonnet, “Noire Elégance”, Vogue, May (Baltimore and Fantôme Créole).
Christine van Assche, “Black Remix”, Africa Remix, l’art contemporain d’un continent, Centre Pompidou, Paris (Baltimore and Fantôme Créole).
Nicolas Thély, “Isaac Julien: Cinéaste en Noir et Blanc”, Beaux-Arts Magazine, No. 253, July.
Siobhan Murphy, “Looking for Langston”, Metro (IE), July.
Isaac Julien, “Whose Black World?”, Time Out, London, London, May–June.
“Chilly Image of an Icy Beyond”, Los Angeles Times, August (True North).
Anna Lockward, “The Black Atlantic, Paradoxes and Certainies”,, Madrid, No. 7, February.
Heinz Peter Schwerfel, “Die Ausdehnung des Bildes in Raum und Zeit”, Art, Hamburg, Issue 3, March (True North).
Catalina Serra, “Una exposición en Caixforum Permite Poner en Pausa la Trepidante Historia del Vídeo de Creación”, El Paris, Madrid, September (Baltimore).
Olga Spiegel, “Videoarte, 40 Anos de Historia”, La Vanguardia, Barcelona, September, Blind Spot, Issue 30.

Isaac Julien, “Oedipus Directs, Isaac Julien on Baadasssss!”, Artforum, Summer Issue.
Mariano Navarro, “Isaac Julien y el cine de lo real”, El Cultural, 27 May.
Javier Hontoria, “Isaac Julien”, El Cultural, 13 May.
Calvin Reid, “Funk Renaissance”, Art in America, March.

Morgan Falconer, Frieze, , November, 2003
Richard Cork, New Statesman, The Black Half, 6 October 2003
Armond White, New York Press, Badass is Back, vol 16 Issue 47, October 2003
Sukhder Sadhu, The Daily Telegraph, Odyssey of a Lost Soul, 24 September 2003
Charles Darwent, Independent on Sunday, The truth is rarely black and white, 7 September 2003
John Russell Taylor, The Times, Is it a film? Is it a video installation? 17 September 2003
Adrian Searle, The Guardian, Reviews – Art, Adrian Searle, 8 September 2003
Roberta Smith New York Times, Paradise Omeros, Bohen Foundation, July 11 2003
Carly Berwick, Isaac Julien, Vogue Homme International, Winter 2002 – 2003
Chris Kaltenbach, You could call Him a Renaissance Man, Los Angeles Times
Louisa Buck, Issac Julien: Baltimore Fact, Liverpool, The Art Newspaper, March
John Russell Taylor, The Matter of Fact, The Times, March 12th
Answer the Questions, Isaac Julien, The Independent on Sunday March 9th
Alfred Hickling Isaac Julien: Fact Liverpool. Guardian Unlimited March

Essay from Documenta 11, Exhibition Catalogue – 2002, Paradise Omeros
James Poniewozik, Can you Dig it? Right on!, Time, August 19th
Hal Hinson, Birth of a Genre: The Black Hero Who Talks Back, The New York Times, Sunday August 11th (On Baadasssss Cinema)
Tunku Varadarajan, Shaft and Foxy Revisited, The Wall Street Journal, Friday August 9th (on Baadassss Cinema)
James Poniewozik, Can You Dig It? Right On!, Time, August 19th (On Baadasssss Cinema)
Edward Guthmann, ‘Baad’ Company San Francisco Chronicle, Tuesday August 13th (On Baadasssss Cinema)
Michael Freidson, Getting the Shaft, Time Out New York, August 8-15th (On Baadasssss Cinema)
B. Ruby Rich, The Long Road: Isaac Julien in conversation with B. Ruby Rich , Art Journal, Summer 2002
B, Ruby Rich, Still A Soul Rebel, The Advocate, May 14th
Maite Lores, Isaac Julien, Contemporary, June July August 2002
Constanze Ruhm, Spaces of Translation: Speaking One Language, Understanding Another, A Conversation with Isaac Julien, Camera Austria 79, pp. 17-28
Mark Nash, Wait Until Dark, Tate, November/December (on Paradise Omeros)
James Meyer, Tunnel Visions, Artforum, September pp. 168-169
Linda Nochlan, Documented Success, Artforum, September pp. 161-163
Eleanor Heartney, A 600-Hour Documenta, Art in America no.5, September 2002, pp. 87-95

Vasanthi Dass, Vagabondia: Archiving the Archive, in Unpacking Europe: Towards a Critical Reading, p. 350 - 355.
Dick Hebdige, Isaac Julien, The Great Divide: Territories, Prince Claus Fund, Journal #7, p.20-21.
Lilly Wei, Isaac Julien at the Studio Museum in Harlem, Art in America, May 2001 pp168.

Lisa Katzman, A World of Double Outsiders: Gay as Well as Black, The New York Times, Sunday, November 26
Holland Cotter, Eros Cruises the Museum In a Filmmaker’s Dreams, The New York Times, November 24
John L Walters, Noises at an Exhibition, The Guardian, September 29
Judith Palmer, Once upon a time in the West, The Independent, September 19
Adrian Searle, Winsome Cowboys, The Guardian, August 22
Susan Corrigan, Dancing with Dudes, The Times, Metro, August 12 - 18
Erika Muhammad, Reel Stories: Isaac Julien, Index, June / July
Heather Lustfeldt, At Play in the Fields of the American West, Review, April
Okwui Enwezor, Towards a Critical Cinema: The Films of Isaac Julien, February, The Long Road to Mazatlan, Grand Arts, Kansas City,
Alice Thornson, Lonesome Cowboy: Issac Julien disrupts the western canon with gay-themed film at Grand Arts. The Kansas City Star. March 19th
Still moving. Hotshoe International. Jan/Feb

Catherine Elwes, Isaac Julien, Art Monthly, June pp35-37.
Francesco Bonami & Hans Ulrich Obrist, Dreams, Fondazione Sandretto Re Rebaudengo Per L’Arte
Christy Adair & Ramsay Burt, Two into the making of Three, Dance Theatre Journal, Vol 15 No2.
David Frankel, Isaac Julien, The Long Road to Mazatlan, Art Pace, San Antonio
Face to Interface: Isaac Julien, Sight and Sound, Septemberππ

Michael Corris, Art and Text Issue 63, Nov 98-Jan 99, pp54-59
Manthia Diawara, Moving Company - The Second Johannesburg Biennale, ArtForum vol XXXVI, March 1998, pp87-89.
Isaac Julien & Mark Nash, Frantz Fanon: Peau Noire, Masque Blanc
Isaac Julien, Only Angels Have Wings for DIA Centre of The Arts AIDS WORLD: Between Resignation and Hope, pp142-147
Richard J Powell, Black Art and Culture in the Twentieth Century, Thames and Hudson, pp212-213
Roselee Goldberg, Performance and Live Art Since the 60’s, Thames and Hudson, p143

Isaac Julien, MOMA Chicago, Program Catalogue. Spring.
Robert Stam, Permutations of the Fantonian Gaze; Isaac Julien’s ‘Black Skin White Mask’, Black Renaissance Noire vol 1 no 2 Summer/Fall pp186-192
Richard Cork, Mirage, The Times June 27
Izi Glover, The Look of Love, Frieze Sep/Oct
Die Beute, Edition id-Archive, Summer pp62-66 (interview about Frantz Fanon)

Warren E Crichlow, Popular music, Pedagogy and Cultural Politics in the Films of Isaac Julien, Discourse vol.16 no 3
Kaja Silverman, The Ceremonial Image, The Threshold of the Visible World pp104-121 on Looking For Langston
Charles Gaines, Hotter Than July, Art and Text Issue 55 p84
Richard Cork, Scream and Scream Again, The Times August 6
Isaac Julien & Kobena Mercer, De Margin and De Centre, Black British Cultural Studies pp194-210
Manthia Diawara, Black British Cinema and Identity Formation in Territories, Black British Cultural Studies, pp293-306
Bell Hooks, Thinking Through Class: Paying Attention to The Attendant, Reel to Real: Race Sex and Class at the Movies pp91-97
Isaac Julien, Black British Cinema - Diaspora Cinema, New Histories pp60-64
Alan Read (ed), Film-makers’ Dialogue, The Fact of Blackness: Frantz Fanon and Visual Representation
Catherine Elwes, The Big Screen, Art Monthly Issue 199 pp11-16 (on Trussed)
Eddie Chambers, Johannesburg Biennale, Art Monthly Issue 212 pp14-18

Kobena Mercer, Busy in the Ruins of a Wretched Phantasia, Mirage: Enigmas of Race, Difference and Desire, ICA.
Bruce Morrow, The Isaac Julien Interview, Callaloo vol 18 no 2 pp406-415
Roy Grundmann, Black Nationhood and the Rest in the West, Cineaste vol XXI nos1-2 pp28-31 (interview)
David Curlis, A Directory of British Film and Video Artists pp86-87

Kobena Mercer & Isaac Julien, True Confessions, Black Male Representations of Masculinity in Contemporary American Art pp191-200
Isaac Julien & Jon Savage (ed),Critically Queer, Critical Quarterly vol 36 No 1 Spring
Isaac Julien, Confessions of a Snow Queen: notes on the making of The Attendant, Critical Quarterly vol 36 no 1 Spring
Jorg Heiser,Batty Boys in Babylon, Spex, Germany pp49-51

Henry Louis Gates Jr., The Black Man’s Burden, Fear of a Queer Planet, Queer Politics and Social Theory (on Looking For Langston)
Craig HauserI, Abject, Abject Art, Repulsion and Desire in American Art, Whitney Museum (on The Attendant)
Paul Gilroy, Climbing the Racial Mountain, a Conversation with Isaac Julien, Small Acts : Thoughts on the Politics of Black Cultures
Jose Arroyo, Look Back and Talk Black: The Films of Isaac Julien, Jump Cut no 36, translated into Japanese for ImageForum April pp88-97

James Saynar, Interview Magazine, January p24

Manthia Diawara, The Absent One: The Avant-Garde and the Black Imaginary in Looking For Langston, Wide Angle vol13 nos 3 & 4 (July -October)
Kobena Mercer, Dark and Lovely, Ten Photo Paperback vol 2 No 1 pp78-86
Adrian Searle, Thumping Pleasure, Artscribe Issue 89 Nov/Dec (on Young Soul Rebels)

Tony Fisher, Looking for Langston. Montageof a Dream Deferred.

Coco Fusco, Young British and Black, a monograph on the work of Sankofa Film/Video Collective and Black Audio Collective, Discourses, Conversations in Postmodern Art and culture, The New Museum of Contemporary Art NYC

Armond White, Racing Ahead, Film Comment, pp2-4
Black Film, British Cinema, ICA Documents 7, pp53-57
Jacqueline Rose, Sexuality and Vision: some Questions, Vision and Visuality, Dia Art Foundation No 2

Douglas Crimp, How To Have Promiscuity in an Epidemic, pp270-271 (on This Is Not An AIDS Advertisement).
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