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Isaac Julien is a British visual artist who was born in 1960. Isaac Julien has had numerous gallery and museum exhibitions, including at the The Museum of Modern Art and at the The Art Institute of Chicago. Numerous works by the artist have been sold at auction, including 'Chameleon (Ten Thousand Waves)' sold at Christie's King Street 'Post-War & Contemporary Art Day Auction' in 2010 for $75,094. There have been Numerous articles about Isaac Julien, including 'Playtime at Victoria Miro' written for Art Media Agency in 2014.
 
 
 

Auction Results

Works at auction, latest auction results, sales and prices of Isaac Julien from auction houses worldwide.

Isaac Julien, Yishan Island, The Bridge (Ten Thousand Waves)
endura ultra...
Yishan Island, The Bridge (Ten Thousand Waves)
Lot 156
Christie's South Kensington
Isaac Julien, UNTITLED
Chromogenic print
UNTITLED
Lot 291
Stair Galleries
Isaac Julien, FANTOME CREOLE SERIES (CINEMA CINEMA)
lambda print on...
FANTOME CREOLE SERIES (CINEMA CINEMA)
Lot 449
Sotheby's London
Isaac Julien, Yishan Island, The Bridge (Ten Thousand Waves)
endura ultra...
Yishan Island, The Bridge (Ten Thousand Waves)
Lot 351
Christie's King Street
 

Selected Events

Exhibitions, openings, art fairs, auctions and other events for Isaac Julien around the world.

Isaac Julien: PLAYTIME - Ronmandos, Amsterdam
Netherlands / Amsterdam : Exhibition
Ronmandos, Amsterdam
-
Isaac Julien: Ten Thousand Waves - The Museum of Modern Art
USA / New York / Midtown : Exhibition
The Museum of Modern Art
-
 

Latest News & Articles

In The Press: Latest news, articles and reviews about Isaac Julien from leading publications worldwide.

How Much Is that Video Art in the Window?
MutualArt / Lori Zimmer
Video art can be intimidating to even the most varied...
Ghost ships and hauntings: Ship to Shore's Art and the Lure of the Sea in Southampton
Culture24 / Ben Miller
The shoreline of Southampton is a muse for artists in...
Your Passport to Video Art Around the World
MutualArt / Lori Zimmer
As the appreciation for Video Art as a genre rises,...
Art Media Agency
Isaac Julien’s installation Playtime is currently on...
 
 





CV


Isaac Julien

Born 1960.

Lives and works in London.



Education
1987–89

Les Entrepreneurs de L’Audiovisuel Européen (EAVE), Brussels (Post-Doctoral).

1980–84

Central St. Martin’s School of Art, BA Fine Art Film 1st Class Honours).




Selected Awards
2005

Aurora Award, Aurora Picture Show, Houston, Texas, USA.

2003

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.

2002

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.

2001

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

1999

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

1998

Jerome Foundation Award, USA.

Andy Warhol Foundation Award, USA.

1997

Pratt and Whitney Canada Grand Prize, 15th International Festival of Films on Art for

Frantz Fanon, Black Skin

White Mask.

1996

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

1995

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

1993

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

1991

Semaine de la Critique Prize, for

Young Soul Rebels, Cannes Film Festival.




Solo Exhibitions
2007

Currents 99: Isaac Julien, St. Louis Art Museum, Missouri, USA (True North photographs)

Isaac Julien - True North, Roslyn Oxley9 Gallery, Sydney, Australia (True North)

2006

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).

2005

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).

2004

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.

2004

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.

2003

Isaac Julien: Baltimore and Paradise Omeros, Art Pace, San Antonio, USA.

Isaac Julien: Baltimore, Metro Pictures, New York, USA.

Isaac Julien: Baltimore and Paradise Omeros, Victoria Miro Gallery, London.

Isaac Julien: Trussed, Sketch, London, UK.

Isaac Julien: Baltimore, The Aspen Art Museum, Colorado USA.

Isaac Julien, Yvon Lambert, Paris, France.

Isaac Julien, Bohen Foundation, New York, USA.

Isaac Julien, FACT, Film Art & Creative Technology, Liverpool, UK.









2001

Isaac Julien, Fabric Workshop, Philadelphia, Pennsylvania, USA.

MIT List Visual Arts Center, Cambridge, Massachusetts, USA.

2000

Vagabondia, Studio Museum, Harlem, New York, USA.

The Long Road to Mazatlán, Museum of Contemporary Art, Chicago, USA.

2000–02

The Film Art of Isaac Julien, Bard Curatorial College, Annandale on, New York, Hudson, USA touring to Museum of

Contemporary Art Sydney, Australia, Bildmuseet Umeå, Sweden, Henie Onstad Museum, Norway, Yerba Buena

Center, San Francisco, USA.

2000

Cinerama, Corner House Museum, Manchester, touring to South London Gallery, UK.

After Mazatlán, Victoria Miro Gallery, London, UK.

The Long Road to Mazatlán, Grand Arts, Kansas City, USA.

1999

The Long Road to Mazatlán, Art Pace, San Antonio, USA.

Three, Victoria Miro Gallery, London, UK.

Fanon S.A., The Arena, Oxford Brookes University, UK.





Selected Collections

Centre Pompidou, Paris, France.

Guggenheim Museum, New York, USA.

Tate Modern, London, UK.

Hirshhorn Collection, Washington, USA.

Moderna Museet, Stockholm, Sweden.

Irish Museum of Modern Art, Dublin, Ireland.

Artpace, San Antonio, USA.

Goetz Collection, Munich, Germany.

Helga de Alvear, Madrid, Spain.

Museum of Contemporary Art Kiasma, Helsinki, Finland.

Musac, Leon, Spain.

Deutsche Bank Art Collection, Frankfurt, Germany.

Government Art Collection, London, UK.





Selected Group Exhibitions
2007

New Media Works from the Goetz Collection, Centre for Contemporary Art, Warsaw, Poland (Fantôme Créole)

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

2006

Video: An Art, A History, 1965–2005, Mac Miami, USA (Baltimore)

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).

2005

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).

2004–05

Experiments with Truth, The Fabric Workshop, Philadelphia, Penn, USA (Fanon SA).

Utopia Station, Haus der Kunst München, Germany (7 Oct ‘04–16 Jan ‘05) (

Lost Boundaries).

Needful Things: Recent Multiples, Cleveland Museum of Art, Cleveland Ohio, USA (19 September ‘04–2 January ‘05).






2004

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).

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.

Whitney Biennial, Whitney Museum of American Art, New York, USA (

Baadasssss Cinema).

Berlin Biennale 04, Germany (

Baltimore).

2003

Art, Lies and Videotape: Exposing Performance, Tate Liverpool, UK.

Only Skin Deep, International Center of Photography, New York, touring to Seattle Art Museum (March 25–

June 13 ‘04) USA.

Centre Georges Pompidou, Paris, France.

Love/Hate, Ursula Blickle Stiftung, Germany.

East Wing Collection, Courtauld Institute of Art, London, UK.

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, Austria.

Independence, South London Gallery, London, UK.

Double Vision, Photo España, Madrid, Spain.

2002

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 Museum, Brandeis University, Waltham,

Massachusettes, USA.

The Future of Cinema, ZKM, Germany (cat.).

Les Enfants du Paradis, Yvon Lambert Gallery, Paris, France.

2001–02

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

2001

Museum Boijmans Von Beuningen, Rotterdam, Netherlands.

The Short Century, Museum Villa Stuck Munich, touring to House of World Cultures in the Martin Gropius-Bau

Berlin, Germany, Museum of Contemporary Art, Chicago, P.S.1 Contemporary Art Center, The Museum of Modern

Art, New York, USA.

Enduring Love, Klemens Gasser & Tanja Grunert Inc., New York, USA.

ARSO1, Kiasma/The Finnish National Gallery, Helsinki, Finland.

Turner Prize, Tate Gallery, London, UK.

Raw, Victoria Miro Gallery, London, UK.

1999–2000 Retrace Your Steps, Sir John Soane Museum, London, UK.
1999

Rhapsodies in Black, Museum of Fine Arts, Houston, USA.

1998

Rhapsodies in Black, The Corcoran Gallery of Art, Washington, USA.

Rhapsodies in Black, The California Palace of the Legion of Honour, Fine Arts Museum of San Francisco, USA.

1997

Rhapsodies in Black, The Hayward Gallery, London, UK.

Scream and Scream Again, The Irish Museum of Modern Art, Dublin, Ireland (cat.).

Scream and Scream Again, Helsinki Museum of Contemporary Art, Helsinki, Finland.

2nd Johannesburg Biennale, Johannesburg, South Africa (cat.).

The Look Of Love, The Approach, London, Southampton City Art Gallery, Southampton, UK.

Beauty and the Beast, Banff Center for the Arts, Vancouver, Canada.

1996

Hotter Than July, Margo Leavin Gallery, Los Angeles, USA.

Scream and Scream Again, Museum of Modern Art, Oxford, UK.

British Art Now, Roslyn Oxley 9 Gallery, Sydney, Australia.

New Histories, ICA, Boston, USA (cat.).

AIDS World, Centre d’Art Contemporain Genève, Switzerland (cat.).

AIDS World, Centro d’Arte Contemporanea, Ticino, Switzerland.

1995

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

1993

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

1991

Cabaret, Walker Art Gallery, Minneapolis, USA.

1990

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





Selected Screenings/Festivals

2006

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.

2005

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.







2004

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, Africa.

Baltimore, Paradise Omeros. Jeonju International Film Festival, Korea.

Paradise Omeros. Be-bop Sessions Festival, Exeter, UK.

Paradise Omeros. Museé du Louvre, Paris, France.

Baltimore (triple screen version) Berlin Biennale 04, Germany.

Artist in Focus. Rotterdam Film Festival, Baltimore (single screen) Paradise Omeros (single Screen), Vagabondia

(single screen),

The Long Road to Mazatlán (single screen), Netherlands.

2003

The Attendant. Tate Liverpool, UK.

Frantz Fanon. Contemporary Art Museum, St. Louis, Missouri, USA.

Paradise (single screen version), Raindance Film Festival/Dazed & Confused, London, UK.

Baltimore (single screen version). KunstFilmBiennale, Cologne, Germany.

Territories, A Century of Artists’ Film in Britain, Tate Britain, London, UK.

Vagabondia, The Long Road to Mazatlán, Baadasssss

Cinema, Three, The Attendant, Looking for Langston.

MOMA, New York, USA.

Baadasssss Cinema. The Jeonju International Film Festival, Korea.

Three, Electromediascope. The Nelson-Atkins Museum of Art, Kansas, USA.

2002

The Attendant. Nuit Blanche/Nuit Video, Paris, France.

Paradise Omeros, Vagabondia, The Long Road to Mazatlán, Three, The Attendant, Territories. Brief Encounters

Film Festival, Arnolfini, Bristol, UK.

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 (27 Sept).

Franz Fanon: Black Skin, White Mask, Malmö Film Festival, Sweden.

Paradise Omeros. Tate Britain, London, UK.

Looking for Langston, The Attendant, Trussed, Vagabondia, Future Past of Visual Culture. Tate Britain, London, UK.

Looking for Langston, The Long Road Mazatlán. Fierce & Warwick Arts Centre, UK.

2001

Isaac Julien Film Retrospective. Neue Galerie, Graz, Austria.

Umeå Film Festival, Bildmuseet, Sweden.

2000

Franz Fanon: Black Skin, White Mask, Looking for Langston, The Attendant. Künslterhaus, Stuttgart, Germany.

Three. International Film Festival Rotterdam, Netherlands.

Three. Lesbian and Gay Film Festival, London, UK.




Installations
2005

Fantôme Afrique, triple screen projection, 16mm colour film, DVD transfer, 5.1 sound, 17 mins.

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’.

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’.

2000

Vagabondia, Double screen rear projection, 16mm, colour film, video transfer, sound, 7”00’.

1999

Long Road to Mazatlán, Triple screen rear projection, 16mm, sepia/colour film, video transfer, sound, 20”00’

Conservators Dream, Triple screen projection, 16mm, sepia/colour film, video transfer, sound, 6”00’.

Three, Single screen projection, 16mm, sepia/colour film, sound, 20”00’.

1997

Fanon SA, Double screen projection, 16mm, colour film, video transfer, sound, 12”00’. (3 x looped sequence).

1996

Trussed, Double screen projection, 16mm, black & white film, video transfer, sound, 10”00’.

1995

Cartooned Life, Series of seven photographs, linotronic print.




Selected Filmography
2005

Fantôme Afrique, (single screen), 16mm, colour film, DVD transfer, 5.1 sound, 17’’.

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’.

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”43’.

2002

BaadAsssss Cinema, DVD 56”00’.

Paradise Omeros (single screen), 16mm black & white/colour film, DVD transfer, sound, 18”51’.

2000

Vagabondia, 16mm, colour film, video transfer, sound,7”00’.

1999

Long Road to Mazatlán, 16mm, sepia/colour film, video transfer, sound, 20”00’.

The Conservators Dream, 16mm, sepia/colour film, video transfer, sound, 4”00’.

Three, 35mm, sepia/colour film, sound, 14”00’.








1996

Frantz Fanon, Black Skin White Mask. 35mm, colour film, sound, 73”00’.

1995

That Rush!, 1995, 16mm, colour film, video transfer, sound, 7”00’.

1994

The Darker Side of Black, 16mm, colour film, sound, 59”00’.

1993

The Attendant, 35mm, colour film, sound, 10”00’.

1991

Young Soul Rebels, 35mm, colour film, sound, 105”00’.

1989

Looking For Langston, 16mm, black & white film, sound 40”00’.

1987

This is Not an AIDS Advertisement, Super 8 colour film, video transfer, sound 14”00’.

1986

The Passion of Remembrance, 16mm, colour film, sound, 95”00’.

1984

Territories, 16mm, colour film, sound, 25”00’.




Selected Academic Posts and Trusteeships

Visiting lecturer at University of Arts, Hamburg.

Visiting Mellon Professor of English at the University of Pittsburgh, Pennsylvania, USA.

Visiting lecturer at Harvard University, USA.

Visiting lecturer Whitney Museum of American Art’s Independent Study Programme, USA.

Research Fellow at Goldsmiths College University of London, UK.

Editorial Board of Critical Quarterly (Blackwel , Oxford), UK.

Trustee of InIVA, London, UK.

Trustee of Art Pace Foundation, San Antonio, USA.

Trustee of Serpentine Gallery, London, UK.




Catalogues
2006

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

2005

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.

2004

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.

2003

Love/Hate, Ursula Blickle Stiftung, Germany.

Secession, Vienna, Austria.

Utopia Station Poster Project, 50th Venice Biennale, Italy and Haus der Kunst, Münich, Germany.

Art, Lies and Videotape: Exposing Performance, Tate Liverpool, UK.

Creolite and Creolization, Documenta 11_Platform 3”.

2002

Documenta 11, Kassel, Germany.

The Gap Show, Museum am Ostwall, Dortmund, Germany.

Screen Memories, Art Tower Mito, Japan.

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

2001

Isaac Julien,

Ellipsis, Minigraph, London, UK.

Turner Prize, Tate Gallery, London, UK.

ARSO1, Kiasma/The Finnish National Gallery, Helsinki.

The Short Century, Museum Villa Stuck, Munich, touring to House of World Cultures in the Martin Gropius-Bau,

Berlin, Germany, Museum of Contemporary Art, Chicago, P.S.1 Center for Contemporary Art and The Museum of

Modern Art, New York, USA.

2000

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

1999

Rhapsodies in Black, Museum of Fine Arts, Houston, USA.

1998

Frantz Fanon (French text), K Films Edition.




Selected Bibliography
2006

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.

2005

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”, art.es, 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.

2004

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.

2003

Morgan Falconer, Frieze, November.

Richard Cork, ”The Black Half”, New Statesman, 6 October.

Armond White, “Badass is Back”, New York Press, Vol. 16, Issue 47, October.

Sukhder Sadhu, ”Odyssey of a Lost Soul”, The Daily Telegraph, 24 September.

Charles Darwent, ”The Truth is Rarely Black and White”, Independent on Sunday, 7 September.

John Russell Taylor, “Is it a film? Is it a video installation?” The Times, 17 September.

Adrian Searle, ”Reviews – Art”, The Guardian, 8 September.

2003

Roberta Smith, “Paradise Omeros, Bohen Foundation”, New York Times, 11 July.

Carly Berwick, “Isaac Julien”, Vogue Homme International, Winter ‘02–’03.

Chris Kaltenbach, “You could call Him a Renaissance Man”, Los Angeles Times.

Louisa Buck, :Isaac Julien: Baltimore Fact, Liverpool:, The Art Newspaper, March.

John Russell Taylor, “The Matter of Fact”, The Times, 12 March.

Isaac Julien, “Answer the Questions”, The Independent on Sunday, 9 March.

Alfred Hickling, “Isaac Julien: Fact Liverpool”, Guardian Unlimited, March.

2002

Essay from Documenta 11, Exhibition Catalogue,

Paradise Omeros.

James Poniewozik, “Can you Dig it? Right on!”, Time, 19 August.

Hal Hinson, “Birth of a Genre: The Black Hero Who Talks Back”, The New York Times, Sunday 11 August

(on

Baadasssss Cinema).

Tunku Varadarajan, “Shaft and Foxy Revisited”, The Wall Street Journal, Friday 9 August (on

Baadassss Cinema).

James Poniewozik, “Can You Dig It? Right On!”, Time, 19 August (On

Baadasssss Cinema).

Edward Guthmann, “‘Baad’ Company”, San Francisco Chronicle, Tuesday 13 August (on

Baadasssss Cinema).

Michael Freidson, “Getting the Shaft”, Time Out New York, 8–15 August (on

Baadasssss Cinema).

B. Ruby Rich, “The Long Road: Isaac Julien in conversation with B. Ruby Rich”, Art Journal, Summer Issue.

B, Ruby Rich, “Still A Soul Rebel”, The Advocate, 14 May.

Maite Lores, “Isaac Julien”, Contemporary, June–August.

Constanze Ruhm, “Spaces of Translation: Speaking One Language, Understanding Another, A Conversation with

Isaac Julien”, Camera Austria, Issue 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, pp. 87–95.

2001

Vasanthi Dass, “Vagabondia: Archiving the Archive”, Unpacking Europe: Towards a Critical Reading, pp. 350–355.

Dick Hebdige, “Isaac Julien, The Great Divide: Territories, Prince Claus Fund”, Journal, #7, pp.20–21.

Lilly Wei, “Isaac Julien at the Studio Museum in Harlem”, Art in America, May, pp.168.

2000

Lisa Katzman, “A World of Double Outsiders: Gay as Well as Black”, The New York Times, Sunday 26 November.

Holland Cotter, “Eros Cruises the Museum In a Filmmaker’s Dreams”, The New York Times, 24 November.

John L Walters, “Noises at an Exhibition”, The Guardian, 29 September.

Judith Palmer, “Once upon a time in the West”, The Independent, 19 September.

Adrian Searle, “Winsome Cowboys”, The Guardian, 22 August.

Susan Corrigan, “Dancing with Dudes”, The Times, Metro, 12–18 August.

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, The Long Road to Mazatlán”, Grand Arts,

February.

Alice Thornson, “Lonesome Cowboy: Issac Julien disrupts the western canon with gay-themed film at Grand Arts”,

The Kansas City Star, 19 March.

“Still moving”, Hotshoe International, Jan/Feb.










1999

Catherine Elwes, “Isaac Julien”, Art Monthly, June pp. 35–37.

Francesco Bonami & Hans Ulrich Obrist, “Dreams”, Fondazione Sandretto Re Rebaudengo Per L’Arte.

1999

Christy Adair & Ramsay Burt, “Two into the making of Three”, Dance Theatre Journal, Vol. 15, No. 2.

David Frankel, “Isaac Julien, The Long Road to Mazatlán”, Art Pace, San Antonio.

“Face to Interface: Isaac Julien”, Sight and Sound, September.

1998

Michael Corris, Art and Text, Issue 63, Nov 98–Jan 99, pp. 54–59.

Manthia Diawara, “Moving Company – The Second

Johannesburg Biennale”, ArtForum, Vol. XXXVI, March,

pp. 87–89.

Isaac Julien & Mark Nash, “Frantz Fanon: Peau Noire, Masque Blanc”.

Isaac Julien, “Only Angels Have Wings”, DIA Centre of The Arts AIDS WORLD: Between Resignation and Hope,

pp. 142–147.

Richard J Powell, Black Art and Culture in the Twentieth Century, Thames and Hudson, pp. 212–213.

Roselee Goldberg, Performance and Live Art Since the 60s, Thames and Hudson, p143.

1997

“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, pp. 186–192.

Richard Cork, “Mirage”, The Times, 27 June.

Izi Glover, “The Look of Love”, Frieze, Sep/Oct.

Die Beute, “Edition id-Archive”, Summer pp. 62–66 (interview about Frantz Fanon).

1996

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, pp. 104–121, on

Looking For Langston.

Charles Gaines, “Hotter Than July”, Art and Text, Issue 55, p84.

Richard Cork, “Scream and Scream Again”, The Times, 6 August.

Isaac Julien & Kobena Mercer, “De Margin and De Centre”, Black British Cultural Studies, pp. 194–210.

Manthia Diawara, “Black British Cinema and Identity Formation in Territories”, Black British Cultural Studies, pp. 293–306.

Bell Hooks, “Thinking Through Class: Paying Attention to The Attendant”, Reel to Real: Race Sex and Class at the Movies,

pp. 91–97.

Isaac Julien, “Black British Cinema – Diaspora Cinema”, New Histories, pp. 60–64.

Alan Read (ed), “Film-makers’ Dialogue”, The Fact of Blackness: Frantz Fanon and Visual Representation.

Catherine Elwes, “The Big Screen”, Art Monthly, Issue 199, pp. 11–16 (on

Trussed).

Eddie Chambers, “Johannesburg Biennale”, Art Monthly, Issue 212, pp. 14–18.

1995

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, pp. 406–415.

Roy Grundmann, “Black Nationhood and the Rest in the West”, Cineaste, Vol. XXI, No.s 1–2, pp. 28–31 (interview).

David Curlis, A Directory of British Film and Video Artists, pp. 86–87.

1994

Kobena Mercer & Isaac Julien, “True Confessions”, Black Male Representations of Masculinity in Contemporary

American Art, pp. 191–200.

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, pp. 49–51.

1993

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).

1993

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, pp. 88-97.

1992

James Saynar, Interview Magazine, January p 24.

1991

Manthia Diawara, “The Absent One: The Avant-Garde and the Black Imaginary in Looking For Langston”, Wide Angle,

Vol. 13, No.s 3 & 4 (July–October).

Kobena Mercer, “Dark and Lovely”, Ten Photo Paperback, Vol. 2, No. 1, pp. 78-86.

Adrian Searle, “Thumping Pleasure”, Artscribe, Issue 89, Nov/Dec (on Young Soul Rebels).

1990

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

1988

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, pp. 2–4.

“Black Film, British Cinema”, ICA Documents 7, pp. 53–57.

Jacqueline Rose, “Sexuality and Vision: Some Questions, Vision and Visuality”, Dia Art Foundation, No. 2.

1987

Douglas Crimp, “How To Have Promiscuity in an Epidemic”, pp. 270–271 (on

This Is Not An AIDS Advertisement).

 
 
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