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Isaac Julien (1960 -)
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 Isaac
Julien by David Deitcher, David Frankel, Amada Cruz
(Introduction), Isaac Julien
Isaac
Julien is Britain's preeminent black filmmaker, as well as an
internationally recognized artist, writer, teacher, and scholar.
His work employs a unique coupling of narrative and avant-garde
strategies to explore issues of race, gender and sexuality. Isaac
Julien documents his recent exhibition at the Art Pace Foundation
for Contemporary Art in San Antonio-including a trilogy of
film/video installations that examine both the complexities and
possibilities of eroticism and desire, as well as his latest work,
The Road to Mazatlan, which explores the figure of the cowboy in
gay culture. This book also collects, for the first time, Julien's
critical writings, which offer a challenging and exciting
perspective on issues of cultural politics and aesthetics,
particularly where questions of black and gay identity are
concerned. About
the Author
Isaac Julien was born in 1960, and lives and works in London. His
films include Frantz Fanon: Black Skin, White Masks (1995),
Young Soul Rebels (1991), the Cannes Film Festival
prizewinner, and the acclaimed documentary on Langston Hughes, Looking
for Langston (1989). His works have been featured in solo and
group exhibitions in the United Kingdom, the United States,
Australia, Ireland, Italy and South Africa. He is a prominent
member of the British cultural studies movement and has been a
lecturer at Harvard University and the Whitney Museum of American
Art's Independent Study Program.
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From The
Knitting Circle
Excerpt:
Isaac Julien originally studied painting at St
Martin's School of Art in London. He had a painting accepted by
the Royal Academy Summer Show in 1980.
He was a founder member of the Black Workshop,
Sankofa, the pioneering black film and video collective, which led
to his first television collaboration with Channel 4, the
award-winning drama-documentary, Looking For Langston,
(1989)...
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From Body
Politic
Excerpt:
Isaac Julien arrived at my studio all charm and
confidence. It was as if we had yet to decide which one of us was
to be under the spotlight. The big benign smile featuring those
kind sparkling eyes rendered any kind of clash wholly
inappropriate - we were going to enjoy ourselves...
He saw his blackness and gayness as equally
important. He acknowledged that there was a tokenistic advantage,
but only insofar as the work could stand the exposure. His
interest in film and culture far outweighs the business of
identity. He sees his work as experimental in lots of ways, and
not just because it has been produced by a black homosexual in a
predominantly white heterosexual environment. He lamented the
scarcity of black gay film-makers. He wants very much to
avoid being hemmed in by his status as a black gay man. He is very
interested in the construction of identities other than his own,
even if he will always remain informed by the 'identity
perspective'...
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Names Index:
A B
C D
E F
G H
I J
K L
M N
O P
Q R
S T
U V
W X
Y Z
| Authors
Index | Scholars
Index |
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