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Isaac Julien: Riot | Autobiography | The sensation is one of kaleidoscopic beauty and excess: colours, textures, perspectives, and sounds interact...

Riot-cover-423x532.jpg
Riot-cover-423x532.jpg

Isaac Julien: Riot | Autobiography | The sensation is one of kaleidoscopic beauty and excess: colours, textures, perspectives, and sounds interact...

80.00

Published by The Museum of Modern Art New York, 2013.

304 x 240 mm, hardback, 248 pages

ISBN 9780870708879

 

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Isaac Julien: Riot is not your typical exhibition catalogue. With most of the writing done by artist and filmmaker Isaac Julien himself, it is more like an illustrated intellectual biography. Essays are organized around important periods in Julien’s life, exploring the people, places, and events that have influenced his career, with sections titled FIRE, MIRROR, NEW YORK, CONSERVE, and CAPITAL. The book’s illustrations include film stills, Polaroids and snapshots, film posters, installation shots, and newspaper clippings. 

Julien’s essay is written with Cynthia Rose and punctuated with texts by his colleagues and mentors, including Paul Gilroy, Kobena Mercer, B. Ruby Rich, bell hooks, Mark Nash, Giuliana Bruno, Christine Van Assche, Laura Mulvey, and Stuart Hall. Rarely do we get such an intimate look at an artist’s development. Here, Julien shares the most formative influences on his life and his work, relating anecdotes and memories, and allowing others to do the same in order to paint a rounded portrait of himself and his oeuvre.

Isaac Julien: Riot  was published to accompany the exhibition of Julien’s multiscreen video installation Ten Thousand Waves, a poetic retelling of the events at Morecambe Bay in 2004 in which more than twenty Chinese cockle pickers drowned on a flooded sandbank off the coast of England. 

 

Film critic Laura Mulvey reflects on the work at length in the catalogue. An excerpt: “First, a kaleidoscope: the Ten Thousand Waves installation is made up of an arrangement of nine large screens, each one shifting and changing as the film’s images move from screen to screen, enhancing the movement of film itself. The spectator looks around bewildered, uncertain which way to turn or how to follow the fleeting succession of images. The sensation is one of kaleidoscopic beauty and excess: colours, textures, perspectives, and sounds interact with each other. In time, recurring figures andscenes begin to form into patterns, and sounds guide the eye from screen to screen, so that the installation’s meanings and emotions begin to take shape.”