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Watching a black man in the shower

Michael Wood, 12 September 1991

Young Soul Rebels 
directed by Isaac Julien.
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Diary of a Young Soul Rebel 
by Isaac Julien and Colin MacCabe.
BFI, 218 pp., £10.95, September 1991, 0 85170 310 0
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“... Rebels is an intelligent and thoughtful, if uneven film. Its main scenes are full of energy, and Isaac Julien knows how to get images to ask difficult questions. The acting is rather self-conscious, but its awkwardness has charm, and individual performers, particularly Valentine Nonyela, Mo Sesay, Sophie Okonedo and Jason Durr, are appealing as ...”

At the Venice Biennale

Alice Spawls: All the World’s Futures, 18 June 2015

“... work. Marx is artist #047 in the catalogue. The performance, organised by the installation artist Isaac Julien, is preceded by a video interview with David Harvey for those who missed ‘Reading Marx’s Capital with David Harvey’ on his website. It’s a world away from the sunshine of the gardens and spritzs on the terrace (the product of another ...”

The Last Hundred Days

Peter Wollen: Kassel’s Mega-Exhibition, 3 October 2002

Documenta 11 
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“... and based in Vancouver. London fared well, too, with artists such as Kutlug Ataman, Mona Hatoum, Isaac Julien, Steve McQueen and Yinka Shonibare; while Pierre Huyghe, Annette Messager and others are Paris-based. Germany was represented by a number of established artists, such as Bernd and Hilla Becher, Hanne Darboven, Maria Eichhorn and Dieter Roth.They ...”

Sick of the Subject

Leo Robson: Ralph Ellison’s Interventions, 22 October 2026

The Collected Essays of Ralph Ellison: Revised and Updated 
by Ralph Ellison, edited by John F. Callahan.
Modern Library, 816 pp., $30, February 2024, 978 0 593 73006 5
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The Selected Letters of Ralph Ellison 
by Ralph Ellison, edited by John F. Callahan and Marc C. Conner.
Modern Library, 1072 pp., $30, March 2024, 978 0 593 73007 2
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“... found himself embraced again in one that proclaimed the end of history and even the end of race. Isaac Julien, in an essay published in 1992 called ‘Black Is, Black Ain’t’, drew on his example to ‘de-essentialise’ black identity. In a New Yorker profile published in March 1994, a few weeks before Ellison’s death, David Remnick argued that ...”

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