After Mazatlán series, 1999-2000

Photogravures

22.5 x 30 in (57.15 x 76.2 cm)

Edition. BAT Suite of 8 photogravures (From the edition of: 1 BAT, 2 APs, 2 PPS, 10 editioned prints)

$15,000

"After Mazatlán," quote directly from the same visual sources as Julien’s film "The Long Road to Mazatlán." Both draw on the mythologies of the frontier culture of the American West and in particular, the loaded iconographies of the Cowboy, here imbued with a homoerotic quality redolent of Andy Warhol’s Lonesome Cowboys, while also referencing the work of Martin Scorcese and David Hockney and continuing, as with Julien’s earlier film work, to subvert preconceptions of race and sexuality.

Sold as a suite of 8 framed prints shipping from San Antonio Texas

About the artist

Isaac Julien

b. 1960

Isaac Julien came to prominence in the early 1980s as a founding member of the Sankofa Film/Video Collective, one of the first workshops in the UK to explore new ideas of representing black identity. From his critically acclaimed documentaries Looking for Langston (1989) and Badasssss Cinema (2002), to his multi-channel installations such as Baltimore (2003), Isaac’s work combines dreamlike rhythms and lush imagery in stylized narratives. His films subvert the cinematic gaze to address stereotypes of masculinity, race, and sexual difference both head on and metaphorically. During his 1999 Artpace residency he wowed Texas with The Long Road to Mazátlan, which has now screened internationally and was the centerpiece of his Turner Prize nomination in 2000 and at Documenta 11 he took audiences by storm with Paradise/Omeros.