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Afrovisualism

@afrovisualism

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A Black Continual Studio Practice. The originator of Black Aesthetic Continual Theory. Crate-digging for samples & links. Moodboarding on the decks.
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Happy New Year! Starting 2023 off on a good note with a feature. I discuss the makings of my curatorial platform and continual studio practice, crate digging, how I coined @afrovisualism and my theoretical concept Black Aesthetic Continual Theory. Thank you to @commonwealthtimes @journalistchloehawkins @vcu @vcuarts for the wonderful interview. Thank you to Deya Guy-Vasson @mad.makoume and Enjoli Moon @enjolimoon @afrikanafest for your kind words. The Black Continuum advances through building community. #afrovisualism #blackaestheticcontinualtheory #vcuarts by @afrovisualism
Justin Smith is a curator and creative researcher from Richmond, Virginia. He is the founder and curator of Afrovisualism. Afrovisualism is his self-initiated curatorial research platform, theoretical study and artistic practice on Black Visual-Sonic Culture. Justin coined Afrovisualism in 2018. Afrovisualism is a Black Continual Studio Practice driven by Black artistic & visual-cultural production through curatorial research, theory, projects, exhibitions, conversations & visual presentations. Justin is the originator of Black Aesthetic Continual Theory and The Crate Digger’s Impulse, the curatorial frameworks behind the knowledge production of the Afrovisualist Practice. by @afrovisualism
My full talks and lectures are now on Youtube. Links in bio. You can now watch Introduction to the Black Continuums at @icavcu from November 2021. You can now watch me in conversation with Ethel Tawe (@artofetheltawe) Aishamanne Williams (@aishamoney / @aishmoneyrecords) and Tarona (@tarona) from my Black Cinematic Continuum curation with (@afrikanafest) from September 2022. The afrovisualist practice embraces lecturing and conversation as practice, envisioning a theoretical mixmaster approach, the crate-digger, as the vessel for enhancing theory and practice in conversation with various realms of thought and knowledge production. In the Afrovisualist practice, lectures and artists talks are a display of Black Aesthetic Continual Theory in real time, positioning artists as theorists in conversation. Black Aesthetic Continual Theory considers Black artists as knowledge producers on an individual and collaborative level while also highlighting the importance of: ‘artistic research as active sites’, ‘theorizing as practice’ and ‘knowledge production as process.’ The Afrovisualist practice is a griotic methodology of call-and-response illustrating the rhythm and knowledge base of the Black Continuum through dot-connecting: the artist is the griot as theory and knowledge is produced in tandem. The Afrovisualist curation is a continual space for artists to share about their practices. @afrovisualism continues to center the development of Black artist practices, processes, and constellations across research, curatorial, and multidisciplinary artistic throughlines. #afrovisualism #blackaestheticcontinualtheory #blackcinematiccontinuum #listeningtoimages by @afrovisualism
BLACK CONTINUAL STUDIO PRACTICE. an afrovisual board curated by @afrovisualism A continual consciousness. 1-4. Midnight Club 3: DUB Edition, DUB Edition Remix, Midnight Club Los Angeles, Midnight Club 2 cover art - Rockstar Games (2005, 2006, 2003) 5. Kansai - Rococco (Original Mix), Platipus Records, 2003, Midnight Club 2 intro theme 6. 4Hero - Another Day (Gotta Get Up) ft. Jill Scott, 2001 | 4Hero - Creating Patterns, 2001 | Sampled on "RathrBe." - knxwledge - Ovrstnd.LP, 2012 7. Sonic Riders Original Soundtrack - SEGA (2006) 8. F-ZERO GX/AX Original Soundtrack - SEGA (2004) 9. Mr. De’ - Electronicfunkyshit, Electrofunk Records, 1995 10. Goldie – Timeless (25th Anniversary Edition), Metalheadz, 2022, Timeless - A1. Inner City Life A2. Pressure A3. Jah 11. Dom & Roland - Unofficial Jah, Metalheadz, 2013 | Samples: (Vocal) Goldie - Jah The Seventh Seal, 1995 | (Riff) Blade Runner Blues - Blade Runner, 1982 | (Riff) Goldie ft. Diane Charlemagne - Inner City Life, 1994 Dom & Roland - Outta Endz | Samples: (Drums) Ike Turner and The Kings of Rhythm - Funky Mule, 1969 12. Goldie – Temper Temper, Metalheadz, 1997 | Grooverider Remix & Optical Remix 13. Ed Rush / Nico - The Force is Electric |Gangsta Hardstep, No U-Turn, 1995 (Vocal) 'World Sound Cup Clash '93' - Saxon Sound, Sir Coxson Sound, Bodyguard Sound System and Afrique Sound System, 1993 (Vocal) Shabba Ranks - Respect, 1993 | Samples: (Vocal) Gangstarr ft. Jeru the Damaja and Lil’ Dap - Speak Ya Clout, 1994, (Drums) Soul Pride - James Brown, 1969 14. Omni Trio - Trippin’ On Broken Beats & Soul of Darkness (Promenade 96 Rollout) (Vocal) Siedah Garrett - K.I.S.S.I.N.G. (1988) | (Vocal) First Choice - Let No Man Put Asunder (A Shep Pettibone Remix) (1983) | (Drums) Kid ‘N Play - Do This My Way, (1988), Moving Shadow, 1996 15. Cloud 9 - You Got Me Burnin' (Ray Keith & Nookie Remix), Mr Logic (Cloud 9 Remix), The Dreamer (Cloud 9 Nightmare Mix), 1993 16. Hyper-On Experience – Lords Of The Null Lines (The Extremely Bootlegged Remixes) Foul Play & Nookie Remixes, 1993 17. Splash - Babylon - DJ SS Mix & DJ Trace Mix part ii, 1995 18. Calyx - Thru Your Eyes, 2005 19. Noisia - Concussion, 2005 by @afrovisualism
afrovisualism is: The Theoretical Mixmaster of the Afrovisualist Practice. Black Aesthetic Continual Theory (BACT) theorizes as practice. Afrovisualism considers the continual development of the self-initiated theories of Black Aesthetic Continual Theory & The Crate-Digger’s Impulse as forms of Afrovisualist curatorial language and thought, & Black Continual Knowledge Systems. Afrovisualism is also the Theoretical Mixmaster of The Afrovisualist Practice, with a practical approach to reading, theorizing and applying creative theory as artistic practice. Black Aesthetic Continual Theory interprets, cites, samples, and mixes existing artist theories into the practice. Black Aesthetic Continual Theory (BACT) is in alignment with DJ culture through The Crate Digger’s Impulse. The intent of this practice is to create a new standard for citing, interpreting, mixing and sampling artistic theory into the work, to then create and develop new continuities for Black theory-making and artistic worldbuilding. The theories showcased within the Afrovisualist practice are: Jenn Nkiru’s @jennnkiru Cosmic Archeaology, Arthur Jafa’s @anamibia Black Visual Intonation, Affective Proximity, Alien Familiar, Black Cinema to Black Music. Tina Campt’s Listening to Images and Still-Moving Images, DJ Lynnee Denise’s @lynneedenise DJ Scholarship, DJ Spooky’s Rhythm Science, Kodwo Eshun’s Concept Engineering, Adam J. Banks’ Digital Griots, and Goldie’s Timestretching. 1. Goldie @mrgoldie Metalheadz, Blue Note in Hoxton Square, London, 1996, photographed by Eddie Otchere by @afrovisualism
afrovisualism is: The Knowledge Producer of Afrovisualist Thought. Black Aesthetic Continual Theory and The Crate Digger’s Impulse are the curatorial frameworks of Afrovisualist Thought. Black Aesthetic Continual Theory considers creative research as active spaces and sites that develop deeply interconnected theoretical modes of thinking. This practical theorization drive the continual engagement of Black Aesthetics. Black Aesthetic Continual Theory considers Black artists as theorists and knowledge producers, “knowledge production as process”, merges creative theorizing and research modes with continuous artistic practice. The afrovisualist practice (BACT) is centered on citing, collaging, dot-connecting, sampling, and remixing. These are also the makings of Black Continual knowledge systems. 1. Q-Tip - The Renaissance, 2008, photographed by Danny Clinch 2. Q-Tip - Gettin’ Up, The Renaissance, 2008, photographed by Danny Clinch by @afrovisualism
Afrovisualism is: The Originator of The Crate Digger's Impulse. The Afrovisualist practice is driven by The Crate Digger’s Impulse. The Afrovisualist methodology of The Crate Digger’s Impulse is a rhythmic integration of curatorial & theoretical research practices, methods & processes. The embodiment of the crate-digger role through a ‘digging-in-the-crates’ methodology, discovering continuity between samples and links. The afrovisualist practice (BACT) is centered on citing, collaging, dot-connecting, sampling, and remixing. ‘Crate-digging-as-continuum’ is the archival research methodology of the Afrovisualist practice. The Crate Digger’s Impulse considers ‘crate-digging as continual research’. The artist as listener, transmitter & griot, in how theory & knowledge is developed in process: recorded, produced, mixed, remixed, and sampled in tandem. The Crate-Digger’s Impulse responds to the work of Adam J. Banks Digital Griots, DJ Lynnée Denise DJ Scholarship, DJ Spooky’s Rhythm Science, and Kodwo Eshun’s Concept Engineering. Afrovisualism builds upon these theories through call & response. Afrovisualist theorization, research and curation of crate-digging & sampling theoretics and griotic-encyclopedic thought. 1. Ahmir “Questlove” Thompson, photographed by Eilon Paz  2. J Dilla, Clinton Township, Detroit, Michigan, US. 2000, photographed by B+ 3. Madlib the Beat Konducta at the Beat Konducta's Hideaway, 2005, Madlib - The Beat Konducta Vol. 1-2, 2006, photographed by B+ by @afrovisualism
Afrovisualism is: The Originator of Black Aesthetic Continual Theory. Black Aesthetic Continual Theory (BACT) is the ethos of the Afrovisualist practice, a theoretical and curatorial framework that positions the “artist-as-theorist” and “knowledge producer”. Reading works of art is an active process & method of practical theorization and continual engagement. The Afrovisualist approach considers archival haptics & worldbuilding theoretics of Black aesthetic continuums, timelines and chronologies. Black Aesthetic Continual Theory (BACT) is a self-initiated approach on continual research, theory, referential-based curation and knowledge production. Black Aesthetic Continual Theory (BACT) develops artistic research as active spaces and sites. Afrovisualism considers the curation of creative research as both an artform and medium of interpreting Black visual-cultural production. Afrovisualism curates and responds to assemblage, montage, moodboards and collage-based visual-sonic research. These research sites are self-referential touchpoints towards the Afrovisualist practice that exist as liminal artistic spaces that shift and change as the practice continually evolves. Black Aesthetic Continual Theory (BACT) interprets and responds to the artist theories: Jenn Nkiru’s Cosmic Archeaology, Arthur Jafa’s Black Visual Intonation, Affective Proximity, Alien Familiar and his theories of Black Cinema to Black Music. As well as Tina Campt’s Listening to Images and Still-Moving Images/Slow or Stilled Moving Images. Afrovisualism connects threads between existing and alongside artistic theories, artist commentary and their works of art. This continual exploration builds upon the creation of self-initiated curatorial frameworks and theories as a form of call & response. Afrovisualist theorization, research and curation exists to create markers between visual-sonic theory, making connections to crate-digging & sampling theoretics and griotic-encyclopedic thought. 1. Michael Jackson's Dangerous, Jam single cover, 1991. 2. Michael Jackson's Dangerous promo poster, artwork by Mark Ryden 3. Kahlil Joseph, BLKNWS, 2019 4. Tina Campt & Jenn Nkiru on Haptic Images, 2018 by @afrovisualism
Black Continual Studio Practice. a curatorial research studio by @afrovisualism TINA CAMPT - Listening To Images | Black Visual Frequency | Haptics | Still-Moving-Images | Phonic Substance Listening To Images by Tina Campt, 2017 In Conversation with Tina Campt, on A Black Gaze: Artists Changing How We See by Ethel-Ruth Tawe, British Journal of Photography, 2021 Tina Campt, Black Visual Frequency: A Glossary Still-Moving-Images, Fotomuseum Winterthur 2018 A Black Gaze: Artists Changing How We See by Tina Campt, Reprise: The Haptic Frequencies of Black Joy, 2021 Call & Response: Tina Campt & @jennnkiru on haptic images, 2018 Image Frequency Modulation By ETHEL TAWE SONIC DISCOURSE | BLACK DISCOURSE @zionestrada 2021 An Afrovisualist Call-And-Response Essay On The Black Continuum by Justin Smith @afrovisualism - visual essay, Something Curated, IFM - Ethel Tawe, 2022 @artofetheltawe Ethel Tawe, IMAGE FREQUENCY MODULATION, (2021 - ongoing) audiovisual installation, assemblage, (pictured) IFM in Melkweg, Amsterdam, 2021 IFM in Grand Cayman, 2022, with sonic curation and visual essay by @afrovisualism @listening2images Ethel Tawe, 2026 by @afrovisualism
Black Continual Studio Practice. a curatorial research studio by @afrovisualism ADAM J. BANKS - Crate-Digging as Continual Research | Digital Griots | Black Griotic Tradition 1. Digital Griots: African American Rhetoric in a Multimedia Age, 2010 2. PBS | Connections | Adam J. Banks, S7, EP 2, 2011 3. Dominant Genre Emeritus: Why It's Time to Retire The Essay by Adam J Banks, CLA Journal Vol 60, No, 2, "Decolonizing the University: A Battle for the African Mind" December, 2016 4. Race, Rhetoric & Technology, by Adam J. Banks, Ch. 6: Through The Hell Into Freedom: Black Architects, Slave Quilters and an African American Rhetoric of Design, 2005 by @afrovisualism
Black Continual Studio Practice. a curatorial research studio by @afrovisualism @anamibia Black Visual Intonation | Affective Proximity | Alien Familiar | Black Cinema Films/Artworks: 1. Malik Sayeed & Arthur Jafa - Adrian Younge: New Soul Rebel, 2015 2. Arthur Jafa, Love Is The Message, The Message Is Death, 2016 Artworks: 3. Arthur Jafa, APEX, 2013, APEX GRID, 2017, APEX GRID, 2018 4. Arthur Jafa Untitled Notebook, 1990 – 2007 Interviews: 1. ARTHUR JAFA in conversation with HANS ULRICH OBRIST, Moderna Museet, Los Angeles, 2016 2. Arthur Jafa and the Future of Black Cinema by Antwaun Sargent, 2017 3. Love is the Message, The Plan is Death,  Arthur Jafa and Tina M. Campt, e-flux journal, issue 81, 2017 4. Interview with Arthur Jafa, by Sofia Ciel, (2019) 5. Arthur Jafa: APEX | ARTIST STORIES | MoMA, 2020 6. "There is a political dimension to my practice." Artist Arthur Jafa | Louisiana Channel, Louisiana Museum of Modern Art, 2021 | YouTube 7. Arthur Jafa + Virgil Abloh + Mahfuz Sultan, Public Domain ARCH____ITECTURE “BLACK = CONCEPTUAL”  2021 | YouTube Essays: 1. Arthur Jafa, "69". Black Popular Culture by Michele Wallace, 1992 2. Aria Dean, worry the image, Art in America, 2017 Music Videos: 1. Solange, Don’t Touch My Hair, 2016 directed by Solange Knowles, Alan Ferguson, cinematography by Arthur Jafa 2. Solange, Cranes In The Sky, 2016 directed by Solange Knowles, Alan Ferguson, cinematography by Arthur Jafa by @afrovisualism
Black Continual Studio Practice. a curatorial research studio by @afrovisualism @jennnkiru Cosmic Archaeology | Sonic Mimesis | Black Universality | Crate-Digging Films: 1. Jenn Nkiru, Blackstar: Rebirth Is Necessary, 2017 GET BLACK TO GET BACK THE FLYING AFRICANS 2. THE CARTERS - APESH*T directed by Ricky Saiz, 2nd Unit direction by Jenn Nkiru, 2018 3. @kamasiwashington - Hub-Tones directed by Jenn Nkiru, 2018 Hub-Tones: Jenn Nkiru and Kamasi Washington In Conversation, 2018 4. Neneh Cherry - Kong, directed by Jenn Nkiru, 2018 5. Jenn Nkiru, Black To Techno, 2019 THE BLACK ECSTATIC CANNOT BE CONTAINED TECHNO SOMATICS BALANCE AND EQUILIBRIUM IN A CHAOTIC UNIVERSE 6. BROWN SKIN GIRL directed by Jenn Nkiru, for Black Is King, 2021 7. OUT / SIDE OF TIME, directed by Jenn Nkiru, 2021 8. Get Lit - Written & Directed by Jenn Nkiru, Kamasi Washington - Get Lit (feat. George Clinton, D Smoke), 2024 Interviews: 1. Jenn Nkiru, Highlights from Promax BDA keynote address, 2018 2. Jenn Nkiru In Conversation With Jheanelle Brown @jheaneeeeeelle and Darol Olu Kae @darolkae_ | Black Radical Imagination | MATCHES FASHION.COM, 2019  | YouTube 3. Jenn Nkiru, British Film Council, 2018 4. Jenn Nkiru talks Film, Art and Cosmic Archeology - Doc/Fest 2019 | YouTube 5. Jenn Nkiru Presents: New Transmissions, New Pathways - ICA London, 2017 | YouTube by @afrovisualism

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