Arthur Jafa

In 1902, a Gullah family on the Sea Islands off South Carolina decide whether to migrate to the mainland, risking their unique cultural heritage.

Fifty years after Martin Luther King delivered his “I Have a Dream” speech, a collective of African American filmmakers, artists, and intellectuals reflect on the goals and ambitions of the civil rights movement and where things stand today.

If Love Is The Message trained Jafa’s scrutiny on black experience, The White Album shifts his lens to white experience, acknowledging that neither can be understood in isolation from the another. Again, he combines imagery from a wide array of sources, from music videos to confessionals posted to YouTube, to produce a trenchant examination of race relations in the United States.

A striking music-driven 8-minute video work proposes a vibrant scenario in which the histories drawn from the African American narrative of Blackness bear universal significance.

A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice.

Centers on two performances; in the first, dancers Storyboard P and Okwui Okpokwasili twist and twine their bodies in a moving two-part dance of desire, pain, and regret. In the second, present-day hip-hop royalty Beyoncé and Jay-Z serenade each other as part of a live performance. The work accompanies Jay-Z's track of the same name, widely viewed as an apology to his wife, Beyoncé for his infidelity and emotional failures as a husband. A collaboration between Arthur Jafa, Malik Sayeed, and Baltimore-based Elissa Blount Moorhead, the video uses cinematography, choreography, and found footage to explore complex and constricted notions of masculinity in an insightful and moving tapestry of Black love and life.

In 1902, a Gullah family on the Sea Islands off South Carolina decide whether to migrate to the mainland, risking their unique cultural heritage.

Fifty years after Martin Luther King delivered his “I Have a Dream” speech, a collective of African American filmmakers, artists, and intellectuals reflect on the goals and ambitions of the civil rights movement and where things stand today.

If Love Is The Message trained Jafa’s scrutiny on black experience, The White Album shifts his lens to white experience, acknowledging that neither can be understood in isolation from the another. Again, he combines imagery from a wide array of sources, from music videos to confessionals posted to YouTube, to produce a trenchant examination of race relations in the United States.

A striking music-driven 8-minute video work proposes a vibrant scenario in which the histories drawn from the African American narrative of Blackness bear universal significance.

A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice.

A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice.

Centers on two performances; in the first, dancers Storyboard P and Okwui Okpokwasili twist and twine their bodies in a moving two-part dance of desire, pain, and regret. In the second, present-day hip-hop royalty Beyoncé and Jay-Z serenade each other as part of a live performance. The work accompanies Jay-Z's track of the same name, widely viewed as an apology to his wife, Beyoncé for his infidelity and emotional failures as a husband. A collaboration between Arthur Jafa, Malik Sayeed, and Baltimore-based Elissa Blount Moorhead, the video uses cinematography, choreography, and found footage to explore complex and constricted notions of masculinity in an insightful and moving tapestry of Black love and life.

Commissioned by The Museum of Modern Art on the occasion of Just Above Midtown: Changing Spaces (October 9, 2022-February 18, 2023).

Music: Jeff Mills "Medicine Man"

An homage to Jafa's friend and collaborator Greg Tate upon his death.

In the 73-minute-long film, titled “*****” — or as the artist pronounces it, “Redacted” — we see this recut version of the bloody climax [of Taxi Driver] over and over, each time slightly but crucially different.

With AGHDRA, Arthur Jafa takes his work in a much different direction. The film contains just a handful of cuts; all of the footage is original. It alludes to some of the concerns Jafa explored in Love Is the Message—the tenuousness of Black life, and the twinned notions of beauty and fear that can accompany it—but this new film does so in relatively oblique ways. Gone is the music video–style pacing of Jafa’s past works. In its place is a slower kind of montage that inspires introspection.

Collage showcased at the Gladstone Gallery in October 2022.

"Deshotten 1.0" was the first collaboration between Arthur Jafa and Malik Sayeed and is the first TNEG project. Laying in a hospital bed, a young man replays the moments leading up to a nighttime shootout in the streets of New York.

A montage of filmed sermons and gospel songs performed in black churches from the 1980s to the 2000s.

The latest film from Arthur Jafa.

A slowed-down, modified iteration of Jafa's masterpiece APEX. Underscored by the beats of Detroit techno pioneer Robert Hood.