the videographic essay criticism in sound & image

PUBLICATIONS ON VIDEOGRAPHIC CRITICISM AND THE AUDIOVISUAL ESSAY

Academic Quarter | Akademisk kvarter , “Academic Filmmaking in the New Humanities,” co-edited with Libertad Gills and Alan O’Leary, Summer 2024

“On Drill Team , and the Musicality of Videographic Criticism,” Alphaville :  Journal of Film and Screen Media , forthcoming, 2024

“Split Screens: A Discussion with Catherine Grant, Malte Hagener, and Katharina Loew,” in Nicholas Baer and Annie van den Oever eds., Technics: Media Technologies in the Digital Age (Amsterdam: Amsterdam University Press, 2024). https://library.oapen.org/handle/20.500.12657/89795

“‘I Learned an Awful Lot in Little Rock’: Laura Mulvey Reflects on her Gentlemen Prefer Blondes Remix,” [in]Transition: Journal of Videographic Film and Moving Image Studies , 11.1, 2024. https://doi.org/10.16995/intransition.15503

CINEMATIC ORGANISMS: Memories and Memorialisation. A Videographic essay produced for the ‘Cinema Memory and the Digital Archive’ project at Lancaster University, published December 21, 2023. https://www.lancaster.ac.uk/fass/projects/cmda/index.php/cinematic-organisms-memories-and-memorialisation/

“Space Perception / Movement in Water [On Catherine Grant’s Liquid Perception ]” by Shira Havron and Ido Harambam, Reviewed by Catherine Grant, [in]Transition: Journal of Videographic Film and Moving Image Studies , 10.4a, 2023. https://mediacommons.org/intransition/space-perception-movement-water

“Falling: 3 x Girls in Uniform : The Video Essay as Curatorial Practice,” Feminist Media Histories , Vol. 9, Number 4, 2023, pps. 44–52. https://doi.org/10.1525/fmh.2023.9.4.44

“From Here, There, and Elsewhere: In-Between Memories [on  Once Upon a Screen 2],”  [in]Transition: Journal of Videographic Film and Moving Image Studies , 9.3, 2022. Online at: http://mediacommons.org/intransition/once-upon-screen-vol-2-part-1-introduction-co-guest-editors

Co-author with Paul Merchant, Letter Across Oceans – To Tiziana Panizza/ Carta a través de los oc´eanos – a Tiziana Panizza , a video essay made for Reimagining the Pacific , published in August 2022. It was first shown on 30 July 2022 at the Centro de Cine y Creación in Santiago de Chile, as part of an ‘ Encuentro de Arte y Ecología en Chile .’

“ Irresistible instrumentalism: Materially thinking through music-making in the story worlds of silent films,” NECSUS: European Journal of Media Studies , S pring 2022_#Rumors. Online at: https://necsus-ejms.org/irresistible-instrumentalism-materially-thinking-through-music-making-in-the-story-worlds-of-silent-films/

With Deborah Martin, Rites of The Passage  [on Lucrecia Martel’s 2021 Eye Filmmuseum installation The Passage ], 2021 – forthcoming online

‘Birbirine Karışan Tutkular: Videografik Derlemede Kurgu Yoluyla Malzemeyle Düşünmek’ (Translated into Turkish by İpek Gürkan). sinecine: Sinema Araştırmaları Dergisi , 11 (2) 2020

Co-Author with Christian Keathley and Jason Mittell, The Videographic Essay: Practice and Pedagogy ,  a collection of writings about and examples of videographic criticism, edited by Christian Keathley, Jason Mittell, and Catherine Grant. As an open access, multimodal site of scholarship, this 2019 site will evolve over time, expanding the collection of examples and revising writing as relevant. (Versions of some of these writings were published in 2016 and 2019 by caboose books in the volume The Videographic Essay: Criticism in Sound & Image ) . Online at: http://videographicessay.org

With Deborah Martin, ‘Water Turtles/Tortugas Aquáticas [on two films by Lucrecia Martel]’, 16:9 , 2019. http://www.16-9.dk/2019/09/water-turtles/

‘El embrujo de La mujer sin cabeza ‘ [‘The Haunting of The Headless Woman’  – Video and text in Spanish with English Translation], Tecmerin: Revista de Ensayos Audiovisuales , 2,  Julio 2019: – Español: https://tecmerin.uc3m.es/revista-2-1/ ; English: https://tecmerin.uc3m.es/en/journal-2-1/ .

Co-Author with Christian Keathley and Jason Mittell, The Videographic Essay: Criticism in Sound and Image (Montreal: caboose/Rutgers University Press, 2nd ed., 2019.

Co-Editor with Jaap Kooijman,  ‘New Ways of Seeing (and Hearing): The Audiovisual Essay and Television, ‘Audiovisual Essay’ Section on Television in NECSUS: European Journal of Media Studies , forthcoming Spring 2019: https://necsus-ejms.org/new-ways-of-seeing-and-hearing-the-audiovisual-essay-and-television/

With Janet McCabe, ‘Flow/Cut, Body/Matter, Law Fear’, in ‘Bodies at the border: transnational co-produced TV drama and its gender politics in the pilots of Bron/Broen and adaptations, The Bridge and The Tunnel ‘, NECSUS: European Journal of Media Studies , Spring 2019: https://necsus-ejms.org/bodies-at-the-border-transnational-co-produced-tv-drama-and-its-gender-politics-in-the-pilots-of-bron-broen-and-adaptations-the-bridge-and-the-tunnel/

‘Beast Fables: A Videographic Study of Cinematic Deer and Transhuman Children’, The Cine-Files: A Scholarly Journal of Film Studies , 14, Spring 2019: http://www.thecine-files.com/cgrant/

‘ Ecce Homo ‘  – A video assemblage bringing the endings of Zero Dark Thirty and The Hour of the Furnaces , pt. 1, together. Published alongside considerations of the video by Robert Burgoyne, Anna Gjelsvik and Nadège Lourme, Grensesnitt , September, 2018:  https://grensesnitt.org/ecco-homo /

‘Screen Memories: A Video Essay on Smultronstället /  Wild Strawberries’, CINERGIE: Il Cinema e le altre Arti , 13, 2018:  https://doi.org/10.6092/issn.2280-9481/7914

Catherine Grant and Amber Jacobs, ‘Persona Non Grata Sonata’, MAI: Feminism & Visual Culture , Issue, 1 (Spring 2018):

Persona Non Grata Sonata

‘Videographic Star Studies and the “Late Voice”: Carrie Fisher, John Hurt and Jeanne Moreau’, In Media Res , September 1, 2017. Originally online at:  http://mediacommons.futureofthebook.org/imr/2017/08/15/videographic-star-studies-and-late-voice-carrie-fisher-john-hurt-and-jeanne-moreau . Now online here: http://mediacommons.org/imr/2017/08/15/videographic-star-studies-and-late-voice

‘Star Studies in Transition: Notes on Experimental Videographic Approaches to Film Performance’,  Cinema Journal , Volume 56, Issue 4, 2017. Open Access PDF:   http://c.ymcdn.com/sites/www.cmstudies.org/resource/resmgr/in_focus_archive/InFocus_56-4.pdf

‘Creative Possibilities’, Viewfinder , July 4th, 2017. Online at:  http://bufvc.ac.uk/articles/creative-possibilities

‘Looking at To-Be-Looked-at-Ness: Feminist Videographic Criticism’, [in]Transition: Journal of Videographic Film and Moving Image Studies , 4.1, 2017. Online at:  http://mediacommons.futureofthebook.org/intransition/2017/03/12/looking-be-looked-ness-feminist-videographic-criticism

‘The audiovisual essay as performative research’, NECSUS : European Journal of Media Studies , Autumn 2016. Online at: http:// www.necsus-ejms.org/the-audiovisual-essay-as-performative-research/

‘Dissolves of Passion: Materially Thinking through Editing in Videographic Compilation’ in  The Videographic Essay: Criticism in Sound and Image , Eds. Christian Keathley and Jason Mittell (Montreal: Caboose Books, 2016): 37-53. This work included the video essay  Dissolves of Passion , formerly online at the Caboose website:  https://www.caboosebooks.net/node/150  ISBN 978-1-927852-04-0. The most recent version of a preprint of this work is online at The Videographic Essay: Practice and Pedagogy  website, including all the quoted videos: http://videographicessay.org/works/videographic-essay/dissolves-of-passion-1

‘Beyond tautology? Audiovisual Film Criticism’ ,  Film Criticism,  Vol. 40, No.1, 2016. Online at:  http://hdl.handle.net/2027/spo.13761232.0040.113

“Film studies in the groove? Rhythmising perception in  Carnal Locomotive ” ,  NECSUS: European Journal of Media Studies , Spring 2015.  http://www.necsus-ejms.org/film-studies-in-the-groove-rhythmising-perception-in-carnal-locomotive/ . PDF:  http://www.ingentaconnect.com/contentone/aup/necsus/2015/00000004/00000001/art00007 . DOI:  http://dx.doi.org/10.5117/NECSUS2015.1.GRAN

“Interplay: (Re)Finding and (Re)Framing Cinematic Experience, Film Space, and the Child’s World,” [Video and text] LOLA , 6, 2015. Online at: http://www.lolajournal.com/6/interplay.html

“TURNING UP THE VOLUME? The Emergent Focus on Film Sound, Music and Listening in Audiovisual Essays”  The Cine-Files: A Scholarly Journal of Cinema Studies  (Spring 2015) 8. Special issue on Film Sound.  http://www.thecine-files.com/turning-up-the-volume/

Solo editor of  [in]Transition: Journal of Videographic Film and Moving Image Studies  – a  Cinema Journal /MediaCommons Collaboration, 2.3. May 2015. Online at:  http://mediacommons.futureofthebook.org/intransition/theme-week/2014/35/journal-videographic-film-moving-image-studies-13-2014

“Práctica, alcance y valor de los estudios videográficos sobre cine”  Transit: cine y otros desvíos , April 30, 2015.  http://cinentransit.com/practica-alcance-y-valor-de-los-estudios-videograficos-sobre-cine/

‘Las bodas de Laurel Dallas. O el melodrama materno de una espectadora feminista desconocida’, Transit. Cine y otros desvíos, January, 2015. Online at:  http://cinentransit.com/las-bodas-de-laurel-dallas/ . Translation into Spanish of the peer-reviewed video and article: Grant, C., ‘The Marriages of Laurel Dallas. Or, The Maternal Melodrama of the Unknown Feminist Film Spectator’,  Mediascape :  UCLA’s Journal of Cinema and Media Studies , Fall 2014. [Video and text]. ISSN 1558478X Online at:  http://www.tft.ucla.edu/mediascape/Fall2014_MarriagesMelodrama.html

‘The Marriages of Laurel Dallas. Or, The Maternal Melodrama of the Unknown Feminist Film Spectator’,  Mediascape: UCLA’s Journal of Cinema and Media Studies , Fall 2014. [Video and text]. ISSN 1558478X Online at:  http://www.tft.ucla.edu/mediascape/Fall2014_MarriagesMelodrama.html

‘The Remix That Knew Too Much? On  Rebecca , Retrospectatorship and the Making of  Rites of Passage ’,  The Cine-Files: A Scholarly Journal of Cinema Studies , Fall 2014. [Video and text]. ISSN 2156-9096. Online at:  http://www.thecine-files.com/grant/

‘The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking’,  ANIKI: Portuguese Journal of the Moving Image , 1.1, 2014, Online at:  http://aim.org.pt/ojs/index.php/revista/article/view/59/html

with Christian Keathley, ‘The Use of an Illusion: Childhood cinephilia, object relations, and videographic film studies’,  Photogénie , 0, June 2014. Co-authored introduction/individually authored text and video. Originally online at:  http://www.photogenie.be/photogenie_blog/article/use-illusion . Now moved to :  https://cinea.be/the-use-an-illusion-childhood-cinephilia-object-relations-and-videographic-film-studies/

with Christian Keathley, ‘El uso de una ilusión: Cinefilia infantil, relaciones de objeto y estudios videográficos sobre cine’,  Transit. Cine y otros desvíos , September 9, 2014. (translation into Spanish of  ‘The Use of an Illusion: Childhood cinephilia, object relations, and videographic film studies’, Photogénie, 0, June 2014). Online at:  http://cinentransit.com/cinefilia-infantil-relaciones-de-objeto-y-estudios-videograficos-sobre-cine/ .

‘Editorial Introduction’, ‘Bergman Senses’ and ‘Resources’ page,  [in]Transition: Journal of Videographic Film and Moving Image Studies  – a Cinema Journal/MediaCommons Collaboration, 1.1. 2014 (Co-edited Inaugural issue of the first peer-reviewed journal of audiovisual film studies). Online at: http://mediacommons.futureofthebook.org/intransition/theme-week/2014/10/intransition-videographic-film-moving-image-studies

“The Audiovisual Essay: My Favorite Things”,  [in]Transition: Journal of Videographic Film and Moving Image Studies  – a Cinema Journal/MediaCommons Collaboration, 1.3. September 2014 on The Audiovisual Essay: Practice and Theory. Online at:  http://mediacommons.futureofthebook.org/intransition/2014/08/26/audiovisual-essay-my-favorite-things

Director/producer/lead editor of  The Audiovisual Essay: Practice and Theory in Videographic Film and Moving Image Studie s, a companion website with thirty + essays and curated videos. Online at:  http://reframe.sussex.ac.uk/audiovisualessay/

‘How long is a piece of string? On the Practice, Scope and Value of Videographic Film Studies and Criticism’,  The Audiovisual Essay: Practice and Theory of Videographic Film and Moving Image Studies , September, 2014. Online at:  http://reframe.sussex.ac.uk/audiovisualessay/frankfurt-papers/catherine-grant/

“Editorial Introduction,” “Bergman Senses” and “Resources” page, [in]Transition: Journal of Videographic Film and Moving Image Studies – a Cinema Journal /MediaCommons Collaboration, 1.1. 2014 (Co-edited Inaugural issue of the first peer-reviewed journal of audiovisual film studies). Online at: http://mediacommons.futureofthebook.org/intransition/theme-week/2014/10/intransition-videographic-film-moving-image-studies

Director/co­editor of Testament of Cocteau: ORPHÉE on Film and in Opera , 40 minute scholarly video (featuring the work of Ed Hughes and James S. Williams), published at REFRAME Conversation s, September 2014. Online at: http://reframe.sussex.ac.uk/conversations/archive2014/testament-of-cocteau-orphee-on-film-and-in-opera/

“ Mechanised Flights: Memories of HEIDI by Catherine Grant ,” Curated by Chiara Grizzaffi, “On Video Tributes ,” [in]Transition: Journal of Videographic Film and Moving Image Studies – a Cinema Journal/MediaCommons Collaboration, 1.2. June 2014. Online at: http://mediacommons.futureofthebook.org/intransition/2014/06/23/video-tributes

“ Intersection [on Wong Kar-wai’s In the Mood for Love ],” Curated by Girish Shambu, ‘Intersection’, [in]Transition: Journal of Videographic Film and Moving Image Studies – a Cinema Journal/MediaCommons Collaboration, 1.2. June 2014. Online at: http://mediacommons.futureofthebook.org/intransition/2014/06/20/intersection-catherine-grant-chiara-grizzaffi-denise-liege-2014

“Scholarly Striptease. Or, The Unintended Consequences of Film Studies For Free,”  In Media Res (Open Source Academia Theme Week), December 1, 2014. Originally online at:  http://mediacommons.futureofthebook.org/imr/2014/12/01/scholarly-striptease-or-unintended-consequences-film-studies-free . Now online at:   http://mediacommons.org/imr/comment/5012

‘Notes on Mirror Visions in Modesty Blaise (Joseph Losey, 1966)’,  LA FURIA UMANA , 17, 2013 (online) [Video and text] and  LA FURIA UMANA , Paper #3, 2013. ISSN 2255-2812. Online at: http://www.lafuriaumana.it/index.php/29-issues/numero-17/31-catherine-grant-notes-on-mirror-visions-on-modesty-blaise

‘Déjà viewing’, Filmidée , 7, March 2013. Online at: https://www.filmidee.it/2013/05/deja-viewing/

“Déjà viewing?: videographic experiments in intertextual film studies,” Mediascape : UCLA’s Journal of Cinema and Media Studies , Winter 2013. Now online at: https://web.archive.org/web/20130105070842/http://www.tft.ucla.edu/mediascape/Winter2013_DejaViewing.html and http://sro.sussex.ac.uk/id/eprint/41656/ ( Originally online at: http://www.tft.ucla.edu/mediascape/Winter2013_DejaViewing.html )

“Bonus Tracks: The Making of Touching the Film Object and Skipping ROPE (Through Hitchcock’s Joins)”, Frames Cinema Journal, 1(1), 2012. Online at  http://framescinemajournal.com/article/bonus-tracks/

“Film and Moving Image Studies: Re-Born Digital? Some Participant Observations,” [Video and text], Frames Cinema Journal, 1 (1), 2012. Online at http://framescinemajournal.com/article/re-born-digital/ .

“Video Essays on Films: A Multiprotagonist Manifesto.” Film Studies For Free . 2009. Online at:

http://filmstudiesforfree.blogspot.com/2009/07/video-essays-on-films-multiprotagonist.html “Video Essays and Scholarly Remix: Film Scholarship’s Emergent Forms – Audiovisual Film Studies, Pt 2.” Film Studies For Free. 2012. Online at:

http://filmstudiesforfree.blogspot.com/2012/03/video-essays-and-scholarly-remix-film.html “Knowing that/knowing how? On audiovisual film studies, part 1: practice-led film research.” Film Studies For Free . 2012. Online at: http://filmstudiesforfree.blogspot.com/2012/03/knowing-thatknowing-how-on-audiovisual.html .

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The videographic essay: criticism in sound and image - softcover.

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• Publisher caboose
• ISBN 10  1927852048
• ISBN 13  9781927852040
• Binding Paperback
• Edition number 1
• Number of pages 64

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The Videographic Essay – Revised and expanded edition

The book The Videographic Essay: Criticism in Sound and Image , written by Christian Keathley (Middlebury College), Jason Mittell (Middlebury College), and Catherine Grant (Birkbeck, University of London) has been made available in a revised and expanded edition by caboose books within its Kino-Agora book series. Developed from a workshop held at Middlebury College in 2015, the book highlights the finest examples of video essays and videographic criticism, and shows how such work allows for and even demands a different rhetoric than written film scholarship, which can in turn transform how scholars and students from film and media studies engage with and study cinematic texts.

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Survey on the practices and politics of peer review, call for audiovisual proposals: #coronaseries, necsus – autumn 2024: call for features, #cycles launch: recording online, necsus: call for book reviewers – 2024, cfp: autumn 2024_#enough – call for papers, #cycles: online launch event on 25 january 2024, #cycles: on circularity and recursivity in media culture, editorial board.

Martine Beugnet University of Paris 7 Diderot

Greg de Cuir Jr University of Arts Belgrade

Judith Keilbach Universiteit Utrecht

Skadi Loist Film University Babelsberg  Konrad Wolf

Toni Pape University of Amsterdam

Maria A. Velez-Serna University of Stirling

Belén Vidal King’s College London

Andrea Virginás  Babeș-Bolyai University

We would like to thank the following institutions for their support:

• European Network for Cinema and Media Studies (NECS)
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NECS –European Network for Cinema and Media Studies is a non-profit organization bringing together scholars, archivists, programmers and practitioners.

Online The online version of NECSUS is published in Open Access and all issue contents are free and accessible to the public.

Download The online repository media/rep/ provides PDF downloads to aid referencing. Volumes are also indexed in the DOAJ . Please consider the environmental costs of printing versus reading online.

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Scholarship in Sound & Image: A Pedagogical Essay

two equally extreme methods: either to posit a reality which is entirely permeable to history, and ideologize; or, conversely, to posit a reality which is ultimately impenetrable, irreducible, and, in this case, poeticize. [. . .] [w]e constantly drift between the object and its demystification, powerless to render its wholeness. For if we penetrate the object, we liberate it but destroy it; and if we acknowledge its full weight, we respect it but we restore it to a state which is still mystified. [i]

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PMA 3501 The Video Essay

Course description.

This course examines the video essay and its corresponding or emerging forms in videographic criticism, the essay film, and written essays, including personal narrative, creative nonfiction, and hybrid texts. Students explore source material and develop media competencies that encompass video, sound, image and text in order to critically analyze content that explores dimensions of culture. In addition, students collaborate on lo-fi and more developed video projects that explore the formal dimensions of narrative and criticism. While maintaining a focus on the video essay as a form of critique, students address broader concerns about how video essays reflect their role as producers and consumers of media forms.

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The next offering of this course is undetermined at this time.

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Scholarship in Sound & Image

Workshop on videographic criticism.

The 2024 workshop will run from June 16-29. Applications are now closed – stay tuned for news about the 2025 workshop!

Developments in digital technology afford exciting new possibilities for conducting analysis and conveying arguments in a multimedia form about multimedia objects of study through works commonly known as ‘videographic essays.’ Jason Mittell and Catherine Grant will lead a two-week workshop at Middlebury College in Vermont from June 16 – 29, 2024, where participants will learn how to conceive and produce film & media criticism via digital sound and moving images.

The workshop will serve 15 participants, whose objects of study involve audio-visual media, especially film, television, and other new digital media forms. Participants should be scholars working in film & media studies or a related field – the workshop is appropriate for faculty, graduate students, or academic professionals. All participants must be fully vaccinated against COVID-19 before the start of the workshop.

This workshop was first presented three times (in 2015, 2017 & 2018) under a grant from the National Endowment for the Humanities. Since 2019, we are presenting it as a tuition-driven program.

In the workshops, we engage with many key questions facing film and media scholarship in the digital age: How might the use of images and sounds transform the rhetorical strategies used by film & media scholars? How does such creative digital scholarship fit into the norms of contemporary academia? How might incorporating aesthetic strategies common to moving images reshape scholarly discourse? How do broader trends and developments in remix culture and copyright activism connect with new modes of film and media scholarship? In a workshop setting, we consider the theoretical foundation for such forms of digital scholarship, and experiment extensively with producing such work. The goal is to explore a range of approaches by using moving images as a critical language and to expand the expressive possibilities available to innovative humanist scholars.

Participants are not expected to have experience producing videos – the workshop is aimed at exploring the new format and stimulating new ideas. The workshop will strive to create a community of practice among participants, as well as connecting participants to a broader community of videographic critics and scholars.

Applications for the 2023 workshop will be due February 12, 2024 – participants will be notified about their acceptance by the end of February. Applications are now being accepted .

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7 Days in the Cultural Life of a MoMA Photography Curator

Oluremi Onabanjo fills her week with early morning writing sessions, a live show at the Village Vanguard, time with other Black scholars and art all around New York City.

By Annie Armstrong

As a curator in the photography department of the Museum of Modern Art, and a Ph.D. candidate in art history at Columbia, Oluremi C. Onabanjo squeezes as many exhibitions and talks as she can into an already packed schedule.

“I tend to absorb heaps of images, texts and sounds in one day,” she said. A New Yorker for the past 12 years, she previously lived in Kano, Nigeria; Lagos; Johannesburg; Fair Lawn, N.J.; and Dar es Salaam, Tanzania. “Living in New York has given me a political education,” she said, “taught me how to look alongside and think with artists, and made me sensitive to how the forces of history structure the contemporary conditions of social life.”

Onabanjo tracked a few days of her cultural life, noting some of the books, music and conversations that inspired her. These are edited excerpts from phone and email interviews.

At the moment, my days start at 5 a.m. I am currently A.B.D. (All But Dissertation), which means that I’m in the final stretch. With a full-time job, this requires being resourceful with my time: rising early to crank out two hours’ worth of pages every morning before heading to the office, so that I can hopefully finish a full draft of my dissertation by December. At first it was slow going because I’m not naturally a morning person, but the words are coming more easily as the months pass — especially as the sun rises earlier to keep me company.

Reading: “O Defeito de Cor” by Ana Maria Gonçalves, “Slave Rebellion in Brazil” by João José Reis. Listening to: “ Don’t Touch My Hair ” by Solange, “ Green Grasshopper ” by Marcia Griffiths.

We recently closed a yearlong presentation of Ernest Cole’s work on the fourth floor of the museum. We took Cole’s 1967 photo book, “House of Bondage,” as a site of departure for an exhibition on the structures of settler colonialism and apartheid in South Africa, as well as their echoes stateside. Aperture rereleased that book, along with a new one, “Ernest Cole: The True America,” which takes up his photographic production in the United States — the subject of a forthcoming documentary directed by Raoul Peck.

Reading: “ To Our Land ” by Mahmoud Darwish, “ The Cry of Black Worldlessness ” by Panashe Chigumadzi. Listening to: “ Mannenberg ” by Abdullah Ibrahim, “ Strasbourg / St. Denis ” by Roy Hargrove.

I rarely get the opportunity to talk with colleagues in the field about the politics of curatorial practice. This is what made “ The Radical Practice of Black Curation ” so special. Organized by Tina Campt at Princeton University and Tavia Nyong’o at the Park Avenue Armory over two days, an international group of curators came together to think about the status of Black curatorial work in a time of “racial reckoning.” It was a precious convention for me, spent thinking aloud alongside the brilliant curators Gabi Ngcobo and Legacy Russell , both directors of crucial centers of experimental art.

Reading: “Discourse on Colonialism” by Aimé Césaire, “No Roses From My Mouth” by Stella Nyanzi. Listening to: “Help” by Duval Timothy, “ Carmen ” by Olivia Dean.

On Saturdays, I spend most of my time looking and reading. Moving steadily across the city’s galleries and museums, I find moments to read on the subway or at a pit stop for coffee and pastry. The motley crew of art shows currently populating my hit list include Francesca Woodman at Gagosian , “ Melissa Cody: Webbed Skies” at MoMA PS1 (which I loved during its first stop at MASP in São Paulo), Sonia Delaunay at the Bard Graduate Center , Counter Histories at Magnum Foundation , and Arthur Jafa at 52 Walker . No matter who is on view, I stop by Artists Space .

Reading: “Great Expectations” by Vinson Cunningham, Momtaza Mehri’s Substack . Listening to: “ Dangerookipawaa Freestyle ” by Ab-Soul, “ Get Close ” by Ari Lennox.

I often joke that one of the reasons I’m still in New York is because I live uptown. I’ve never resided below 110th Street, and I have no inclination of changing that anytime soon. One of my favorite places in Harlem is Revolution Books , an independent bookstore. I’ve witnessed some of the most nuanced conversations about politics and culture, theory and criticism inside and in front of that bookstore. On a good day, I pick up a secondhand book from one of their carrels out front and popped across the street for a bottle of wine from Pompette . The owners are good people and just opened a pretty excellent wine bar next door, Musette .

Reading: Hammer & Hope’s Spring 2024 issue , “The Rebel’s Clinic” by Adam Shatz. Listening to: “ When the Poems Do What They Do ” by Aja Monet, “ I See You ” by Little Simz.

I’m spending a great deal of time with our holdings of West and Central African studio portraiture, thinking through how these pictures powered notions of Pan-African subjectivity and solidarity during decolonization and the Civil Rights period. After work, I stop by Harlem Yoga Studio for an evening vinyasa class before walking home.

Reading: “Portrait and Place” by Giulia Paoletti, “The Invention of Africa” by V.Y. Mudimbe. Listening to: WKCR 89.9FM NY , voice notes from my oldest friend, Yvette Dickson-Tetteh.

I spent a good chunk of today processing research photographs and notes gathered over a research trip on Afro-Atlantic futures with my colleague and friend, Thomas J. Lax, who is MoMA’s media and performance curator, and André Lepecki, a professor of performance studies at N.Y.U. Over two weeks last December, we visited Afro-Brazilian quilombos (maroon societies) and autonomous art spaces in São Paulo, Piauí and Rio de Janeiro.

Once a month, I make a point to listen to music downtown. I’m open to all sorts of genres, but there’s nothing like seeing jazz live — especially with stages like the Village Vanguard still around. When our schedules align, my friend Gabrielle Davenport (a music and performance programmer and co-founder of BEM Books ) joins me. Tonight, we saw the pianist Gerald Clayton and his band. They filled our senses and stilled my mind. A true feat and exquisite gift, in a city like this.

Art and Museums in New York City

A guide to the shows, exhibitions and artists shaping the city’s cultural landscape..

At the Museum of Modern Art, the documentary photographer LaToya Ruby Frazier honors those who turn their energies to a social good .

Jenny Holzer signboards predated by a decade the news “crawl.” At the Guggenheim she is still bending the curve: Just read the art, is the message .

The artist-turned-film director Steve McQueen finds new depths in “Bass,”  an immersive environment of light and sound  in Dia Beacon keyed to Black history and “where we can go from here.”

A powerful and overdue exhibition at El Museo del Barrio links Amalia Mesa-Bains’s genre-defying installations  for the first time.

Looking for more art in the city? Here are the gallery shows not to miss in June .