In conjunction with the exhibition, “Shadow Play,” currently on view at the New Museum and particularly the screening of its centerpiece film, “Fly Paper,” critic at large Hilton Als profiled video artist, Kahlil Joseph for the November 6th issue of The New Yorker. Describing “Fly Paper,” as Joseph’s most personal film to date, Als reviews Joseph’s personal life and artistic background, including his work with Beyoncé for Lemonade and his friendship with cinematographer, Arthur Jafa.

Als spends some time describing one of Joseph’s most well-know music videos for Flying Lotus’ single “Until the Quiet Comes,” which Joseph screened as part of a liquid blackness event dedicated to his work held in the fall of 2016:

“From the start, Joseph drew on distinctly American and African imagery to produce work in which faces and bodies were the narrative. When he made music videos, the songs were used less to support the visuals than to provide a frame for them to bounce off or dismantle. In “Until the Quiet Comes,” a 2012 piece that he made for the experimental d.j. and musician Flying Lotus—Kara Walker included it in “Ruffneck Constructivists,” a significant show she curated at the Institute of Contemporary Art in Philadelphia, in 2014—we see several of the motifs that Joseph would revisit in “Lemonade”: the suspension and play of time and the fractured narrative, slow, illusory, and true.”

Editorial board member, Lauren Cramer’s essay in the most recent issue of the liquid blackness journal, inspired by Joseph’s work, similarly remarks on the aesthetic of suspension in “Until the Quiet Comes.” As Cramer argues:

“the suspended aesthetics of Joseph’s film not only critique the specious task of representing blackness, they disrupt the cultural logics that are sustained—literally grounded—by blackness.” Read the full essay here.
Screengrab, Flying Lotus, “Until the Quiet Comes,” directed by Kahlil Joseph