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<channel>
	<title>jamil baldwin</title>
	<link>https://jamilbaldwin.com</link>
	<description>jamil baldwin</description>
	<pubDate>Fri, 23 Jan 2026 18:23:40 +0000</pubDate>
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		<title>the continuum of something that no longer exists</title>
				
		<link>https://jamilbaldwin.com/the-continuum-of-something-that-no-longer-exists</link>

		<pubDate>Mon, 24 Feb 2025 06:13:50 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/the-continuum-of-something-that-no-longer-exists</guid>

		<description>the continuum of something that no longer exists50” x 240” C-Print

I make sculptural images and installations that explore the ability of the photographic document to reconstitute the histories of images and material into value systems of care and empathy. The imagery is a record of my geography, my neighbors, and my family. They are either housed in or made into objects that ask viewers to contemplate their physical orientation and reward curiosity and patience. And above all, they highlight practices of connection and respect to locales and communities. 

“the continuum of something that no longer exists” was conceived after a disappointing loss in 2018. I was moving back in with my mother, and during the process, we discovered an old roll of film that must have survived two decades of moving around Southern California and a cross-country move. This roll of film likely belonged to my long-deceased father, who took great pleasure in photographing any and all family affairs. 

My mother insisted on getting it developed instead of allowing me to do so, despite this being&#38;nbsp; part of my practice. She took the negatives to our local Wal-Mart, where we received an interesting array of decayed, discolored, and abstract low-resolution images on a CD. When I asked where the negatives were, we learned about Wal-Mart’s process: they send the film to a third party who destroys the negatives once they are developed and scanned. 

Thus, these abstract 400kb thumbnail-sized files were all that was left of this decayed vestige of my dad. In a desperate move to try to salvage something, I recreated the negative using an LVT scan, curious to see how pixels were reconstituted as emulsion. What sort of unexpected details could emerge from these now unfamiliar memories? How could one embody 20 years of loss, or maybe 20 years of a slow reaction, 20 years of a changing state?

I decided to make a 20-foot c-print of this image. Using multiple exposures, I extended the deterioration marks to contemplate this continuum of what is, what was, what we’d like to hold on to, and what we learn in that process. 

It is not one moment, but years of moments held at once—folded, curved, hidden, forgotten, different altogether. 

Each iteration, each memory takes up space and requires one to reorient themselves to the piece. As I’ve only made prints of one image,&#38;nbsp; I hope to continue this exploration of large-scale prints as a way to contemplate how we meet time and the process of change. Where does it ask us to look? How does it ask us to stand? Are we willing to find the gifts an unexpected loss can offer only after the distance time affords?

Noteable Awards + Recognition:2025 A Tender Excavation at Luckman Gallery, curated by LACE,&#38;nbsp;Los Angeles, CA2025 Concrete Hope at&#38;nbsp;SMC's Pete and Susan Barrett Art Gallery, curated by Erika Hirugami,&#38;nbsp;Santa Monica, CA2025 Mention: Architectural Digest “How 15 Black Collectors Are Changing the Art World, Starting at Home”2024 Mention: Cultured Magazine “Meet Khalil Kinsey”2024 Acquired by the Kinsey Collection2024 9 Lives, Bellyman Gallery curated by Salim Green &#38;amp; John Bogaard, Los Angeles, CA


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		<title>Into the Into</title>
				
		<link>https://jamilbaldwin.com/Into-the-Into</link>

		<pubDate>Sat, 10 Jun 2023 00:57:23 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/Into-the-Into</guid>

		<description>into the into
16” x 20” x 3”, roofing cement, wood, metal, mordençage process on found silver gelatin printNote reads:If the door is unlocked, come in. spend some time.If the door is unlocked, try again another day. &#38;amp; please, close the door when you’re done :)

Noteable Awards + Recognition:2023 Staring into the Sun, Webber Gallery curated by Yuro Kurita &#38;amp; Chantal Webber, Los Angeles, CA2023 LA: In Dialogue hosted by Getty Museum at Band of Vices Gallery - Group Exhibition2023 Getty Mueum x Black Image Center Resident for “Dawoud Bey &#38;amp; Carrie Mae Weems: In Dialogue”&#38;nbsp;
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		<title>Tenacity</title>
				
		<link>https://jamilbaldwin.com/Tenacity</link>

		<pubDate>Sat, 20 May 2023 22:11:29 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/Tenacity</guid>

		<description>Tenacity (n.): 
the determination to continue20” x 24” silver gelatin prints left in water
At the root of Fieldnotes is an exchange. For my time and services as one of the community photographers, Shelly and I talked about making three portraits titled “Grace,” “Power,” &#38;amp; “Tenacity.” 
For “Tenacity” we’ve crafted an ode to the friends and family who were lost within one group of friends:&#38;nbsp;Jabari Benton, Jonathan Sandoval-Aleman, Millard Frazier Jr., and Olivia Lee.
 The images are made in the chronology of each person’s passing. And most importantly, the process is collaborative—the relatives of the deceased choose who should be in the image and where they would like to honor their brother, son, sister, daughter, father. In each image, we hold each other up, collectively sharing the weight of a shared history. And though grieving is personal and can be a lonely, individual experience, I hope there's comfort in knowing that we're holding that energy collectively. 

The images described above, are then abstracted. The prints are left in water, releasing the spirits of the folks within them to do as they please to the piece; maybe it’s their response. Regardless, the remains are what is shared. Amidst the love and the grief contained in the histories of these images and people, the pieces also offer a glimpse into the importance and limitations of oral and documented histories in relationship to our ability to mark ourselves in time.
Noteable Awards + Recognition:2025 Concrete Hope at&#38;nbsp;SMC's Pete and Susan Barrett Art Gallery, curated by Erika Hirugami,&#38;nbsp;Santa Monica, CA2025 Der Greif Issue 18, Edited by Hank Willis Thomas2025 Innovative Artist Grants Photography Honorable Mention2024 For Freedoms: Where Do We Go From Here? (printed publication)2024 Structures of Feeling, Human Resources curated by Keko Jackson, Los Angeles, CA2024 Re:encuentros, Irvine Fine Arts Center curated by William Camargo, Irvine, CA2023 Matte Editions issue 62 “Exciting Photography Now” edited by Eve Lyons and Matthew Leifheit2023 Juried Exhibition Vermont Center for Photography curated by Zora J Murff, Brattleboro, VT2023 International Photography Awards: Honorable Mention2023 Through Fire and Thunder, Image Equity Fellowship Group Exhibition, Pioneer Works,&#38;nbsp;Brooklyn, NY2022 Google Image Equity Fellow
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		<title>Fieldnotes on How Roots Flourish Without Soil</title>
				
		<link>https://jamilbaldwin.com/Fieldnotes-on-How-Roots-Flourish-Without-Soil</link>

		<pubDate>Mon, 21 Oct 2019 09:21:40 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/Fieldnotes-on-How-Roots-Flourish-Without-Soil</guid>

		<description>Fieldnotes on How Roots Flourish Without Soil
At its core, this is a documentary endeavor following my friends. It is quite simply a collection of images with the homies in our down time, family time, and the other times. &#38;nbsp;When I’m asked to intellectualize it, I say this collection is a record and representation of the resilience that constantly inspires our communities to be the breeding ground for faith, love and a limitless compassion. It is a guide to forming a vocabulary for what it means to live.

Composed of private images, during family time on weekends, birthdays, sporting events, funerals, and holidays, Fieldnotes is less focused on the distractions of the city’s relationship to violence and adversity, and it more precisely celebrates the family and the idea of tenacity. The collection is an introduction to my nephew Amari Johnson, and some of the people who aim to create a life for him and all the children in the family, free from the stressors of the immediate environment.

The project serves as a counter-narrative that Black men are absent fathers and neglects studies that have demonstrated otherwise. Somewhere along the way, the circumstances of mass incarceration, state sponsored murders, violence against poverty, amongst other factors morphed into a mentality and perception that Black men are not present; a feeling exacerbated by the disposability of their bodies.

Accordingly, it is a project concerned with demonstrating&#38;nbsp; the practices and values that create an environment that allows for a sustained ability to make a home where no one wanted us in the first place, planting deep roots wherever it is we come to exist. As the series continues, I mean to show where the beauty exists: within the people. 
The project is not overly poetic in that it doesn’t mean to romanticize living in our present conditions. In fact, it’s my desire that it opens a larger dialogue ruminating over where we find comfort and what we learn to be comfortable with. 

It becomes clear that the notion of survival and family in our neighborhoods is fluid, continually building, shifting, amassing a true village. Everyone is a brother, sister, auntie, uncle, cousin, mom and dad; the relationships run deeper than blood. Because it’s understood that family is not something you are born with, it is something that is built
And how within them, there’s frameworks for caring for each other, and pride in our diasporic roots, and faith in something bigger than ourselves; something that can only be fostered in the way it does because of the very realities of poverty, precarity, surveillance, and policing we experience. 
Noteable Awards + Recognition:2022 Google Image Equity Fellow2021 Belfast Photo Festival: Winner Open Call Photo Book2021 Shortlisted Lucie Foundation Scholarship for Photo Taken2020 JRNL 3 Winter Issue
2019 International Photography Awards: Honorable Mention, Analog Portraiture2019 Something Special Studios Special Projects: Summer of Something Special2019 Lagos Photo Festival
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	<item>
		<title>Family Photo Album</title>
				
		<link>https://jamilbaldwin.com/Family-Photo-Album</link>

		<pubDate>Thu, 23 Jun 2022 17:07:18 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/Family-Photo-Album</guid>

		<description>꩜, or when we die, our portraits speak to our living descendants4” x 6” c-prints
A probe into the possibilities of physicalizing social empathy as a vehicle for constituting collective memory and class solidarity through photography and installation. &#38;nbsp;
The original title of this series, sketched as a spiral around a singular point— ꩜, following Amiri Baraka’s The Changing Same—suggests life’s generational trajectory, revisiting shared ideas with deeper understanding or heightened consciousness. More practically, the series is titled: when we die, our portraits speak to our living descendants. 
The images in this project incorporate negatives I believe to be from my late father, reprinted alongside my own negatives, encompassing a visual history spanning over forty years, as far back as prior to my birth, up through a couple of years ago. With my father gone for more than two decades, many individuals in these images remain unknown to me—yet I resist labeling them as “strangers.” To me, a “stranger” is merely someone with whom I haven’t yet had a conversation; it is a way to strip away one’s humanity, and we lose the opportunity to find that thing which connects us. 
Similar to Darrell Ellis’ experimental printing techniques, I intervene directly in the prints, instinctively and perhaps ceremonially, to create a visual language that merges the identities of me and my late father. The canvas is the site for intervention, moving, bending, folding, and shifting it to accommodate the people within it, with the aim of opening up the images and creating an opportunity to build new relationships to the figures within them. Our authorship becomes fluid, merging into a shared visual language where both familial and creative identities overlap, transforming into something less discernible.
Family archives often lack the formality of “proper” archives with their captions, attributions, and context. At their best, family archives provide an accompaniment to oral history; at their worst, they are left for someone to decipher alone. So instead of treating these images like a formal archive or even an index of specificity, I transform these images into a gesture where the audience is asked to relate to obscured representations and intimate shared actions. This project becomes a practice of seeing and bonding with those whom we might initially perceive as strangers. 

In its final form, the project takes the shape of a literal photo album full of 4” x 6” prints, accompanied by a prompt inviting the viewer to share (ideally with a companion) what they see in at least one image, drawing on their own lived experiences. For example, we know what ideas of love, family, and time together should mean and what the reality of what those look like for us. And as such, a viewer is meant to stretch themselves to meet the image where it is, filling the images with their own insights–in short, a true practice of empathy. A gesture we could all practice more often.

Noteable Awards + Recognition:2024 Re:encuentros, Irvine Fine Arts Center curated by William Camargo, Irvine, CA2023 Staring into the Sun, Webber Gallery curated by Yuro Kurita &#38;amp; Chantal Webber, Los Angeles, CA2023 Matte Editions issue 62 “Exciting Photography Now” edited by Eve Lyons and Matthew Leifheit


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</description>
		
	</item>
		
		
	<item>
		<title>the only other thing in physics that behaves like time is heat</title>
				
		<link>https://jamilbaldwin.com/the-only-other-thing-in-physics-that-behaves-like-time-is-heat</link>

		<pubDate>Thu, 23 Jun 2022 20:49:48 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/the-only-other-thing-in-physics-that-behaves-like-time-is-heat</guid>

		<description>the only other thing in physics that behaves like time is heat

8” x 10” photograms

 Carlo Rovelli states in The Order of Time, “There is nothing intrinsic about the flowing of time....It is only the blurred reflection of a mysterious improbablity of the universe at a point in the past....The difference between the past and future does not lie in the elementary laws of motion; it does not reside in the deep grammar of nature. It is the natural disordering that leads to gradually less particular, less special situations.” He goes on to discuss on the only thing in physics that behaves like time is heat, insomuch that it only moves in one direction: from something hot to something cool. So as we age are we actually cooling down, as the molecular collisions and reactions in our body begin to subside?

&#60;img width="1500" height="542" width_o="1500" height_o="542" data-src="https://freight.cargo.site/t/original/i/956ee2951d2553c1f1b624669b8fa830460625847bf7359149d263c5d2d7d7f9/physics---time.png" data-mid="146244153" border="0"  src="https://freight.cargo.site/w/1000/i/956ee2951d2553c1f1b624669b8fa830460625847bf7359149d263c5d2d7d7f9/physics---time.png" /&#62;&#60;img width="2741" height="1200" width_o="2741" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fb915519d7daa13c349ef167faa994caf16c0f1f8aa855f51163083656b38e7c/the-only-other-thing-in-physics-that-moves-like-time-is-heat.png" data-mid="146243690" border="0"  src="https://freight.cargo.site/w/1000/i/fb915519d7daa13c349ef167faa994caf16c0f1f8aa855f51163083656b38e7c/the-only-other-thing-in-physics-that-moves-like-time-is-heat.png" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>I Signed The Permission Slip for This</title>
				
		<link>https://jamilbaldwin.com/I-Signed-The-Permission-Slip-for-This</link>

		<pubDate>Mon, 21 Oct 2019 09:21:40 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/I-Signed-The-Permission-Slip-for-This</guid>

		<description>
	
I Signed The Permission Slip For This (Vince Staples Tour Diary)

While professional music artists are often glamorized for the luxurious lifestyle of first class flights, upscale hotels, and worldly travels, there’s a side of life on the road that’s less documented: the downtime. There’s more time spent sitting in a venue or at a hotel than there is on stage. Not to mention, attempting to be a tourist in the city is rarely possible to achieve uninterrupted by the casual passer-by. Most days, it feels better to stay inside. However, as life at home moves forward, there’s a demand for your attention from friends and family, which can be emotionally taxing. Personal matters: deaths in the family, sickness, or general goings-on, weigh on the artists, too, whose life as an empath requires them to feel and be felt. 
When chatting with Vince Staples on tour about these pressures, I inquired if it felt like he spent most days in a cage. He looked back at me and simply responded, “I signed up for this when I signed the permission slip.” 
I interpretted “this” as the emotional baggage of maintaining his humanity, while still putting on a show to fans who may or may not wholly understand, let alone empathize with, the show they are attending. There’s an alienation that is embodied in these moments of feigned connection. That’s show biz.

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</description>
		
	</item>
		
		
	<item>
		<title>Long Exposure Study: After Hiroshi Sugimoto</title>
				
		<link>https://jamilbaldwin.com/Long-Exposure-Study-After-Hiroshi-Sugimoto</link>

		<pubDate>Fri, 23 Jan 2026 18:23:40 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/Long-Exposure-Study-After-Hiroshi-Sugimoto</guid>

		<description>
	
Long Exposure Study: After Hiroshi Sugimoto

Maybe shifting from thinking of the screen to the spectacle of live performance. What is in the space, and what is held during the length of a song, and in some instances during the length of a whole set? &#38;nbsp;
Taken during Vince Staples’ Big Fish Theory tour.&#38;nbsp;

&#60;img width="1514" height="1003" width_o="1514" height_o="1003" data-src="https://freight.cargo.site/t/original/i/0910d150aa04c5a0ad8c11a67534134048a6e8e521b72af35495602171a23107/000092200007.jpg" data-mid="243895687" border="0"  src="https://freight.cargo.site/w/1000/i/0910d150aa04c5a0ad8c11a67534134048a6e8e521b72af35495602171a23107/000092200007.jpg" /&#62;
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		<title>Locally Grown TV</title>
				
		<link>https://jamilbaldwin.com/Locally-Grown-TV</link>

		<pubDate>Mon, 21 Oct 2019 09:21:41 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

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	Locally Grown TV
(in collaboration with Westside Ty)
A Grassroots TV initiative to position television for the current era. It is TV the way we remember it and, at the same time, the way we think it should be. It's both the past and the future in the present.&#38;nbsp;LocallyGrown.tv is something you can leave on because you trust us.
Press:Wired Magazine Interview
Institute of Contemporary Art: ICA Daily Mention

The New Yorker: The Best TV Shows To Stream Now

The Projects: On Adaptive Creativity





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		<title>What If Billie Holliday Sang the Blues</title>
				
		<link>https://jamilbaldwin.com/What-If-Billie-Holliday-Sang-the-Blues</link>

		<pubDate>Tue, 04 Apr 2023 21:08:16 +0000</pubDate>

		<dc:creator>jamil baldwin</dc:creator>

		<guid isPermaLink="true">https://jamilbaldwin.com/What-If-Billie-Holliday-Sang-the-Blues</guid>

		<description>
	
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