Khalik Allah

Khalik Allah Press: The Camera Ministry of KHALIK ALLAH, October 23, 2020 - Miss Rosen

The Camera Ministry of KHALIK ALLAH

October 23, 2020 - Miss Rosen

On following a higher power to document black life across the diaspora – an interview with the new Magnum nominee

"I think that beauty is everywhere. It depends on the decision to find it, focus on it, and accept it. Perception is always a choice. It seems that we are feeding off what our senses tell us is reality, but we choose what we see. When we look outward, we see a reflection of what we first witness inside ourselves. When you turn inward, your inner world is naturally unique. As long as I draw on that well of inspiration it’s not going to run dry."

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Khalik Allah Press: THE NEW YORKER, December 31, 2019 - Richard Brody

THE NEW YORKER

December 31, 2019 - Richard Brody

KHALIK ALLAH's BLACK MOTHER selected as THE NEW YORKER Best Movies of 2019

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The documentary filmmaker Khalik Allah, whose new feature, “Black Mother,” opens on Friday, is one of the most original cinematographers of the time. The modern cinema is a photographic cinema, with its roots in the hands-on creation of personal and highly inflected images; Allah is also a notable still photographer, and he made “Black Mother” the same way that he makes stills. He filmed the movie alone in the company of his subjects, doing his own camera work (in a variety of film and video formats, in color and in black-and-white); for that matter, he also recorded the sound. But his photographic sensibility is only one element of his exemplary art. He also edited the film, and his complex sense of audiovisual composition—textural, tonal, thematic, rhythmic, philosophical—is as original and as personal as his cinematography. 

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Khalik Allah Press: PHOTO DISTRICT NEWS, July 19, 2019 - David Walker

PHOTO DISTRICT NEWS

July 19, 2019 - David Walker

HOW KHALIK ALLAH BENT THE RULES OF STREET PHOTOGRAPHY, AND FOUND HIS VISION

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Khalik Allah Press: COLLECTOR DAILY, May  8, 2018 - Loring Knoblauch

COLLECTOR DAILY

May 8, 2018 - Loring Knoblauch

The durable power in Allah’s portraits lies in his unflinching willingness to connect, to take the risk of engaging with someone who may at first be rightfully fearful or defensive.

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Khalik Allah Press: PHOTOGRAPH, May  1, 2018 - Drew Thompson

PHOTOGRAPH

May 1, 2018 - Drew Thompson

The street corner of Lexington and 125th Street in Harlem is worlds away from the skyscrapers of Midtown East and the Gitterman Gallery, where work by the filmmaker and photographer Khalik Allah is on view through May 12.

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THE NEW YORK TIMES

April 26, 2018 - MARTHA SCHWENDENER

10 Galleries to Visit Now on the Upper East Side

The Upper East Side — the area called “above East 50th Street” on gallery apps like See Saw and Artforum — is thriving...

The Art Deco Fuller Building at 41 East 57th Street has historically been an art gallery hive. One of its tenants is Gitterman, a gallery devoted to photography and now showing the work of Khalik Allah, a young filmmaker and photographer. (Mr. Allah’s most recent film, “Black Mother,” was shown at this year’s edition of New Directors/New Films.) The photographs here were shot in Harlem, at 125th Street and Lenox Avenue, an area that was also the subject of his 2015 film, “Field Niggas.” Together, they are like a sheet of drawings by an old master, a study in facial expressions that suggests a range of experiences, from the ecstatic to the infernal.

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Khalik Allah Press: THE FILM STAGE, April  3, 2018

THE FILM STAGE

April 3, 2018


BLACK MOTHER by KHALIK ALLAH

New Directors/New Films 2018 review by Jason Ooi

In just two films, he has developed and honed his incomparable style, providing the festival, and the documentary form itself, with one of the most memorable, intense experiences in recent memory.

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Khalik Allah Press: THE NEW YORK TIMES, March 28, 2018

THE NEW YORK TIMES

March 28, 2018

BLACK MOTHER selected as one of 
11 Movies You Need to Know at New Directors/New Films by A.O. Scott

Gliding from color to black and white, from digital to analog, from grim realism to spiritual ecstasy, the film offers a song of praise to the island of Jamaica and a reckoning with its painful history and hard-pressed present. Mr. Allah gathers a rich blend of voices, faces and natural wonders, a kaleidoscope in which shards of violence and poverty commingle with glimmers of dignity and resilience. 

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Khalik Allah Press: HUCK, January 29, 2018 - Miss Rosen

HUCK

January 29, 2018 - Miss Rosen

Dark, soulful portraits of Harlem at night
Psychic x-rays

Khalik Allah takes to the streets of New York City, capturing the nocturnal locals of Harlem in a series of bold and beautiful images.

In the summer of 1998, Khalik Allah had come to a major crossroad after failing eighth grade. Dancing with a B-boy crew had been keeping him out late at night, and school had failed to interest him. Yet he understood the importance of educating himself. Concerned about his future, he headed up to Harlem and began to study with the Five-Percent Nation at the Allah School.

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Khalik Allah Press: THE NEW YORKER, January 18, 2018 - Richard Brody

THE NEW YORKER

January 18, 2018 - Richard Brody

A Filmmaker and Photographer’s Urgent, Personal Portraits of Harlem at Night

These images—of people, mainly black people, many of whom endure drug addiction, physical infirmities, poverty, homelessness, and harassment from the police—have an essential documentary urgency. They also have a spiritual essence, an element of passion and grace that’s revealed by Allah’s compositional grandeur and textural intimacy—but these revelations of style arise from his own experience, which he also details in the book, in an extraordinary personal essay, “Camera Ministry.” In the essay, Allah—who has an exhibition opening at New York’s Gitterman Gallery, in March—discusses his first enthusiasm for filmmaking, in the late nineteen-nineties, as a teen-ager from Long Island, at the same time that he began to frequent Harlem, to study the work of the Five Percent Nation, and to become friends with members of the Wu-Tang Clan. He discusses the happenstance of his sudden interest in photography at a time, in his early twenties, when he had put his filmmaking on hold. It’s a story that involves his family, but, above all, it involves his relationships with the people whom he photographs, as well as with other people whom he encountered on the street.

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