Afrovisualism: Aesthetic theory advances Black creatives, artists’ spaces

Chloe Hawkins, Spectrum Editor

Local artists find inspiration and cultural importance in obscure spaces with the help of Afrovisualism.

The term “Afrovisualism” coins the Black Aesthetic Continual Theory, according to founder of Afrovisualism, curator, theorist, graphic designer and writer Justin Smith. It is the combination of Black historical frameworks to compare and identify the parallels in these different aesthetics, according to Smith.

The idea for the term came about in 2018 with inspiration from “Afrofuturism” and “Black visual culture,” Smith said. When he came up with this term, Smith chose to own his creative perspective, he said. 

“This is my definition of what Black visual culture is,” Smith said. “The idea of the continuum — the work that Black artists create is continuous, always changing and evolving.” 

Smith goes through a process in his research similar to “crate digging,” a term used for what music producers do when they go to record stores to find samples for their songs, he said. Crate digging is an analogy that applies the visual and musical languages of sampling for critically engaging with research and theory, according to Smith. 

Smith said much of his inspiration comes from music. This includes the experience of listening to music, identifying parallels in visual and musical samples, analyzing the album cover art and reading the liner notes, according to Smith. 

“I really started my deep dive into research because I love music,” Smith said. “I like knowing not just who’s the producer, but who the art director or graphic designer are.” 

Many examples of the influence of music videos, and album covers can be found on Smith’s Instagram page — some include Hank Willis Thomas’ “All Power to all People,” Jenn Nkiru’s “Hub Tones” and Arthur Jafa’s “Black Apparel.” 

“I read album covers like I read artwork,” Smith said. 

Smith said he loves to see his theories are resonating with people, especially in the Black community. He never expected to impact so many people and help others make connections, Smith said. 

“All of the artists I’ve spoken with have felt so free, open, seen and heard,” Smith said. “This is what I feel like should be happening more in artists’ spaces.”  

Smith hosted five live talks and discussions in Richmond ranging from locations such as the Institute for Contemporary Art and The Branch Museum of Architecture and Design, he said. Smith was also a part of the Afrikana Film Festival last year, where he was chosen to virtually discuss his theory of the Black continuum with other artists, he said. Afrikana Film Festival organizer Enjoli Moon personally chose Smith to be a part of the film festival. 

Moon chose Smith to be a part of the festival because he is very well-versed in regards to Afrofuturistic content creation, she said. This content ranges from cinematography and photography to other visual arts, according to Moon. 

“I knew that his aesthetic and his approach to Black cinema was something that was in alignment with Afrikana,” Moon said. “It was a natural collaboration.” 

Moon said the work Smith is doing through these lectures is a reflection of the term “Afrovisualism” by asking what it means to see Blackness in these spaces and truly appreciate it.

“What does it mean to inspect, pull it apart and find those spaces of continuum?” Moon said. “The way in which one thing has inspired and led to another.” 

The impact of these theories is a “broadening of perspective,” Moon said. He’s able to draw accessible lines between the past, present and future in a way that is easy to understand, according to Moon. 

“I think the impact is rooted in accessibility, and being able to offer ways to look at Black art in a different perspective,” Moon said. 

Smith has had a “beautiful impact” on the Richmond community, according to local artist and VCU alum Deya Guy-Vasson. 

Guy-Vasson immersed themselves into the Richmond art community afterwards, and now works in Ashland as an arts fabricator, he said.  

“It’s interesting to see the artists that VCU has been bringing in from the outside community,” Guy-Vasson said. “It’s been amazing to be witness to these discourses.” 

Guy-Vasson said he attended Smith’s talk on the Black continual theory. Smith has also been able to give feedback on Guy-Vasson’s work and has been a “really helpful influence,” Guy-Vasson said. 

“It’s refreshing to see Black art made by Black people, and to see artists discussing where they pull ideas from in the diaspora,” Guy-Vasson said. “The way he [Smith] pulls everyone together — It’s beautiful to see and hear. He’s a curator.”