Julie Jacobs

half light
music
reborn
half lightmusicreborn

Bio:

Julie’s latest photographic images are in part inspired by the paintings of JMW Turner. She has returned time and again to the Tate Britain, which houses the world’s largest collection of Turner’s work. Over time, Julie’s photographs grew to reflect her fascination with Turner’s sometime photo-dissolution of reality in a movement toward the abstract.
 
Julie’s lifelong dedication to photography did not leave her without time for art in its other myriad forms. Julie has worked in many media. While studying at the NYU film school of NNU where she was employed by the photography department for 3 years during the heyday of the 1970s, she was captivated by the burgeoning of counter-cultures teeming within the City, particularly to the music scene during the early days of Punk. This proved to be her opening into commercial photography. She began taking studio photographs of bands, the first being the B52s. In very quick order she was hired by the NEW YORK ROCKER music journal. Many assignments followed from music journals, including Melody Maker and New Music Express for whom she photographed top bands such as Blondie and Talking Heads.

After attending classes in a masters degree program she returned to film making with her film, NO SENSE OF CRIME, a penetrating study of women involved who developed romantic relationships/obsessions with men on death row. Admired for its exceptional and disturbing images, the film premiered at the Berlin Film Festival and was selected by the Edinburgh Film Festival, the American Film Festival, the Cork Film Festival and the Centre Pompidou. The film was purchased by Bravo and Channel 4 in London. Julie has also enjoyed success as a screenwriter. Julie has written six screenplays, all of which were optioned, one was produced and one was selected for the Sundance Writers Lab. In addition to her photographic work, currently Julie is currently working on a documentary that follows an African American community in Chicago that is uprooted from “the projects”;  it is the powerful story of an American urban diaspora.