Desiring to overcome a chronic void of women of color in the artistic realm, Amanda Figueroa, 28, a Ph.D. candidate in American studies at Harvard University and and Ravon Ruffin, 27, a Social Engagement Producer at the Smithsonian National Museum of African-American History and Culture (NMAAHC), are revolutionizing how women of color artists and professionals are represented in the museum field with their organization and consulting agency, Brown Girls Museum Blog (BGMB).
Although BGMB is only three years old, the organization has quickly become a go-to scholarly, professional, and community hub for the artistic curiosities, liberatory messages, progressive imaginations and praxis, and feminist entanglements of women of color artists across borders and boundaries.
Radically intentional about the power of art and community, Amanda and Ravon are truly etching their marks in the museum world as two artistic powerhouses, who are ensuring that the diversity and dynamism of black, brown, and yellow hues are not forgotten in the field's historical white cishet-male dominated landscape.
Amanda told us, "In my mind, the biggest contribution in any arena is always resources, and so I think it's a void of material resources for women of color in these fields that we are trying to repair. The most important thing for me is to take the resources I have been given and funnel them back to my community."
Check out my interview with the two creatives and get to know more about BGMB, their perspectives on navigating the art and humanities fields as women of color, and their advice to women of color who want to start a business.
What was the inspiration that led to the creation of Brown Girls Museum Blog (BGMB)? In what ways is BGMB filling a much-needed void in the arts, culture, academic and humanities fields?
Amanda: I grew up in a predominantly Latinx community, but when I left for college, it was a very white space that I was entering. I was one of only a handful of Latina women throughout my higher education, and I kept noticing how often I had to explain things about Latinidad to other people. I realized how few opportunities there were that were specific to my experience or my goals. And when I realized these things weren't out there, I saw that I had to create them.
"I realized how few opportunities there were that were specific to my experience or my goals. And when I realized these things weren't out there, I saw that I had to create them."
Ravon: For me, it's similar to Amanda. I left my small town for college and grad school and hadn't thought much before that about the politics of representation. The first spark or moment for me was in college, seeing how the local black community in Richmond, Virginia, was so absent from the cultural institutions and that void just started me on the path of thinking about visibility. It became a natural path once I met Amanda to create something that centers our experiences as we both kept realizing that feeling never went away.
Why is it important that communities of color have safe spaces where they can support local artists but also catalyze collectivism and possibly activism?
Ravon: Long term, definitely to be a permanent fixture in the arts ecosystem of our communities, both cultural and local, and to provide avenues for artists of color and communities of color to see themselves in the art world. Art is approachable, and not far from them, whether in the streets or in galleries.
"This is important because it doesn't happen enough. When you take in enough images that negate your existence, it's violence. And we want to help put a stop to that."
Amanda: Ravon is completely right. Just like we talk about food deserts, we could also talk about art deserts, where people have little to no access to art in their local area and it has a real effect. Just like people need grocery stores and affordable rent, they need space for community organizing around community needs, and art spaces provide that. A lot of this comes down to money, finding another way for people to spend their money in the community so it stays in the community.
Ravon: This is our way of helping to remedy this cycle of exclusion.
As a thriving online platform and consulting agency, BGMB is a great example of an organization that can be created when there is a chronic void of inclusion in mainstream institutions. What advice would you give to women who want to create their own business?
Ravon: Stand firm in your idea, it came to you for a reason. Then, seek out resources––whether that's a mentor, or local business seminars. In the beginning, something I appreciated that Amanda and I did was take our time in figuring out who we were together in our business, and what our project was for ourselves. As people were excited about us, they would apply labels to the kind of work we do. It became so important that we had defined our work for ourselves so that we weren't restricted to the boxes others put around us. Even if that meant changing our website every week.
Amanda: Get a partner. I could not have done this by myself. Having each other to bounce ideas off of, keep each other accountable, and be supportive in a fledgling idea made all of this possible. I truly believe we work better together, in collaboration.
And then say "yes" as much as you can to opportunities, to new ideas, to changes in direction. Ravon and I were successful in part because we were willing to try out so many different things that came our way. We could do that because we had a clear idea ourselves of what we were, but we were willing to see how that could fit in with other people and their needs. Being flexible and having to do this work in a variety of settings really helped us to figure out what we were best at and what we most wanted to do.
For more information about Brown Girls Museum Blog, visit the website at http://www.browngirlsmuseumblog.com and you can follow the organization on Instagram at @brwngirlsmuseumblog and on Twitter at @2brwngirls.
According to NMWA, that question was difficult for many to answer because women artists are often erased, overlooked, and invisibilized in a field that is historically and contemporarily dominated by white men. However, I would love to pose another question: Can you name five Black women artists? While women in general are oft-neglected in the art world, Black women artists are even further marginalized due to racialized-gendered oppressions and mechanisms that seek to overlook their artistic prowess. Moreover, data shows the arts –– just like many other fields –– is also pervasively and predominantly occupied by white women.
Because of the historically and even contemporarily racist, sexist, and classist environment of the arts, there are countless established and up-and coming Black women artists who are not recognized by the mainstream art-world. For example, statistics also shows that when "surveying the top 100 U.S. artists by volume from the last 30 years, and specifically looking at black artists, there are only three women: Kara Walker, Ellen Gallagher, and Mickalene Thomas."
With this chronic lack of centering the brilliance of Black women in the arts, get to know five brilliant Black women artists –– Sha Rich, Dawn Okoro, Adele "Supreme Williams, Giselle Buchanan, and Adee Roberson –– and how through their creative, diverse, and innovative artistic mediums are revolutionizing their respective communities.
Sha Rich | @richmethods
Photo: Sha Rich
Hailing from Tappahannock, Virginia, Sha Rich is an artistic force to be reckoned with. Drawing inspiration from the likes of Jamel Shabazz, Anita Baker, Carrie Mae Weems, Donald Glover/Childish Gambino, and Gordon Parks, Rich is a self-taught artist and photographer who draws portraits of prominent figures and everyday people. With a BFA in Graphic Design and a BS in Creative Advertising, her artistic mission and vision is to create and craft images of the Black community as sites of resistance and explore ideas of pain, pride, and dignity –– which are images she says "she wishes were more mainstream."
Photo Credits: Sha Rich | Images posted with the permission of Sha Rich
With her dream job of having solo shows worldwide, the creative and even political impetus behind Rich's work is to ensure the Black community and the diverse people who comprise it are properly represented and presented. Her profound, visionary, and anti-essentialist artwork dismantles stereotypical mainstream imagery that seeks to promote a very one-sided perspective and single-story narrative of the Black community.
To view Sha's work, visit her website: http://richmethods.work.
Dawn Okoro | @dawnokoro
Photo: Dawn Okoro
A Nigerian-American artist extraordinaire Dawn Okoro and her innovative artwork ushers in a limitless Black radical imagination and future that defies ontological and restrictive Black identity and gender politics. Based in Austin, Texas, Okoro received her bachelor's degree from the University of Texas and her law degree from Texas Southern University. Inspired by fashion, illustration, photography, and design, her work has been featured in Oxford American and Drawing Magazines and has been shown at the Texas Biennial, New York University, Notre Dame University, MoCADA Museum, and the Curtiss Jacobs Gallery in Harlem.
Photo Credit: Dawn Okoro's "Punk Noir" exhibition | Images reposted with permission by Dawn Okoro
Her latest exhibition "Punk Noir" features large-scale paintings and wearable art that highlights the punk, or Afropunk, spirit. Influenced by artists and photographers such as Barkley Hendrix, Richard Avedon, and Andy Warhol, Okoro's art "explores the idea of black people presenting truthfully, unabashed, and resisting societal expectations." Drawing inspiration and influence from her Nigerian Igbo heritage by using West African photo-writing traditions among the Akan peoples of Ghana and nsibidi and uli, known as andinkra, in her work. Most of the subjects featured in her exhibition are Austin-based writers, musicians, and artists.
To view Dawn's work, visit her website: https://okorostudio.com.
Adele Supreme | @adelesupreme
Photo: Adele Supreme
Adele "Supreme" Williams is not just an artist –– she, herself is art, physically and spiritually manifested. Inspired by her imagination and everyday observations, she describes her art and illustrations –– in particular, her comics –– as "silly coupled with cerebral." Born and raised in South Central, Los Angeles, her renown and eclectic work touches on an array of subjects including sex, love, life, social media, and the intimate and even quirky thoughts everyone thinks but sometimes are too fearful and even embarrassed to say out loud. Williams' relatability and satire in her comics is not only influenced by self-introspection and her compassion for others, but also her desire to depict Black women and people beyond stringent ideals and representations by "showing the vengeful, soft, drunk, regretful, confused, silly, horny, self-conscious, curious, explorative, sneaky, smart and sweet side of Black women."
Photo Credits: Adele Supreme | Images reposted with permission by Adele Supreme
Challenging people to be authentically themselves and to embrace who they are in their entirety, Williams' first solo exhibit, "The Pretty Nasty Imagination of Adele Supreme," debuted in 2016 and traveled to various cities including Miami, Columbus, Los Angeles and Chicago. Also in 2016, Amazon debuted Williams' "Oh my God, Yes! A Series of extremely relatable circumstances" which will be adapted into animated series. She is also the author of her first children's book titled "My Hair Grows Up."
To view Adele's work, visit her website: https://www.adelewashere.com.
Giselle Buchanan | @vishuddha
Photo: Giselle Buchanan
Giselle Buchanan is truly a goddess of all trades. A multidisciplinary artist, poet, and writer from the Bronx, New York, her work not just only emphasizes artistic aesthetics but integrates holistic and restorative healing and justice. Currently residing in Brooklyn as a community activist and organizer, Buchanan has integrated her art and activism as a therapeutic agent, working with women, incarcerated men on Rikers Island, and children in East Harlem, the Bronx, and Brooklyn. She has partnered and worked with several organizations, including the Bronx Museum, Harlem Textile works, and New York Writers Coalition, she also leads and facilitates workshops and programs that encourage, empower, and cultivate creative expression and artistic talents of marginalized and underserved students.
Photo Credits: Giselle Buchanan | Images reposted with permission by Giselle Buchanan
With artistic and political areas of interests, including rehabilitation and the arts; holistic healing and power of expression; community art and expression; Womanism; race, gender, and class; social justice and more, she has performed and hosted workshops at the Apollo Theater, the Chicago Theater, Housing Works Bookstore, MoCADA Museum, and Tufts University. Her writings and poetry have been featured in Hanging Loose magazine and media outlets. Her zine, "A Love Letter to Self" was published in 2017.
To view Giselle's work, visit her website: https://www.gisellebuchanan.com.
Adee Roberson | @adeeroberson
Photo: Adee Roberson
Adee Roberson's artistry not only embodies and evokes emotion –– her work constantly entices the viewer to know and want more. Born in West Palm Beach, Florida, Roberson's work speaks to and embodies the vibrancy of Black women –– in all their various shapes, frames, forms, evolutions, fludities, and identities. Using bright colors, bold shapes, and beautiful images of Black women in her art, her work "weaves sonic and familial archives, with landscape, technicolor, rhythm, form and spirit."
Photo Credits: Adee Roberson | Images reposted with permission by Adee Roberson
Currently based in Los Angeles, California, Roberson's use of familial archives elicits a fictive connection and kinship and allows the viewer to see their families, their friends, their community members, and even themselves in her timeless and awe-inspiring artistry. She has exhibited and performed at numerous venues, including Portland Institute of Contemporary Art, Yerba Buena Center for the Arts, Charlie James Gallery, Contemporary Art Center New Orleans, MOCA Los Angeles, and Art Gallery of Windsor, Ontario.
To view Adee's work, visit their website: http://www.adeeroberson.com.
This Women's History Month (and beyond), it is imperative to highlight the work of Black women who are writing to honor and acknowledge the historical and contemporary political contributions, stories, and achievements of Black women in the Diaspora.
In this current political climate, it is critical to read Black women's literature and get their perspectives on self-care, self-love, Black women's political history, and more. Whether it be nonfiction, fiction, poetry or prose, it is the resiliency, brilliance, originality and tenacity of Black women and Black women authors that should always be celebrated 365/24/7.
Check out these six books authored by Black women that need to be on your radar and on your bookshelves ASAP:
1."This Will Be My Undoing: Living at the Intersection of Black, Female, and Feminist in (White) America" by Morgan Jerkins
In her debut book, This Will Be My Undoing: Living At The Intersection of Black, Female, and Feminist in (White) America, writer and journalist Morgan Jerkins offers her perspectives on what it means to be black, a woman ––a black woman––and navigating the various societal oppressions and pressures that try to invisibilize and disregard Black women's worth, efforts, and work.
Named one of the Most Anticipated Books of 2018 by Esquire, Elle, Vogue, Nylon and more, she explores Black feminist thought, Black history, white feminism and more and challenges the institutional socio-economic and political injustices and misogynoir that attempt to thwart Black women's progress. An ode to Black women's resilience––and also, her resiliency––Jerkins' commentary offes liberatory insight for other Black women, who too are living at the intersection of "Black, female, and feminist in white America."
2."Set the World On Fire: Black National Women and the Global Struggle for Freedom" by Keisha N. Blain
In a world that continually tries to diminish and overlook Black women's political activism and contributions, historian Keisha N. Blain is undoing this male-cishet-patriarchal trend/oppression in her pivotal book, Set The World On Fire: Black National Women and the Global Struggle for Freedom.
Highlighting the pioneering roles Black women played in domestic and global Black social movements from the early twentieth century to the 1960s, readers will be introduced to Afro-Diasporic Black women activists, including Mittie Maude Lena Gordon, Celia Jane Allen, and Amy Jacques Garvey. Dr. Blain's work provides revolutionary insight to the activism of Black women in nationalist and intersectionalist politics and ensures that their fight for racial, gender, and class equity will never again fall by the wayside.
3."When They Call You A Terrorist: A Black Lives Matter Memoir" by Patrisse Khan-Cullors and asha bandele
Thousands of people around the world know what #BlackLivesMatter is and means, but many do not know the stories of the founders of the global organization. When They Call You A Terrorist: A Black Lives Matter Memoir offers readers insight to the personal background, trials, tribulations, and successes of Patrisse Khan-Cullors, an artist, organizer, and co-founder of #BlackLivesMatter from Los Angeles, California.
Co-authored by award-winning author and journalist asha bandele, this engrossing and honest memoir showcases Cullors's resiliency in spite of state opposition and, moreover, details why her activism is so critical in ensuring equity and justice for all Black lives.
4."Remaking Black Power: How Black Women Transformed an Era" by Ashley D. Farmer
You know about the Black Power movement, right? Stokely Carmichael? Huey P. Newton? Bobby Seale? Right? Well, think again. In Remaking Black Power: How Black Women Transformed an Era, Dr. Ashley D. Farmer shatters sexist stereotypes that placed Black women solely behind-the-scenes in Black Power organizations and instead, highlights Black women's political, social, and cultural leadership.
Showcasing how Black women activists utilized art, essays, and political cartoons to assert their agency and to challenge racism, sexism, classism and more, Farmer's compelling work offers a new look on the dynamism of Black women as social agents and pioneers of radical change.
5."Marley Dias Gets It Done: And So Can You!" by Marley Dias
Thirteen-year old Marley Dias is a force to be reckoned with. The founder of the #1000BlackGirlBooks campaign, which she started to collect and donate children's books that represent and feature Black girls as lead protagonists, Dias now continues in her activism with her new book, Marley Dias Gets It Done: And So Can You!
Encouraging young people to use their voices, talents, and time to create positive change in their communities and the world, Dias also offers words of wisdom on social justice, literacy and inclusion. Providing tips on how to expand one's book selection, Dias is a perfect role model and example that no matter what age you are, you can truly make your dreams ultimate realities.
6.“Feel Free: Essays” by Zadie Smith
Renown British novelist and short-story writer Zadie Smith is back and better than ever with her latest novel FeelFree. In a series of smart, witty, and riveting essays, Smith discusses certain subjects including social media, pop culture, politics, journalism and more.
A brilliant, literary muse, Smith's work intertwines critique, collectivism, compassion and genuine concern about the trajectory of humanity in our current contentious politics.
What's on your reading list? Any notable black women writers? Let us know in the comments down below.
Those were just some of the negative statements and thoughts I would say and think to myself as I walked into class. As a 26-year-old Ph.D. candidate at Howard University, my journey in academia has been both exciting and fulfilling yet at the same time, emotionally and spiritually grueling. If the pressure that comes along with being the first in my family to graduate from undergrad, to receive a Master's degree, and pursue a doctorate was not hard enough, the constant feeling of self-doubt and chronic self-criticism of whether or not I "belonged" in higher education was a weight that was too much to bear –– despite my academic and professional accomplishments.
Not being able to put a name to this dark feeling of doubt that consumed me and too intimidated to share my feelings with my other Black female colleagues, I started to do research on what I was going through. After reading the article "For Colored Girls Who Are Unsure" on Sister PhD, I realized what I was battling with. It was called "Impostor Syndrome."
For those of you unfamiliar, Impostor Syndrome is the psychological phenomenon affecting individuals who find themseleves incapable of interanlizing their accomplishments. Instead they view themselves as failures or inadequates, and are living in a constant state of anxiety that they will be found out for the "fraud" that they believe themselves to be. It's quite common among women and people of color.
And unfortunately for us, Impostor Syndrome among Black women academics is a pervasive and debilitating issue that too many of us are suffering in silence with. Following in Audre Lorde's revolutionary charge to "transform silence into language and action," I interviewed five Black women Ph.D. students and they shared with me their experiences with Impostor Syndrome, how they cope with internalized perceptions of inadequacy; and some advice they would give to other Black women doctoral students who too are dealing with inclinations of unworthiness.
Erin Berry-McCrea, 33
The University of Maryland, Baltimore County (UMBC)
How has imposter syndrome impacted you and your Ph.D. journey?
"I think as a Black person, you are always battling with what W.E.B. DuBois describes as 'double consciousness.' You are so used to surviving and dealing with the duality that you become a master at 'saving face.' I was so accustomed to dealing with covert and overt racism; so, I thought dealing with it in the academy was simply part of the territory. I really had an "ah-ha!" moment when a friend from my hometown was killed by the police; my step-father passed suddenly in 2013; and I was taking a research methods class. I felt like I needed to perform some function of myself that I could not as a young scholar because I lost a parent. Death is permanent, and I was not prepared to include that in my life during my second semester as a doctoral student. That is when I realized that my imposter syndrome was bigger than me and almost crippling. I literally had anxiety attacks once a week and thought about moving back to Durham and quitting my program."
What advice would you give to other Black women Ph.D. students who may be dealing with Impostor Syndrome as well?
"I encourage Black women Ph.D. students to be transparent. Keep it 'a band' with yourself and those around you. The SBW (Strong Black Woman) trope is dangerous and it will kill you. Don't fall for it.
Stand in your truth. Do what you can and what you need to do for you and if you need help, ask for it.
Articulate it to those who say that they love you and be specific in what you need. Practice self-care. Prioritize self-care and knowledge of self in the same way that you prioritize meetings with advisors, trips to the library, dissertation writing, and any other academic task. I'd also suggest that you locate a 'tribe' of other 'Ph.D.ers' ––whether it be in person or digitally —so that you can have systems of support."
Ashley Daniels, 32
Howard University
How has Impostor Syndrome impacted you and your Ph.D. journey?
"I remember 2012 being a bittersweet year for me: I was getting settled into living in my first apartment by myself; I scored a great permanent job; and I was starting my first year as a Ph.D. student at one of my dream schools, Howard University. Things were looking good until my fall semester. Thinking that my new work-school balance was going to be like my old work-school balance, I kept my same full-time hours at my new job and took a full load of coursework at Howard. Because of the terrible school-life balance I struggled to maintain, I began to doubt myself and my position in life at the time.
Perhaps Howard and my job made a mistake in taking a chance on me? Was I really as smart as I thought I was?
This kind of thinking did a lot of damage in my first year. I finished my first year on academic suspension; was unconfident in my job performance; and feeling completely beaten down."
What are some ways in which you challenge, overcome and/or cope with your Impostor Syndrome?
"I can clearly remember the times I would walk the hallways of Howard or sit at my office desk and try to fake as many smiles as I could. It wasn't until I came to work one day the summer of 2013 looking as defeated as I felt. My boss — whom I had only known for a few months but was very supportive of my education since we met –– asked me what was going on. I finally broke down and told her everything that I was going through for the past year. However, that was the moment where things began to change. The breaking of my silence led to an adjustment in my work schedule; better advisement on how to be a successful working Ph.D. student; and eventually going to therapy to treat a plethora of issues including anxiety and depression. Six years later, I am proud of the long way I've come to the better physical, mental, and emotional space I am in."
Latoya Haynes-Thoby, 37
Penn State University
How has Impostor Syndrome impacted you and your Ph.D journey?
"Impostor Syndrome was really hard in the beginning to deal with and sometimes it creeps up even now. One of the things that has helped me with my Impostor Syndrome is considering the consequences of not speaking up and talking about it. As a first-generation college student, I have seen how my peers have the support system and can reach out to their family members and close friends who have doctorates; whereas that is not the case for me. I also remember that I am here for a reason and my silence on certain issues won't further the reasons and causes that I am fighting for. I have to remind myself daily that the ideas and things that are important to the groups I belong to won't be heard unless I speak up."
What advice would you give to other Black women Ph.D. students who may be dealing with Impostor Syndrome as well?
"I remember highlighting someone for a project I did for my graduate research and one of the statements he said was, 'Always remember that your voice is important and what you have to say is important.' It wasn't until very recently that I was able to digest that. I hope that other Black women in doctoral programs remember that our voices are important and what we have to say is important. If we risk silencing ourselves, we risk silencing the communities and families we represent. We risk silencing new ideas and people that we are trying to highlight in our work."
Dominiqua M. Griffin, 28
Penn State University
How has Imposter Syndrome impacted you and your Ph.D journey?
"In the beginning of the program and even now, it just feels like 'do I really even matter?' or 'will my work really make a difference?' I always feel as if I am the only person advocating for certain issues, especially in a predominantly white space such as Penn State. I've constantly questioned myself about whether or not I am good enough to be here but I also know that I am not the only person in this predicament either. I recognize there were Black women before me who felt this way and there are going to be Black women after me who will feel this way too –– and they feel imposter syndrome whether they attend predominantly white institutions or historically black colleges and universities. With this, I really have conversations with myself and say, 'I can definitely do this.'"
What are some ways in which you challenge, overcome and/or cope with your Imposter Syndrome?
"While I was at Penn State, I was a part of the Black Graduate Student Association (BGSA) and the Commission on Race, Ethnicity, and Diversity. That was really helpful. Being able to advocate for students of color; students with disabilities; and advocating for mental health and wellness and how Black students need counselors of color on campus, really helped me because I felt heard and valued. It was great to be around fellow graduate students who looked like me and who also were going through the same issues as me and being able to talk about our issues collectively really encouraged me."
Ree Botts, 25
UC Berkeley
@reeciology + @theselfologymovement
How has Impostor Syndrome impacted you and your Ph.D. journey?
"My Impostor Syndrome started when I was an undergraduate at Spelman. My sophomore year, I was in a program called the Mellon-Mays Fellowship, which is a program that serves as a pipeline for undergraduate students who are interested in getting their Ph.D. At the time, I did not know if the program was what I wanted to do but with the encouragement of one of my favorite professors, I applied. I was so surprised that I was accepted into the program because I did not think I was smart enough. I felt like I didn't belong. I remember the first day of the program when everyone was making their introductions and I was really nervous because I was afraid they would judge me because of my Philly accent. I did not want people to think that I was 'ghetto' or 'stupid' because I did not talk the way they did. I used to question myself and wonder how can I be a scholar and yet an 'around-the-way' Philly girl and try to exert my confidence? I thought I had to pick a world to belong to but then I realized that I can be and do both."
What advice would you give to other Black women Ph.D. students who may be dealing with Impostor Syndrome as well?
"You deserve everything you worked hard for. Nobody made a mistake on you. Nobody accidentally let you slip in. There are a lot of unqualified people with doctorates, who have gotten through their programs because of their privilege. You have the power to create the life you want to live. Don't let your professors or these institutions have power over you.
Stay true to yourself and know that you don't have to put up with the bullshit.
You are a student at your institution and you have rights. You do not have to endure pain and trauma to get a degree. The moment you start making decisions for you and the moment you realize there is more to life –– your life –– outside these institutions and a degree is the moment you will be set free."
Have you ever encountered Impostor Syndrome? What steps are you taking to overcome those feelings?
