There are few things more fascinating and wonder-filled as the imagination of a Black girl. Teeming with thoughts, images, dreams and possibilities, she creates worlds that Hollywood execs spend millions trying to conjure. Consider the matter of her ancestry and the nuance and magic of Black womanhood being played out all around her, and you realize that the landscape of her mind is a labyrinth of majesty comparable to none.
Earlier this year, for two days, using journaling as an impetus for discovery and exploration, we got a peek into the brilliant minds of some incredible Black girls who decided to join us for this journey. During our time together, we used film, story and experiential learning to consider the importance of values like empathy and conventions of the English language such as simile and metaphor to deepen the way our girls share their voice and perspective with the world. Our refrain for the weekend was to ask ourselves, “When the pen is in my hand, what will I write? How will I leave my mark on the world?”
It was amazing to see the girls bloom under the idea that they had the power to impact the world with their flavor of telling. The staff at TBP present that weekend used positive affirmations, our smiles, hugs, love and good food to scaffold the girls and build their confidence so that they could focus their minds, relax and learn. At the end of the weekend, the girls had been given a spark, having many fires lit on five different modules in the curriculum, that we have stoked throughout the year since that time. They have been working on writing projects that will be published in our next edition of The Journal, later this year. We are so proud to know them and walk hand in hand in with them through this process.
It was an immensely fun, powerful and sweet time, watching the reality of their intelligence and their potential flourish right before our very eyes. These girls are unstoppable.
Words by Pamela Thompson / Images by Madylin Nixon-Taplet
Iconic American photographer Carrie Mae Weems comes to University of Carolina-Chapel Hill on Wednesday, April 10 to present Past Tense, a striking lecture-style performance in which she examines the right to justice and peace through the lens of the classic play Antigone. Accompanied by startling imagery projected onscreen behind her, Weems explores themes of social justice, escalating violence, gender relations, politics, and personal identity within the context of contemporary history—recurrent subjects in her practice as a visual artist. Learn more about the performance and the artist’s motivation for creating this work.
We are excited and honored to partner with Carolina Performing Arts in a pre-performance workshop event before Carrie Mae Weems’ performance of Past Tense. Join us as we explore the impact of Weems’ art and celebrate the revolutionary power of words and images.
Our creative workshop, free and open to the public, will take place on April 10th at 6:00pm at Gerrard Hall, which is located right next door to UNC’s Memorial Hall. Also, friends of TBP who plan to attend Weems’ performance (and you should!) can receive discounted tickets ($15) by using our promo code:
TBPFRIEND can be redeemed online, by phone (919.843.3333), or in person at the CPA Box Office at Memorial Hall (M-F, 10 AM-5 PM). To redeem online: Select desired date on performance page. On next page, you must enter the code in the top right corner of the page before selecting desired number of tickets for the code to work properly.
Today marks the release of the third issue of The Beautiful Project Journal, a biannual publication that gives insight on the inner workings of our collective of Black girls and women. Our first issue,Activating Sisterhood, served as our re-introduction to the world as a collective of image makers and explored how we cultivate sisterhood with each other. Our second issue, Doing The Work, went deeper into what it means for us, as Black women and girls, to do this type of work that is before us. This current Journal focuses on the notion of wellness and healing for Black women and girls.
We are interrogating the nuances of self-care, exploring the necessity of collective care, and sharing tools and strategies on how to pursue wellness and healing for ourselves and each other. You will find articles and images that capture the themes of sisterhood, liberation, healing, and transformation. We hope you enjoy!
Thank you to the wonderful women who contributed to this issue and made it happen:
Editors: Khayla Deans and Pamela Thompson
Designer: Winnie Okwakol
Images & Text Contributors: Frances Adomako, Ahmadie Bowles, Zoey Bowles, Jade Clauden, Morgan Crutchfield, Dawn Downey, Pasha Gray, Jamaica Gilmer, Alexandria Miller, Cecilia Moore, Della Mosley, Madylin Nixon-Taplet, Avery Patterson, Sydney Patterson, AlineSitoe A. Sy
Our love to Timisha, Lacquen, Margaret, Lisa, Nadia, Ashley, Krystyn, Shyla, Alex, April, Najauna, and Joan for blessing us with your presence.
As a collective of artists, we are drawn to Black women and girls who choose to express themselves through any art medium. Such is the case for Durham-based artist, A.yoni Jeffries. She is a dynamic woman that we had our eyes on for a while due to her presence in the local artist and advocacy community. A.yoni is a multilayered creative, wearing multiple hats. She is an artist, singer, writer, entrepreneur, activist, and more. Her work is just as diverse as her interests. She is passionate about creating and sharing her art, which is often personal. She is also just as passionate about creating space to cultivate the artistry of others, particularly youth. For example, she is the Co-founder of Smooth Organic and Progressive Worldwide Inc., also known as SOAP, which is an organization — rooted in liberation and love — that intersects justice, arts, and agriculture for community advancement.
When A.yoni recently debuted her new song, “Searchin 4,” our team was rooting from the sidelines. The inspirational and honest song comes to life in the music video, co-directed by Monet Marshall and Stephaun Perry, which can be seen below. Our resident music aficionado, Khayla Deans, discussed with A.yoni about the inspiration behind the song, her journey as an artist, and her hopes for the future.
KD: In your own words, how would you describe yourself?
AJ: I am a creator. In all ways. I don’t think I’m done discovering the extent of my creations. I just like to make stuff with my hands, with my voice, with my brain. In every way.
KD: What are some of the things that you make?
AJ: I make music. I’m a singer songwriter. I like making visual art. I love photography. A lot of times I like to make or alter clothes. I like to make skits and little cartoon concepts. I create businesses.
I just want my people to live better lives. But I think that we got it wrong and I feel like that’s why I was created to create. For me as a creative, I always feel so strongly and so passionately and maybe that’s why I create so much. I’m such a passionate person. I look at all of these different industries that I have my hand in and I see people doing it, but they are not doing it from their hearts. They’re not doing it from love. They don’t care. But if I focus on that, I would be upset all day long. I peep it and I’m like, ‘Alright, this is why you are doing what you are doing. So keep going.’
KD: And that brings me to my next question. What do you enjoy most about creating?
AJ: Getting it out. For real. It is getting it out. I create a lot through pain. I’m still learning myself. So I’m not sure yet if I’m actually creating through pain or from the same source that my pain is sourced from. My creativity and my sadness kinda come from the same place. Each time it’s like giving birth.
KD: How did you get into singing?
AJ: My mom told me I’ve been doing it my whole life. She remembers me when I was a baby who hummed songs that she never heard before. I wish she had recorded it. She told me that she remembers me just humming a little song. I started writing when I was four years old. My mom homeschooled me for a little while. I was able to pick up quicker at home in that learning environment. So I was reading chapter books by five years old. I used to love reading so much because it gave me the ability to see a story more than just watching it on tv.
KD: You can imagine a lot more.
AJ: Yeah, you control the picture and what you see. I began singing out a lot when I turned five as well. I remember the first song I learned the words to was Britney Spears’ Oops I Did It Again (proceeds to sing the words of the chorus). But I used to sing through my nose.
KD: She did too.
AJ: Yeah, I didn’t realize it at the time because of course I was just five years old. But over time I learned that I have this very rare ability to mimic somebody to a T when it comes to music. So I have songs written in the styles of all these artists. I have over 300 songs in my catalogue, just waiting to sell. I want to sell all of them. But I came with this ability to write from the perspective of an artist and it is so spot on sometimes it scares me.
KD: So you have this song, “Searchin 4” — you put it out there, create a dope video behind it. It’s been released, it’s on SoulBounce, it’s making its way. How are you feeling in this moment right now that your music is out there?
AJ: I’m feeling so good. So good! Honestly, when I started living like this—living my talent and living my calling out loud– is when one of my best friends passed in December. That really struck something within me, more so than being hurt. More than that, B passed away with all of what he had still in him. Not really, because we made so much music, and I know that music one day will be bigger than the both of us ever imagined, so I’m holding on to that. But just seeing that he passed away so young, just 24, and his last couple of years were not his best years. It was just all of that really weighing heavy on me and I just had to do this just now.
I’ve made all of these excuses. In those moments though, it teaches me about being patient with other people because I didn’t even know that I was being paralyzed by fear. It’s something that you don’t even know is happening to you. You are just going on with how you are feeling in that moment. But you are able to become more emotionally aware of your stages and your processing, you learn how you can place some of what you’re experiencing [such as] ‘Oh this is actually me being very scared of succeeding in this thing.’
I can only imagine what’s coming. I sincerely hope my journey shows other people who are ridden with fear that you can still do this. You can still get it out of you. You can still be in this world with everyone else and be who you are. Ultimately, above anything else, we are scared to be our truest selves. We’re scared of ourselves. We’re the only people that know who we are individually. We are the only people who know us from when we’re at our best moments to our worst and lowest moments. But the fact that we always hide and harbor and keep secluded those more intense moments with ourselves, we feel like we are unrelated to everyone else.
KD: So in the song — listening to the lyrics and then seeing the video, the themes of release and healing come to mind. Transformation. What’s the story behind the song?
There are so many stories behind the song. I’ll tell you how I wrote the song first and then I’ll fast forward to this year.
So, I had just broke up. We weren’t going through much until I moved out of the house. We were living together and I moved out into my own apartment. I love myself enough to know that I can’t stay in this spot. So I did physically leave. I remember one night I was laying on my floor and I was just having these thoughts like, ‘Damn, did I make a mistake? This is terrible, I can’t believe I’m in this situation.’
And I’m like, let me just write it out. So I wrote all of the lyrics, which actually the hook of it, “the wandering eyes — pray you find what you’re searching for,” that part comes from Damien’s song. He wrote this song called Wandering Eyes and it is the same exact lyric except he says hope where I say pray. So I didn’t even know I was going to write that song. I was just writing and I was like, these are his lyrics but let me just put it here. So I write and it was in the style of a poem first. And then I got on my computer and I was looking through beats and I find that instrumental and thought, this is so beautiful. Then I was like, let me just see if these lyrics fit. And when I tell you it was too right! What you hear — that’s how the song sounded since I first wrote it.
After I released it, I didn’t even listen to this damn song. It wasn’t until April of this year. I was sitting in the car and listening to the song, and realized I was talking to myself. Which I had to be because I wrote the damn song. So everything came from me. After listening to the song, I knew I wanted to do a couple of videos. With that, I wanted to make sure it was the right person doing the video. I wanted to make sure it was the perfect time, perfect place. That’s really what has been keeping me from doing the video thus far.
Steph [one of the co-directors of the video] ended up hearing the song and reached out wanting to work with me. Monet [other co-director] winds up hearing it. She texts me, ‘There’s going to become a time when you’ll want to do a video for Searchin 4 and when that time comes, I want to help you.’
Because of this new revelation I had with the song, I felt like I was learning it all over again. I listened differently and I interpreted differently. Since my situation was different this time. So it [the video] has to be me with myself. I wanted to be myself but I wanted people to understand that it’s me assessing myself from a nostalgic feel and not necessarily a present moment feel. That’s my little sister in the video and it just so happens that she looks like me. It was really divine. It was meant to happen that way.
KD: And she’s playing a younger you?
AJ: Yes. At the beginning of the video, she’s starts out outside and I’m inside. A lot of people have interpreted it in different ways but, one of my favorite ones thus far is that each room was a representation of a different type of me. I didn’t even see that but after looking at it again, she’s correct in that assessment. It’s crazy how when you create something, other people will tell you how you created your work. Because you are learning something about me that I don’t even recognize about myself right now.
KD: In our work, we purposely create intergenerational spaces among Black girls and women so that we can collectively share our stories and learn from each other. In your journey so far as a Black woman, what is one piece of wisdom that you would pass along to a Black girl or younger woman and what is one piece of wisdom that you seek from a Black woman who is an elder?
For the little girls or any person at all, I would just say to be yourself, which is that fearlessness. I’m speaking for myself. Anything that I say to someone else, I’m always going to tap and see how it fits in my life first. Life happens to each of us so differently. We all grow up so differently. I’m still over here picking through certain things that I was raised with and am like ‘Oh, I don’t actually need this in my journey. If I do, when the time presents itself, I’ll use it, but in this moment, I don’t need it, so I’m just going to leave it where it’s at.’ You feel me?
KD: This is the last question I have. At one point in the song, you sing “I pray you find what you need to set you free.” The work that you do with your art and in the community seems to center on the fight for liberation, healing, and justice. With this idea of setting ourselves free, what are your prayers and hopes for Black women and girls who are in pursuit of personal and collective freedom?
AJ: I feel like my life is a prayer. The way that I live is a prayer. I really have to come to terms to that. Growing up, my family is Christian — non denominational. My mom always stressed the importance of prayer. But one thing I realized early on is that I don’t receive and access God the way everybody else does. Even when I would go to church — I feel like my life is prayer just with the way I live it. When we say you have to believe in what you pray for—well I believe in myself. I’m my own prayer–and not in a narcissistic way where it is overly confident. I trust that in the moment, I’m going to ask what I need, and in that moment, I’m going to get it. If not, that means it wasn’t for me and something else is on its way. So that is what I mean by living my life as a prayer. Through action. Praying is action.
Photography by Khayla Deans
For years, we’ve dreamed of this special moment of placing cameras into the hands of girls and supporting their creativity more extensively as they develop into artists. At the beginning of this year, we shared this dream with our community as we put out a call to girls who would be interested in learning more about making photographs. In April, this dream came into fruition when we launched the Black Girl Image Maker workshop.
The workshop was a beautiful and magical experience to witness our girls learn how to tell stories through images. For two days, our spectacular team of photography coaches led our girls on a journey in creating images that reflected and celebrated how they express themselves. In addition to learning how to take photographs, the girls also experienced our surprise exhibit The Wonder of You, which was specifically curated for them to see a small yet mighty example of images of Black women and girls made by Black women and girls.
Our words cannot express the full gratitude and appreciation that we have for everyone who participated in the workshop and made it special. We would like to thank the girls who responded to our call to become image makers and their families for trusting us. We would also like to thank the women who responded to our call to link arms with us and become photography coaches and artists in our surprise exhibit: Kennedi, Morgan, Amber, Dawn, Cathy, and Jacqueline. To the Ngozi Design Collective, we adore you and you have our gratitude for the stunning coach care packages. Deep thanks to the amazing Wonder of You artists who joined us from afar: Trécii from the Schomburg Center Junior Scholars Program, Danielle & Amaya from A Long Walk Home, Inc & luminary Dr. Deborah Willis. We are forever grateful to Courtney Reid-Eaton and Ambria McNeill for their love and support during our time at the Center for Documentary Studies. Many thanks to Jasmine, Alex, and Aeran for giving us extra hands and assistance during the workshop. Thanks to the NU Community Development Center, Student U, Durham School of the Arts and everyone who helped get the word out to girls! We would like to give a huge thank you and shout out to Courtney and Erika, the women of Piri catering who kept us well fed. And thank you to Madylin and Pasha for being our extended eyes and documenting the workshop through photographs and video, which are featured below.
The Black Girl Image Maker workshop was just the gateway to exciting programming and trainings for girls and young women this year. It is our mission to raise a generation of Black girls and young women who are technically trained in photography and writing and can confidently see themselves as image makers. For a fuller glimpse into the workshop, check out our short video directed and filmed by our film fellow Pasha Gray.
This exhibition was curated as a surprise and affirmation for the girls participating in our 2018 Black Girl Image Maker Workshop at Center for Documentary Studies. Eleven stunning photographers answered our call, sharing images of Black girls and women they adore. Together, we created a space where girls could see reflections of themselves in both the beloved people in the images and the girls and women behind the lens.
This exhibition was curated with love by Jamaica Gilmer, TBP Founder/Executive Director and Khayla Deans, TBP Multi-Media Strategist with tremendous and laughter-filled support from Courtney Reid-Eaton, CDS Exhibitions Director and Ambria McNeill, 2017-18 CDS Exhibitions Intern. The exhibit will be on view at the Center for Documentary Studies through the end of the summer. The image featured above is by Jacqueline Perry, one of the artists in the exhibit and a Black Girl Image Maker Coach.
Favorite Food: Thiebou Jen and Jasmine rice (African fish, with grilled onions and raw onions and rice)
Why do you love photography? I love photography, it helps one see beauty in the smallest of things. Photography teaches appreciation of the little things. You’re able to capture moments that could be long forgotten. You’re creating a time warp as well as freezing time.
Why are Black girls beautiful? Black girls are beautiful. Black girls are beautiful because of our strength, courage, passion, drive, motivation, and wisdom. Black girls are beautiful because we are warriors, champions, fighters,heroes, and soldiers. Black girls are beautiful because of our minds, because of our love, because of our hearts, because of our souls, and because of the skin we live in.
Why do you love photography? I love photography because it has brought so many people into my life. I have formed lifelong friends because I love photography. People let me into the most intimate moments in their lives and trust me to capture keepsakes that friends and family years from now will be able to relive; through a photo. Photography is kind of like art and magic at the same time. I can call myself a magician if I’m really in the mood and some do consider me an artist. I love what I do, it never feels like work.
Why are Black girls beautiful? We, black girls, are so beautiful because life is tough but we crush it with grace and humility. We are resilient, stay strong in our paths and lift one another up. The beauty of being a black woman is knowing the power you hold. Don’t ever forget about your power.
Why do you love photography? I love photography because you can capture the essence of the subject, person or a still, and it will remain long after they’re gone.
Why are Black girls beautiful? Black girls are beautiful in all of our complexity. From the many different textures of our hair, down to the many different ways that we handle being out in the marketplace. From all of our different shades and complexions, to all of the different places from which we descended. There is beauty in all of our jambalaya!
Why do you love photography? Photography provides a physical and tangible means to a time that maybe your memory alone simply can’t reach.
Why are Black girls beautiful? Black girls are much more than beautiful. We are strong, innovative, adventurous, full of life and love and much more. We are made in all different shades which makes us rich unto ourselves. We are beautiful because of all we are and do.
Hometown: originally from Salisbury, NC – but have lived in Raleigh for 20+ years
Favorite Food: doesn’t have a favorite food!
Why do you love photography? I love photography because it gives me the opportunity to capture a moment in time for someone. I feel like the right photo at the right time can tell a very powerful story.
Why are Black girls beautiful? Black girls are beautiful because of their joy, their strength, their ability to make the most of almost any situation. Black girls are beautiful because in them you can see a wide spectrum of skin tones, hair styles, emotions and personalities.
Why do you love photography? I found my voice through photography in the 9th grade after I was introduced to the book “Reflections in Black.” I fell in love with my skin and my hair after seeing the work of Lorna Simpson and Chester Higgins. The darkroom was a magical place. I would spend hours watching images appear. It was a powerful experience to know that I could manipulate images to show others how I saw the world.
Why are Black girls beautiful? Black girls are beautiful because they are powerful. They are the mothers of the human race. They are diverse. Their skin is smooth and rich. Their hair is magical, it has the ability to shape shift. They are resilient, nurturing, and strong.
Why do you love photography? The ability to tell visual stories excites me.
Why are Black girls beautiful? Maya is fun and curious and focused. I met her over three years ago and she captured my attention because of her excitement for talking about a range of topics and taking the photograph of her next to her books showed me the joy of reading is central to her.
Special thanks to the Center for Documentary Studies at Duke University, A Long Walk Home, Inc, Schomburg Center for Research in Black Culture Junior Scholars Program, Southern Documentary Fund, NoVo Foundation, and William R. Kenan, Jr. Charitable Trust.
This Saturday and Sunday we will be launching our first Black Girl Image Maker Workshop so it’s a very exciting time for The Beautiful Project this week! We selected our group of girls and together they will learn how to take up their cameras in support of themselves and each other. To assist with this journey, we enlisted six amazing Black women photographers who will coach the girls in photography. Get to know our amazing coachesbelow.
Kennedi Carter is nineteen years old and is originally from Durham, NC. She loves photography because it gives her the ability to capture the beauty in people. Kennedi specializes in portrait and fashion editorial photography. View Kennedi’s work via Instagram (@internetbby) and www.ken-carter.com.
Morgan Crutchfield is twenty-eight years old and is a Durham native. For her, photography has brought many people into her life. In her own words, “People let me into the most intimate moments in their lives and trust me to capture keepsakes that friends and family years from now will be able to relive; through a photo.”Morgan specializes in portrait photography. View Morgan’s work via Instagram (@daffodyl) or www.morgancrutchfieldphotography.com.
Dawn Michelle Downey is a thirty-eight years old Brooklyn, NY native and is now based in Raleigh NC. She is drawn to photography because it allows her to capture the essence of the subject, person or still, that will remain long after that subject is gone. Dawn specializes in wedding photography. View her work via Instagram (@chroniclesphoto) and www.chroniclesphotography.com/.
Cathy Foreman is from Tillery, NC, currently based in Raleigh, and is forty-five years old. She loves photography because it provides a physical and tangible means to a time that a memory alone simply can’t reach. Cathy specializes in concert and portrait photography. View her work via Instagram (@reflectionsxcf)and www.reflectionsbycathyforeman.com.
Jacqueline Perry is forty-one years old and is originally from Salisbury, NC. She is currently based in Raleigh, NC.Her favorite thing about photography is that it gives her the opportunity to capture a moment in time for someone. Jacqueline specializes in photography and graphic design. View her work on www.jacquelineperryphotography.com.
Amber Carroll Santibanez is a thirty years old Durham, NC native. Amber fell in love with photography in the ninth grade when she was introduced to the book Reflections in Black by Deborah Willis. In her words, “I fell in love with my skin and my hair after seeing the work of Lorna Simpson and Chester Higgins.” Amber is an Arts Educator at the Durham School of the Arts.
Today marks the release of the second issue of The Beautiful Project Journal, a biannual publication that gives insight on the inner workings of our collective. Our first issue, Activating Sisterhood, served as our re-introduction to the world as a collective of image makers and explored how we cultivate sisterhood with each other. In this new issue, we are digging deeper into what it means for us, as Black women and girls, to do this work that is before us.
We define our work as creating spaces for Black women and girls to confront the mass misrepresentation of our likeness in the media and the world. This publication is a manifestation of how we approach image activism through photography, writing and care. In this particular issue, you will find a personal story by our Director of Wellness Programming, Erin M. Stephens, on practicing transformative care, a compelling short story by author Afabwaje Kurian, a glimpse into the lives and work of Black women in our community, and much more.
Thank you to the wonderful women who contributed to this issue and made it happen: Pamela, Erin, Jamaica, Meron, Madylin, Kaci, and Afa. Also, much love to Mama Toni and Sakarah for blessing our cover so gracefully!
You can view Doing The Work here. We hope you enjoy!
Written by Khayla Deans for TBP
Cover Images by Jamaica Gilmer
Lena sat at the table contentedly flipping through the latest issue of her favorite magazine while her sister, Mone, turned out dough for the pizzas she had been promising Lena she’d make for the past month. This was their ritual; spending Friday nights together doing any assortment of things they enjoyed doing together.
“I remember hearing a saying once that went something like, ‘The mighty know when to celebrate.’ What you think about that?” Lena asked her sister without looking up from her magazine.
“I disagree. The mighty don’t have time to celebrate, or rest, for that matter. They have too much going on. They’ve got to keep going, keep being mighty.” Mone replied.
Lena, now, fully engaged in the conversation, flipped her magazine over so that the spine faced upward, the pages and covers lazily laid out to the sides, creating am elegant triangle of the periodical. “No, girl. You’re not talking about the mighty. You’re talking about the busy. I can’t remember who said it and I don’t know the full philosophy behind it but I agree. I can imagine that you have to be aware of your victories in order to stay encouraged to keep reaching for more victories, or to have hope that you’ll be victorious even once more. I imagine that if you take time to celebrate those wins, no matter the caliber of the celebration, all the more encouraged you’d be! I’m with it. I’m pouring a glass for all my victories, because I am mighty. Gotta be to make it out here in these streets.”
“I hear you. Just sounds contradictory and a little contrary to what I imagine mighty personas to be like.”
“That’s just it. You know what a mighty woman looks like. The mighty women around us have worked themselves to the bone. Mama, Grandma, Auntie, all of ’em go all out for everyone else and forget to take care of themselves,” Lena said, growing more annoyed with each breath. “They know how to throw a party to celebrate everyone else’s accomplishments, but we are hard pressed to get them to even recognize their own successes. Maybe it’s the generation. Maybe it’s just them. I don’t know, but what I do know is I don’t aspire to be that. I love ’em. I do. But, I want to know I’m dope, first, not be surprised or have to convince myself that it’s true when someone else tells me I am.”
Mone took a moment of silence to think about these ideas. As the older sister, she had taken responsibility for her little sister for as long as she could remember. It was the same at work and even in instances when she didn’t have to such as with her friends. She didn’t feel free to celebrate her wins because she was always so preoccupied with working toward the win. And she could see her mother’s handprint all over this habit that she had learned how to execute so well. She admired Lena. And she wanted to be able to speak as confidently and boldly as her little sister.
“Alright. I hear you,” she remarked, beginning to be convinced.
There are twenty seven days left in 2017. As you prepare to make mighty moves in 2018, don’t forget to take some time to celebrate the mighty moves you’ve already made in 2017.
co-curated by Deborah Willis and Melissa Harris
Exhibition runs through January 13, 2018 at the Gulf + Western Gallery, 721 Broadway, Lobby and 8th Floor.
“Re-imagining A Safe Space will explore critical questions regarding the idea of a safe space. Through text and image, the exhibition will include the perspectives of artists, activists, and students who have confronted some of these issues in their respective circumstances and work.”
Congrats to the amazing TBP image makers included in this show!!!
Kaci Kennedy, Arielle Jean Pierre, Pamela Thompson and Jamaica Gilmer