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University Library, University of Illinois at Urbana-Champaign
An entry into thinking about the construction and meaning-making of black queer families. The “how” and the “what” and even how the “who” can be a deliberate commitment.
A series of volumes spanning from 2009 to 2012 from a journal that focuses on publishing critical scholarship that employ analytical frameworks central to Black and Women & Gender Studies.
A comparatively more dense text, Smith similarly hones on a specific creative to think about Black interiority, but also while thinking about the Black queer gaze.
Hood’s article offers quilting as another site and mode to consider as a channel for self-definition by analyzing with a Black Feminist theoretical framework interviews with four African American women quilters from the Midwest.
This may be useful for a historical contextualization of Black Feminist art and performance and its innovative relationship to ideas like embodiment. Other questions also arise in relation: What is the body but a home? What of art if not experience making? What of performance as architectural building? How is the virtual experienced as a physical reality?
A comprehensive history of art made by African-American women in the “U.S.” that challenges quintessential anti-black racist narratives reasserting African-American women artists as active creators of the expression of their own lives.
As important as it is to read about histories and genealogies, it is as important, if not more so, to put the knowledge that’s been treasured and refined and obscured and refocused into actual practice. Homemade, with Love: More Living Room does more than just talk about Black girl design and livelihood; it creates and furthers and is Black girl homemade love.
In a similar vein, June Jordan’s Poetry for the People offers another way to be and express that living.
At the heart of the exhibition is love. That much is self-evident. What can that mean and encompass and our choices in all that creation-- bell hooks helps us to sit with it all.
In close connection to the homemade space is the everyday routine and the everyday reaching toward our centers of attention. What does that look like when joy is centered? When we listen deeply to our sense of delight and practice care toward the everyday worlds that we inhabit? What are the architectures of feeling that we build our daily lives inside?
An immediately relevant text by another hugely influential thinker, hooks expounds on visual politics specifically as it relates to Black identity and power. Interviews with Carrie Mae Weems and Margo Humphrey whose work will be exhibited might be of further interest.
A detailed transcript of a conversation between Dr. Ruth Nicole of SOLHOT and Dr. Aimee Cox of the project BlackLight on the impact of their collective work that is, essentially, Black Feminism in practice.
Specifically discussing Renée Ater’s article “Making History” and Meta Vaux Warrick Fuller’s sculpture “Ethiopia,” Copeland writes about Black feminism, the Harlem Renaissance, and cultural nationalism.
The Combahee River Collective’s statement had a huge impact on Black feminist thought as a whole, and also, directly informs the work of SOLHOT as a collective practice.
A resource for thinking about the “arbiters of blackness” and the implications of the intimate relationship between them and how Black women’s bodies have been codified.
A collection of works by a diverse range of Black Voices on Black Futures as whole and endlessly possible gathered into a book alongside a Teaching Companion.