Artist Khadija Adell will outline some of the key questions to ask when building a long-term art practice. How do we define the marketplace? How is value created around an artist’s work? How do we all contribute toward disrupting the systems that devalue the labor of historically marginalized groups of artists? This program is part lecture, part group conversation, and participants will leave with tools and resources to help them strategize.
Podcast created by Erin Williams focused on visual artists and the process and influence of the work they create.
Presenters: Khadija Nia Adell, Joyell Arvella, Precious Blake, Ashley DeHoyos
Organized by Ashley DeHoyos, DiverseWorks and Precious Blake, Artist
Selected via Open Call
Imposter syndrome is especially rampant for creatives and activists of color who are constantly giving parts of themselves for public consumption. In a world where the personal is political; How do artists, activists, curators, and cultural producers navigate through intersectional oppression to honor their lived stories while creating new narratives? In this panel, Khadija Nia Adell, Joyell Arvella, Precious Blake and Ashley DeHoyos share their experiences working in various creative sectors - nonprofits, galleries, academic institutions, and justice movements. The panelists explore how they’ve used artistic, emotional, and spiritual practices to discover and protect their authentic selves while combating racial and gender trauma in and outside of systems upheld by white supremacy. This kitchen table conversation unpacks how each panelist has explored identity-based healing practices that move them from surviving to thriving.
Read the Session Notes here.
Fired Up! Ready to Go! Finding Beauty, Demanding Equity: An African American Life in Art. The Collections of Peggy Cooper Cafritz.
Written by Peggy Cooper Cafritz, with contributions by Thelma Golden, Kerry James Marshall, Simone Leigh, Uri McMillan, Jack Shainman, and Hank Willis Thomas (Rizzoli Electa, 288 pages). Published Feb. 20, 2018. Featured on pg. 249.