147:. With the Weusi artists, Brown developed her painting techniques and learned the craft of relief printmaking and mixed-media collage. She also learned about the developing conception of a "Black aesthetic" that had become an important project for the Black Arts Movement. Influenced by this search for a "Black aesthetic," she began to develop a philosophy based in African traditions. The group was very conscious of the inherent overlap of Black and female identities. So, as the exhibit was the first focusing on the Black woman's perspective, there was pressure to construct a feminine aesthetic within the Black American art vernacular.
300:. The show consisted of three-dimensional works produced by male/ female artist "couples" who met over a three-month period and engaged in an "artistic and platonic mating ritual." The two artists were expected to come to a consensus on how to visually compose the work, and the entire exhibition had to come together as a unified whole. "1 + 1 = 3" was an erotic symbol that suggested a process of male and female entities coming together to create something that "went beyond the normal vocabulary to make an entity of a third thing."
158:'s first major exhibition of Black artists, which became extremely controversial in the Black community, who saw it as sensationalizing and exploitative, rather than a sincere recognition of the artists' talent) artist Nigel Jackson had opened the Acts of Art Gallery in Greenwich Village as an exhibition space for the works of Black artists. When Brown and her fellow Black women artists presented Jackson with a proposal for a show of work of 14 Black women, he agreed to host it. The show, entitled
154:, when Brown joined, she was the only female member in what was frequently referred to as "a brotherhood" of 14 men. Although she states in her essay that she felt "honored" to be included in the group, she also felt the need for an "affirmation" of Black women artists. In 1971, Brown, along with McCannon, Faith Ringgold and others, began to discuss the possibility of a major exhibition of Black women artists. As a response to what was commonly referred to in the group as the "Whitney fiasco" (the
328:", which they felt was dominated by "liberal White women." According to Brown, there were as many tensions between the Black and White women's community at that time as between Black and White men. Brown notes that, "Our struggle was primarily against racial discrimination -- not singularly against sexism. We were not prepared to alienate ourselves from our artist brothers." However, many well-established and influential Black artists of the period, such as
61:. Themes such as the unity of the Black family, Black female independence and embodiment, Black male-female relationships, contemporary social conditions, and African traditions were central to the work of the WWA artists. The group was intended to serve as a source of empowerment for African-American women, providing a means for them to control their self-representation and to explore issues of Black women's sensibility and aesthetics. Like
182:, the Presbyterian Church Committee for the Self Development of People and America the Beautiful Foundation. According to Brown, the show's title emphasized the artists' ties to the "grassroots" community and referred to a general "earthiness" to the show, as demonstrated by the fact that at the exhibition's opening, the artists served cooked food to the visitors, departing from the traditional wine and cheese.
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area. The exhibition series was intended to demonstrate a form of "unity" between all women artists independent of race, age or class. However, it soon became apparent to Brown and other
African-American participants that the goals and ideology of the feminist-identified artists and the WWA artists were not the same. According to Brown, "The
65:, a Chicago-based Black Arts group, the WWA was active in fostering art within the African-American community and used it as a tool of awareness and liberation. The group organized workshops in schools, jails and prisons, hospitals, and cultural centers, as well as art classes for youth in their communities.
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The show was popular and met with critical acclaim. Brown identifies the perceived success of the exhibition as a motivating factor in the artists' decision to form a collective of the same name: the "Where We At" Black Women
Artists, Inc. (WWA). Developing a set of bylaws and electing officers, the
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Brown, Kay; Campbell, Lawrence; Dennis, Jessie McNab; Gordon, Juliette; Harris, Ann
Sutherland; Krasilovsky, Alexis; Mainardi, Pat; Moss, Irene; Nemser, Cindy; Picard, Lil; Raay, Jan Van; Rainer, Yvonne; Ringgold, Faith; Sawyer, Janet; Starr, Nina Howell; Svendsen, Louise; Wallace, Michele; Valadon,
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According to Brown, the tensions between the Black and White women's communities were evident in a series of joint exhibitions produced by the
National Conference of Women in Visual Arts (NCWVA) and the WWA artists at selected showplaces in Greenwich Village, SoHo, the East Village and the midtown
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Although, according to Kay Brown, WWA members and other Black women artists agreed with feminist activists on many issues, such as the idea that women should pursue economic and artistic equity with men, Brown felt that WWA artists generally felt more aligned with the Black Arts
Movement than with
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Though they were often excluded from important conversations around Black
Liberation and were subjected to misogyny by many peers who were Black men, they still often felt a stronger allegiance to the Black arts movement over the existing and predominately White feminist art movement.
219:. According to artist Kay Brown, "the women inmates loved expressing themselves creatively in classes with professional Black women artists. It was as if a beautiful ray of sunshine had appeared in the darkness. Someone really cared about us!" WWA sometimes worked in conjunction with
135:. In one of the few detailed accounts available of the history of this group, WWA artist and founder Kay Brown describes the development of WWA and its connections with the Black Arts Movement. Brown began working with the Black Arts-affiliated
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for men, as well as in hospitals and cultural centers. In addition, the WWA created an apprenticeship workshop for youth in
Brooklyn that taught graphic design, illustration and media skills, as well as painting, ceramics, crochet and
352:, often in a flagrant, bizarre fashion. The Black women artists explored the unity of the Black family, the ideal of the Black male-female relation, and other themes relating to social conditions and African traditions."
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81:, the work of African-American artists began to gain more attention in the mainstream art world. However, many Black women artists felt neglected by both the male-dominated Black Arts Movement, the largely White
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founding members established an official organization. Brown served as president and executive director, and as a team the group took on the responsibility of targeting various sites for WWA art exhibitions.
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is often cited as the first group show of Black women artists ever held, though it is preceded by an exhibition held the previous year at
Gallery 32 in Los Angeles featuring organizer Suzanne Jackson,
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105:, gained national attention, most practicing Black women artists in New York found it difficult to find venues for their work in White-run galleries and museums. The initial
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243:, a widely circulated brochure describing the history and mission of the organization, which consisted at one point of 30 women, with a foreword by Linda Cousins.
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57:. Where We At was formed in the spring of 1971, in the wake of an exhibition of the same name organized by 14 Black women artists at the Acts of Art Gallery in
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was perhaps the first Black women's professional artists show in New York, only preceded nationally by an exhibition held the previous year entitled
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131:'s Gallery 32 in Los Angeles. WWA was held at the Acts of Art Gallery (1969–74) owned by Nigel Jackson located on Charles Street in the
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In the 1970s and 1980s, the WWA artists collaborated with male artists on several projects. During the winter of 1972 they held the
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exhibition at the Weusi-Nyumba Ya Sanaa
Gallery (later the Weusi Academy of Art). A short time afterwards, the Black psychologist
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311:, a photographer and exhibiting artist, who recorded the couples as they interacted during the design. Her photographs, the
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296:, was a collaborative installation of the WWA and a group of invited male artists. It was curated by Charles Abramson and
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Suzanne; Szeemann, Harald; Shirey, David L.; Francis, Emily (April 1972). "Feminist Art
Journal: Feminist Art Journal".
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at 1199 Gallery in midtown. In the show, Black men and women worked together on a single thematic project.
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exhibition and the collective of the same name that later formed were created to address this neglect.
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645:"Reclaiming Histories: Betye and Alison Saar, Feminism, and the Representation of Black Womanhood"
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in 1968. The Weusi artists had recently founded the Nyuma Ya Sanaa Gallery ("house of art" in
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Linda Theung, "'Where We At' Black Women Artists," in Butler, Cornelia H, and Lisa G. Mark.
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178:(then Abudulrashid). It was funded by the Brooklyn Educational and Cultural Alliance, the
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85:, as well as the mainstream art world. While several individual female artists, including
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In 1985, WWA teamed up with the "brothers" of Weusi to create the collaborative exhibit
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Although Weusi had previously had a few Black women members, including textile artist
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Jones, Kellie; Baraka, Amiri; Jones, Hettie; Jones, Lisa; Ramsey, Guthrie P. (2011).
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The Power of Feminist Art: The American Movement of the 1970s, History and Impact
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Brown, Kay (1998). "The emergence of Black women artists: the 1970s, New York".
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WWA artists also participated in the National Conference of Artists meeting at
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Chiarmonte, Paula L. (1982). "Women Artists: A Resource and Research Guide".
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Art Documentation: Journal of the Art Libraries Society of North America
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WWA engaged in many projects, including a panel of women artists at the
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Creating Their Own Image: The History of African-American Women Artists
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The close spiritual connection of one couple, Charlotte Richardson and
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241:"Where We At" Black Women Artists: A Tapestry of Many Fine Threads
307:, who had previously been casual acquaintances, was captured by
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In the fall of 1978, WWA held art workshops for inmates at the
37:) was a collective of Black women artists affiliated with the
292:, which opened in June 1986 at the Muse Community Museum in
53:, Carol Blank, Jerri Crooks, Charlotte Kâ (Richardson), and
997:. Los Angeles: The Museum of Contemporary Art, 2007. Print.
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Members of WWA contributed to publications including the
143:), which they later renamed the Weusi Academy of Art, in
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series, were published in WWA's exhibition brochure.
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Heresies: A Feminist Publication on Art and Politics
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Heresies: A Feminist Publication on Art and Politics
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of the 1960s and 1970s. It included artists such as
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766:. Oxford University Press. pp. 145, 150, 168.
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227:prison systems. The WWA also led workshops at the
221:Women and Student Artists For Black Art Liberation
208:, and a seminar for Women's International Year at
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739:International Review of African American Art.
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125:Sapphire Show: You've Come a Long Way Baby
27:American artist collective for Black women
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1069:American Association of University Women
960:"WACK! Art and the Feminist Revolution".
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616:Museum of Contemporary Art, Los Angeles
278:presented WWA at the M.A.R.C. gallery.
160:Where We At: Black Women Artists: 1971,
31:"Where We At" Black Women Artists, Inc.
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1510:American artist groups and collectives
995:Wack!: Art and the Feminist Revolution
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791:. Duke University Press. p. 417.
336:, did choose to align themselves with
114:Where We At: Black Women Artists: 1971
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1075:National Association of Women Artists
868:"Remembering the Black Arts Movement"
611:WACK! Art and the Feminist Revolution
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1525:1971 establishments in New York City
1169:The Women's Building (San Francisco)
1128:National Museum of Women in the Arts
1515:African-American arts organizations
205:Two Centuries of Black American Art
1159:Women's Art Resources of Minnesota
180:New York State Council on the Arts
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1491:Feminist movements and ideologies
979:. H.N. Abrams. pp. 106–107.
229:Arthur Kill Correctional Facility
121:"Where We At"—Black Women Artists
73:In the 1960s, in the wake of the
319:The WWA and "Women's Liberation"
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107:Where We At: Black Women Artists
1133:New York Feminist Art Institute
524:WWA exhibition sites included:
1480:Women in the art history field
1164:Woman's Building (Los Angeles)
572:NY State Office Bldg in Harlem
156:Whitney Museum of American Art
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1148:Washington Women's Art Center
620:P.S.1 Contemporary Art Center
608:The WWA was also included in
597:in 1972, and the pan-African
1188:Exhibitions or installations
566:Bed-Stuy Restoration Gallery
360:Early WWA artists included:
1313:Women Artists in Revolution
1153:Women Artists in Revolution
975:Brodsky, Judith K. (1994).
920:(1). Feminist Art Journal.
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563:Martin Luther King Gallery
559:Metropolitan Museum of Art
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866:Hassan, Salah M. (2011).
760:Farrington, Lisa (2011).
578:Women's Interstate Center
290:Joining Forces: 1 + 1 = 3
288:The next major WWA show,
1475:List of feminist artists
1273:The Feminist Art Journal
885:10.1215/10757163-1496309
837:10.1086/adx.1.5.27947012
643:Dallow, Jessica (2004).
443:Other members included:
202:'s landmark exhibition,
1179:Women's Studio Workshop
1174:Women's Interart Center
1091:Venues or organizations
581:BACA's Downtown Gallery
549:New York Public Theater
534:Studio Museum in Harlem
332:, a founding member of
262:Shows with male artists
137:Weusi Artist Collective
1530:Women in New York City
1318:Women's Caucus for Art
1239:Films or documentaries
1113:Feminist Art Coalition
941:Cite journal requires
174:(then Sue Irons), and
1247:!Women Art Revolution
1048:Feminist art movement
539:Stonybrook University
466:Claudia Gibson-Hunter
83:Feminist art movement
75:Civil Rights Movement
587:Jackson, Mississippi
529:Medgar Evers College
422:Charlotte Richardson
249:Feminist Art Journal
210:Medgar Evers College
198:in conjunction with
1379:Helen Frankenthaler
1123:Lesbian Art Project
348:focused totally on
298:Senga Nengudi-Fittz
239:WWA also published
79:Black Arts Movement
39:Black Arts Movement
1444:Carolee Schneemann
1204:Three Weeks in May
926:community.28036280
575:NY Arts Consortium
475:Claudia Hutchinson
326:Women's Liberation
272:Cookin' and Smokin
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1369:Mary Beth Edelson
1364:Elaine de Kooning
1212:The Sister Chapel
986:978-0-8109-3732-1
898:Project MUSE
798:978-0-8223-4873-3
356:Early WWA members
330:Howardena Pindell
283:Close Connections
99:Lois Mailou Jones
87:Elizabeth Catlett
59:Greenwich Village
18:Where We At (WWA)
16:(Redirected from
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899:
895:
891:
886:
881:
877:
873:
869:
862:
859:
854:
850:
846:
842:
838:
834:
831:(5): A1–A20.
830:
826:
819:
816:
813:
808:
805:
800:
794:
790:
783:
780:
775:
769:
765:
764:
756:
753:
748:
744:
741:(15): 45–51.
740:
733:
731:
729:
727:
725:
723:
721:
719:
717:
715:
713:
711:
709:
707:
705:
703:
699:
696:
691:
689:
685:
680:
676:
673:
669:
665:
661:
658:(1): 75–113.
657:
653:
646:
639:
637:
635:
631:
625:
623:
621:
617:
613:
612:
606:
604:
600:
596:
592:
588:
580:
577:
574:
571:
569:Benin Gallery
568:
565:
562:
560:
557:
555:
552:
550:
547:
545:
542:
540:
537:
535:
532:
530:
527:
526:
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519:
514:Joyce Wellman
513:
510:
507:
504:
501:
498:
496:Akweke Singho
495:
492:
489:
486:
483:
480:
477:
474:
472:Deidre Harris
471:
468:
465:
462:
460:Jeanne Downer
459:
456:
453:
451:Linda Cousins
450:
448:Brenda Branch
447:
446:
444:
439:Other members
438:
432:
430:
427:
425:Modu Tanzania
424:
421:
419:
416:
413:
411:
408:
405:
402:
399:
396:
393:
390:
388:
387:Gylbert Coker
385:
382:
380:
377:
375:
374:Vivian Browne
372:
370:
367:
364:
363:
361:
355:
353:
351:
347:
341:
339:
335:
331:
327:
316:
314:
310:
306:
301:
299:
295:
291:
286:
284:
279:
277:
276:Kenneth Clark
273:
268:
261:
259:
257:
256:
251:
250:
244:
242:
237:
235:
230:
226:
225:Rikers Island
222:
218:
213:
211:
207:
206:
201:
197:
189:
187:
183:
181:
177:
176:Eileen Nelson
173:
172:Senga Nengudi
169:
165:
161:
157:
153:
148:
146:
142:
138:
134:
130:
126:
122:
115:
112:
110:
108:
104:
100:
96:
95:Inge Hardison
92:
88:
84:
80:
76:
68:
66:
64:
60:
56:
55:Gylbert Coker
52:
48:
44:
40:
36:
32:
19:
1404:Jane Kaufman
1389:Nancy Graves
1384:Mary Garrard
1359:Judy Chicago
1354:Norma Broude
1322:
1271:
1263:
1257:Publications
1245:
1226:
1218:
1210:
1202:
1194:
1118:Hera Gallery
1043:Feminist art
994:
976:
969:Bibliography
955:
934:cite journal
917:
910:
875:
871:
861:
828:
824:
818:
807:
788:
782:
762:
755:
738:
655:
651:
622:, New York.
609:
607:
584:
523:
505:Joan Stevens
484:Marie Morris
469:Rafala Green
442:
429:Ann Tanksley
414:Onnie Millar
391:Jerri Crooks
379:Carole Byard
359:
342:
322:
312:
305:Lorenzo Pace
302:
289:
287:
282:
280:
271:
269:
265:
253:
247:
245:
240:
238:
214:
203:
193:
184:
159:
149:
133:West Village
124:
120:
118:
113:
106:
72:
34:
30:
29:
1454:Alma Thomas
1409:Lee Krasner
1399:Lila Katzen
1374:Suzi Ferrer
1323:Where We At
1276:(1972–1977)
1268:(1977–1992)
1215:(1974–1978)
511:Ann Wallace
502:Gail Steele
454:Asiba Danso
433:Jean Taylor
400:Linda Hiwot
365:Carol Blank
1504:Categories
1459:June Wayne
1196:Womanhouse
1062:Precursors
878:(1): 4–7.
672:A119025512
626:References
403:Doris Kane
394:Iris Crump
168:Betye Saar
103:Betye Saar
1394:Eva Hesse
962:MoMA PS1.
894:193193496
853:194484497
679:233179111
591:Carifesta
397:Pat Davis
369:Kay Brown
119:In 1971,
63:AfriCobra
47:Kay Brown
1429:Yoko Ono
1283:" (1971)
845:27947012
747:44420048
675:ProQuest
605:(1977).
338:Feminism
294:Brooklyn
190:Projects
1298:subRosa
664:3178559
603:Nigeria
457:Dimitra
313:Spirits
234:macramé
141:Swahili
69:Context
1291:Groups
1231:(2007)
1223:(1979)
1207:(1977)
1199:(1972)
1083:(1892)
1077:(1889)
1071:(1881)
983:
924:
902:480691
900:
892:
851:
843:
795:
770:
745:
677:
670:
662:
618:, and
599:FESTAC
595:Guyana
350:sexism
145:Harlem
101:, and
1468:Lists
1155:(WAR)
922:JSTOR
890:S2CID
849:S2CID
841:JSTOR
660:JSTOR
648:(PDF)
981:ISBN
947:help
793:ISBN
768:ISBN
743:OCLC
668:Gale
252:and
77:and
880:doi
872:Nka
833:doi
601:in
593:in
35:WWA
1506::
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936:}}
932:{{
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870:.
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749:.
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33:(
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