Ravon and I are super excited to share an interview we did with Jamee A. Swift of xoNecole! We loved the questions she posed, and getting to share our mission with an even wider audience.
Jamee wrote, “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.”
Please go check out the final interview at the link above, or keep reading here for more content from our conversation.Read More
In June, Ravon and I headed to Mexico City to present a new project at the 2018 Digital Humanities Conference! We had an amazing time talking about the future of digital humanities work with everyone we met, and during our poster session, described our newest work, titled, Bad Brujas Only: Digital Presence, Embodied Protest, and Online Witchcraft.Read More
With the launch of our project, Brown Art Ink, BGMB is excited to recognize and support women artists, culture workers, and communities of color throughout the Washington, D.C.-Baltimore area, through programming, cultivating dialogue, and providing funding. We recently applied for the BEACON Grant Program, an organization to support women-founders, and made it to the community […]Read More
Just when you thought we couldn’t get any more cross-platform, we found a new medium to dip our toes into! Last week, Ravon and I were featured on the Maryland Humanities Podcast, and aired on WYPR Baltimore. Check out our episode, in which we discuss our mission to advocate for inclusion in cultural institutions.Read More
How I Got over (January 13-February 24) by Adrienne Gaither is the latest exhibition showing at DC’s Transformer art space. I didn’t plan to write a blog post, but I was inspired by the artist talk with artist Adrienne Gaither, for Transformers 15th annual DC Artist Solo Exhibition. The show is described as follows: How […]Read More
This interview was originally printed at DIRT, an independent platform and resource for accessible critical arts discourse within the DC, Maryland, Virginia (DMV) area. On October 7th, the Prince George’s African American Museum and Cultural Center (PGAAMCC) will host Rated PG: Black Arts Festival, a festival to showcase local black women-identified artists and the […]Read More
The newest art org to join the fray of contemporary arts spaces across the landscape of the District occupies particularly odd territory, previously solely utilized by uninviting office space. Artechouse, a new arts space opened in Washington, D.C. in June, and recently presented “Spirit of Autumn” (October 1 – November 5). It was the follow-up […]Read More
For our two-part series “The Nation We Make Together,” Ravon and I are taking a longer look at issues that inspired us to start Brown Girls Museum Blog in the first place: questions of patriotism, marginal perspectives, and radical vulnerability all under the museum field umbrella. Our goal has always been to find our space in this industry, in these institutions, but that work cannot be done until we have made clear our positions relative to culture at large. If we don’t make it clear what we believe in, and how we struggle to reconcile our differences, the task of creating space will be impossible.
The first piece in this series began with a quote:
“I love America more than any other country in this world, and, exactly for this reason, I insist on the right to criticize her perpetually.” —James Baldwin
With it, Ravon argued rightly that criticism is an act of love, and that to be critical of the nation is to make yourself be a citizen of it. In the tradition of Baldwin, and in agreement with my co-blogger, I also insist on my right to critique. I would add that in addition to being an act of love and belonging, critique is an act of creation. Although it’s easy to think of criticism as a negation, simply tearing down something made by someone else, in its best form, critique creates new possibilities and offers a different view of the world and the object it’s aimed at.
When we think about criticism — of an artwork, of an institution, of a nation — as a kind of making, we open ourselves up to the opportunities of new perspectives. Instead of fearing criticism and its ability to destroy, we start to think about the mindset behind it, and what it might be like to live inside that perspective. For museums that silo the creations of artists, historians, and culture workers, making and criticism are deeply intertwined, and being aware of that connection will make the work we do all the more compassionate.Read More
It’s been a week — actually, it’s been a year. And in the spirit of celebrating when we can, I wanted to make sure to re-share an article that was all over my twitter feed last week, for good reason. For their amazing work strategizing social media for the National Museum of African American History […]Read More
It has taken me two years to write this post. It is the reason this blog was created, but it wasn’t until recently that I found the words and the courage to write it, unapologetically. We’ve had a lot to contemplate, here at the blog, and we’re excited to finally share the conversations we’ve been […]Read More