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What is called the imagination (from image, magi, magic, magician, etc.) is a practical vector from the soul. It stores all data, and can be called on to solve all our “problems.” The imagination is the projection of ourselves past our sense of ourselves as “things.” Imagination (image) is all possibility, because from the image, the initial circumscribed energy, any use (idea) is possible. And so begins that image’s use in the world. Possibility is what moves us.
—Amiri Baraka, “The Revolutionary Theatre”, Liberator, July 1965
Testimonial: Black Portraiture(s) Experience
Dear Dr. Willis,
What a pleasure running into you at the Sunday market in Rosebank and formally meeting for the first time. Thank you again for being a force in making the conference happen.
This was my first time attending the Black Portraiture[s] conference as well as my first journey to the African continent, so a spectacular duality for me.
During my undergraduate studies in art school, I spent 4 years as the only black woman enrolled. So, I’m sure you can imagine what a striking contrast the conference has been. Having this kind of community to connect with means a lot.
It’s been a gift to attend the presentations of peers, contemporaries, fore mothers and fathers working through social and political issues, creating art. I’ve had the opportunity to witness some things in their creative process and continue to assess my own and find context.
As I awoke the final day of the conference my spirit had a mini melt down at how swiftly it was all coming to a close, and this only Intensified with the days programming.
That Saturday morning, moderator Sandra Jackson-Dumont gleefully insisted panelist Daniel Dunson candidly sing the gospel, “This Little Light of Mine” aside from his presentation and had the audience join in and all. The closing panel I attended later that day Nervous Conditions: Representations of Black African Femininities was maybe even more intense. With each speaker, so striking. Heidi Sincuba expressed very personal and brutally honest writing and film regarding compromises made to gain access to the institution of the art world and academia. Dynamic Nigerian American filmmaker Adetoro Makinde shared the contrast of how her work and ideals were received differently between her two native countries as well as her counter argument pro Coming to America (the film) in response to a controversial earlier panel. My peers, working artists, international women of color, each with a unique journey and argument, bearing personal testimony of their navigating the institution of the art world and their relationship to art practice. Truly inspirational. I felt so connected in purpose.
The gallery openings were brilliant and engaging. I think my favorite was sitting with Carrie Mae Weems 24 minute video, at Goodman Gallery. The association, music, food & drink, and parties following the hours of lectures were non-stop, a rigorous set of days with everything going on but sleep.
I look forward to returning next year and perhaps presenting as well. Thank you again for the opportunity to reconnect.
All the best,
Elaine Hargrove
Elainehargrove.com