Analysis Of Janet Taylor Pickett: The Black Feminist Movement

“I am a black feminist… I recognize that my power as well as my primary obsessions come as a result of my blackness as well as my womaness, and therefore my struggles on both of these fronts are inseparable” … As a woman of color, I find that some feminists don’t seem terribly concerned with the issues unique to women of color—the ongoing effects of racism and post-colonialism, the status of women in the Third World, working against the trenchant archetypes black women are forced into (angry black woman, mammy, hottentot, and the like). (Gay 173).

"Our politics initially sprang from the shared belief that Black women are inherently valuable, that our liberation is a necessity not as an adjunct to somebody else 's may because of our need as human persons for autonomy". The opening of the second part of The Combahee River Collective Statement, What We Believe, expresses one of the major will of the Third World Feminist studies: making Women a topic of research in its own rights. It 's in 1977 that the Combahee River Collective, a US radical feminist lesbian group, wrote this very famous manifesto that became essential for the Black Feminism Mouvement. They made as central the total recognition of the different forms of oppressions, sexual, racial, social, that black women endure and the necessity to fight against them. Therefore, the integration of notions of gender, sexuality, race, class in any feminist analysis that deals with power and domination become unavoidable. They express clearly the logical result of their struggle, the destruction of the political, social and economical system as they are the representative basis of an unfair and racist society. To bring a fresh way of looking at the position of some women in the American society turn to be a way to consider differently the organisation and the functioning of the actors of a society on a national and also international level.

The article titled, Black Women Thought; Matrix of Domination, by Patricia Hill Collins explores the oppression of African-American women. While there is also a theme of individual empowerment, Collins’ ends the article by stating, “only collective action can effectively generate lasting social transformation of political and economic institutions” (cite). I believe Collins’ motivation for this article was to bring awareness and to inspire change.

In the twenty first century there are a few men in this world that admits when you think of artist, you don’t typically think of women. Women rights and racism play a strong role when it comes to African American female artist. For decades’ African American woman have always had a permanent double bull’s eye on their back. Their skin and gender was their worst enemy. In the 1700 century women rights movements started to rise. But if you look up women right movements starting in the 1700 century, the face of women rights is predominantly white women. Between books and the internet, they show that it was mostly white women who helped woman rights. If we still struggle to shine light on African American Women now in the 21st century, you cannot

Similarly, Patricia Hill’s work “Black Feminist Thought” explains the need for black feminism. For Hill U.S. black feminism is needed in order for black women to survive, cope with, and resist their differential treatment in society. Black feminist thought creates a collective identity among this marginalized group of African-American women. Hill provides several features that make U.S. Black feminist thought different than any other set of feminism. The first feature Hill speaks about is ‘blackness’ it is this concept that makes U.S. black feminist a different group that suffers a “double oppression”. Thus, U.S. Black women collectively participate in a dialectical relationship which links African American women’s oppression and activism. Hill speaks on the U.S. black feminist thought and the dilemma they face in American society. During the women’s right movement there was a tremendous difference between black and white women’s experiences, “while women of color were urged, at every turn, to become permanently infertile, white women enjoying prosperous economic conditions were urged, by the same forces, to reproduce themselves”. It is this difference in attitudes that demonstrate why there is a need to focuses on the linkage of experiences and ideas experienced by the black women in America. Consequently, Davis analyzes the hypocritical differences of the government of the

In an attempt to define Black Feminism, Collins clarifies that it must “avoid the idealist position that ideas can be evaluated in isolation from the groups that create them (Collins 385).” In reality, this forms her basis for why Black Feminism is necessary, and who it serves. Thinking about feminism historically, the concerns of black women were pushed aside in favor of fighting sexism, most notably during the Suffrage movement. And even when feminism began looking at other social injustices, such as racism and class issues, only prominent feminists were invited to the discussion. What resulted was, and often continues to be, a problem of white women speaking for oppressed people. It’s impossible, Collins argues, to have Black Feminist thought without examining the experiences and positions of African American women. Therefore, Black Feminism must be a movement that “encompasses theoretical interpretations of Black women’s reality by those who live in it (Collins 386).” However, such a definition brings about many questions: who’s experiences are valued, how do black women take their voice back, and how can they center feminist thinking on their own unique standpoint?

Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. Ed. By Patricia Hill Collins. (New York: Routledge, 2000. ii, 336 pp. Cloth, $128.28, ISBN 0-415-92483-9. Paper, $26.21, 0-415-92484-7.)

This article discusses political realities that have researched scholarship, and action consequences in the field of Black studies. This includes the academy, a changing political economy, Black studies ideology, and Black studies for a new century, and it interconnectedness to the other issue, centering gender and interrogating the theory and practice of Black women’s studies.

In an attempt to define Black Feminism, Collins clarifies that it must “avoid the idealist position that ideas can be evaluated in isolation from the groups that create them (Collins 385).” This clarification forms her basis for why Black Feminism is necessary, and who it serves. Thinking about feminism historically, the concerns of black women were pushed aside in favor of fighting sexism; a notable example occurs within the Suffrage movement, where votes for white women were prioritized over women of color in order to push such legislation through. And even when feminism began looking at other social injustices, such as racism and class issues, often only prominent feminists were invited to the discussion. What resulted was, and often continues to be, a problem of white women speaking for oppressed people. It’s impossible, Collins argues, to have Black Feminist thought without examining the experiences and positions of African American women. Therefore, Black Feminism must be a movement that “encompasses theoretical interpretations of Black women’s reality by those who live in it (Collins 386).” However, such a definition brings about many questions:

Regardless of the difficulty, these artists have what it seemed as a successful art career. What is clear, the need to exhibit in a mainstream gallery or museum is not a priority, being consistence and creating a network is important. I do not believe any of these artists would turn away an exhibit in a mainstream gallery or museum. There is a great difference in the support network system in the 1970’s than today. For Picket and Washington there were black art organizations, which helped them enter the art world and in their personal life. There was a personal mentorship during the Black Feminist Art Movement that is not seen with artists today. I believe after the 1980’ the Black Feminist Art Movement started to slowly dismantle into more individual concerns. There is definitely a gap worth researching between the 1990’s to the present with the absent of the Black Feminist Art Movement. The two married artist Seneferu and Butler have very supportive husbands. Pickett and Washington already have a long established support system. James did not mention whether her marital status has any effect on her art career. One thing these five artists concurred, being a successful black female artist was about your connections and not always your race or sex. Still, the purpose of this research is not how successful black female artist are in their career, but rather it is about the deliberate exclusion from mainstream galleries and museums based on their sex and race.

Combahee River Collective in their article “Combahee River Collective Statement” examines the relationship between racism, heterosexism, economics, and racism. The group of black feminists, Combahee River Collective, strived to firmly and clearly establish their position when it came to politics of feminism, and therefore separated from the male counterparts and white women (Thomas). In the statement, the activists dwell on four major topics, including the dawn of modern Black feminism, the domain of politics, short history and the issues and practices of the group. This paper gives a summary of “Combahee River Collective Statement” and reviews some of its key points.

(Millhouse, 2011) In the 1980’s Pollock’s Feminism “critiqued the essential myths of individualism, the artist, and the social constructions of femininity and masculinity that define bourgeois culture”. While the 70’s feminism movement aim was to stand next to the existing masculine dominated culture. “Feminism's encounter with the canon has been complexed and many-leveled: political ,ideology,mythological,methodological and psycho-symbolic” (Pollock, 1999). The 1970’s movement was followed by the immediate task which was “the need to rectify the gaps in historical knowledge created by the consistent omission of women of all cultures from the history of art” (Pollock, 1999). The only art that was put on display was significantly male dominated work, if you wanted to see work created by women, you would have to view them “in a basement or storeroom of a national gallery” (Pollock, 1999). Female artists are only known in their own category of female artists while male artists don’t require a separate category . Art that is created by females have been historically dismissed from the art historical canon as craft, as opposed to fine art. The evident of

     Alice Walker is an African American essayist, novelist and poet. She is described as a “black feminist.”(Ten on Ten) Alice Walker tries to incorporate the concepts of her heritage that are absent into her essays; such things as how women should be independent and find their special talent or art to make their life better. Throughout Walker’s essay entitled “In Search of Our Mothers’ Gardens,” I determined there were three factors that aided Walker gain the concepts of her heritage which are through artistic ability, her foremothers and artistic models.

In “In Search of Our Mother’s Gardens”, Alice Walker looks to educate us on the hardships that almost all black women face when trying to express themselves through things such as art. She delves into many sociological and psychological concepts that have affected black women throughout human history. These concepts and ideologies created a realm for mass exclusion, discrimination, and oppression of many African American women, including Alice Walker’s Mother, who Alice utilizes as one of her particular examples. The writing thematically aims to show how these concepts of sexism, racism, and even classism have contributed to black women’s lack of individuality, optimism, and fulfillment for generations. The author does a tremendous job of defending and expanding upon her arguments. She has a credible background, being a black woman that produces the art of literature herself. As well as being raised by one, Walker’s first-hand experience warrants high regard. Therefore, her use of abstract and introspective language is presented clearly and convincingly. Also, her use of evidence and support from sources like Jean Toomer, Virginia Woolf, and Phillis Wheatley, all produce more validity for her stance through poems, quotes, and even experiences. All these individuals have their own accounts pertaining to the oppression of black women and their individuality. Successfully arguing that the artistry plights of black women described in “In Search of Our Mother’s Gardens” are

Throughout history many artistic works have been deemed "great" and many individuals have been labeled "masters" of the discipline. The question of who creates art and how is it to be classified as great or greater than another has commonly been addressed by scholars and historians. The last quarter of the 20th century has reexamined these questions based on the assertions that no women artists have ever created or been appreciated to the level of "greatness" that perpetually befalls their male counterparts. The position that society has institutionalized on women as unable to be anything but subordinate and unexpressive is a major contributor to this claim. Giving a brief history of gender discrimination in the art