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Throughout this semester, we have engaged with the Black Female Body in intricate and intimate ways and one of the main revelations that I have had personally is how so much of the ideology surrounding femininity us warped by patriarchal values. In this timeline, my goal is to showcase my growing understanding through a variety of mediums.

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Elizabeth Catlett, 1947, Linocut on paper

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This image connects to my theme because it explicitly declares to exemplify Black Womanhood. The piece being from the 1940s was particularly interesting to me because that was a time where the humanity of Black women was harshly denied. I believe that this demonstrates the significance of the piece and its place within the timeline. This piece specifically adds to the narrative of the complexity that the Black Female Body possesses.

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Dorothy Stevens, 1930, Painting, Oil on Canvas, 86.8 x 76.4 cm

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The portrait above really depicts a multifaceted version of Black girlhood. As a white, Canadian artist Dorothy Stevens' perspective is seeped with a specific type of bias. In this portrait, "Amy's" is subdued by her expression, however her commitment to some of the more traditional feminine values is demonstrated through the grasp she has on her white babydoll. Through the painting, Stevens represents the conflict that can exist within the Black Female Body

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Although her face is invisible, The Water Bearer's energy is palpable in Simpson's 1986 photograph and it convey's an interesting relationship to femininity. Upon first glance, my eyes instantly dart to Simpson's spine and the physical expression of the stress that its carrying throughout its length. The woman's full hands symbolize all of the responsibilities that one can find themselves burdened with throughout their lifetimes. Through the dispelling of the water, this photograph also represents the liberation of Black Female Bodies and the physical manifestations of that change.

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Seeing this piece in person had a profound impact on me. I was impressed by the sheer attention to detail required to plan, execute and display such a piece and later discovered a sense of significance in those details. While Madam C.J Walker is undeniably an iconic individual in her own right, she is also the product of support given to her by hundreds of women whose names we will never know but whose impacts we are all to familiar with. Clark demonstrates this truth through the combs on the piece and inherently invites conversations about the impact that other can have on our relationship that we have to femininity and our own Black Body.

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This piece of performance art took place at the African American Day Parade in Harlem, New York and I believe that it demonstrates the power of articulating visible truths. Despite being unified by a singular color, all of the women in the demonstration depict different physical expressions of womanhood. By naming this event as the artistic achievement that it is, O'Grady negates the notion that femininity is something that needs to be experienced or expressed in a limited way, and allows Black Female Bodies to exist joyfully and freely.

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Harmonia Rosales, 2021, Oil on Canvas Mounted on Wood Panel 

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This piece is one that really struck out to me in person because of how well the vibrancies of the colors represent Eve's coming of age. In Beyond the Peonies, femininity is something that is expressed stereotypically with the flowers in her hair and pear adornment around her neck. However the subject's expression allows the painting to enter a new realm of complexity. This painting properly represents the nuances that exist within singular Black Female Bodies.

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In this photograph, a young girl is jumping double-dutch rope for a crowd of admiring onlookers. I selected this image because I believe that it highlights the performative nature of femininity. Rosskam shot a collection of images in Chicago, Illinois in order to depict the everyday truths of Black people within the city. This particular shot was compelling to me because while the subject is gleefully on display, it leaves space for the truth that such attention and potential scrutiny can become difficult to grapple with. Jumping Rope highlights a young girl embracing he femininity and presence pridefully, which I believe is a lovely thing to provide access to.

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François Malépart de Beaucour, 1786, Oil on Canvas, 69.1 x 55.6 cm

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I selected this portrait because I think it leaves a really distinct impression on how femininity, specifically Black femininity was expressed during the 18th century. While the woman's exposed breast is an undeniable focal point of the painting, I was also interested in the plate of fruit in her hands. The juxtaposition between these two elements of the painting demonstrates the duties that femininity renders some women chained to.

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I selected this photograph because I believe that Anna Robinson's (pictured) ability to capitalize off of her Black Female Body is fascinating. Robinson was hired to represent the growing Aunt Jemina brand at the World's Fair, and there she took portraits that would be emulated on boxes for decades. The relevancy of this photograph lies in the choices that it represents. Robinson made space within her life to profit off of the domestic and feminine ideals that dominated her adult life, and that defies all standards.

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Through my research for this project I realized that while I was well aware of Henrietta Lacks' story, I was not aware of how she physically expressed herself and had never seen a photo of her. This photograph stood out to me because of the pride that she possesses within her body that is enabling her to stand with such poise and grace. Henrietta's body was lauded and deemed useful for years on end without any consent, however in this photograph the power that she emanates is palpable as she stands confidently as herself, expressing her femininity.