Citing The Black Female Artist

Today I sat down at my desk to schedule some posts for my artist page. I selected a drawing I love but have never posted and decided this would be a great piece to share. This drawing was inspired by a shoot creative directed by Chass Chevonne. The photo taken by Myesha Evon Gardner was of a hairstylist, Jadis Jolie trimming a model's hair. For a behind the scenes image it was stunning, simple, and attractive. I don't know if it was the fact that I am a nail girlie and the stylist's nails were just perfect in their curvature or that the way her fingers looped through the scissors moved me but I would spend the better part of two days drawing that picture. So when I went to work on the post for my socials I concluded that both the photographer and the hair stylist should be tagged for their contribution to the work I made. This leads me to the point of my writing today, when going to tag these creatives under my post I mulled over the lack of citations that the black female artist receives for her work.

The internet buzzes daily with cancellations of influencers and corporations stealing the work of smaller black artist and creatives without credit or reference to their work as a source. Even as a black artist in proximity to these creatives, I could not repeat the cycle. There is a realization that for many black artists who are not on big platforms one day our work, our thoughts, and our innovations will be utilized by larger corporations, influencers, and sadly other artists looking to leverage themselves in some capacity. This will happen at the swift hands of appropriation disguised as inspiration. Entities will go so far as to try to disparage the work of the more miniature artists, creatives, designers, or writers as a means to maintain their credibility. It is one thing to be a part of a research and study that pushes an idea or a concept forward however time and time again we see on large and small scales the impact of black artist's work being taken without credit or citation.

Aisha Mahmud’s writing, We Are More Than Footnotes, references the black female creative as being “mined”. What a visceral image, the beautiful black body full of wisdom experience, knowledge, and creativity, being pillaged, dug through, blown to bits, and harvested for everything she has to offer until there is no gold, diamonds, or oil left between her deep rich skin. Oh wait it is happening, it has been happening. In my writing, I reference the black body concerning its position as a commodity in the American / international economy. The black body was traded as a good available for purchase until 1865. The black body could also produce commodities, so why would it not be capable of producing many great products of creative value in today's economy? Now it could be considered crass for me to speak so forwardly in the comparison of the black body as a good however my problem with the commandeering of black ideas and ideologies without proper citation or accreditation is that it repeats the cycle of devaluing what the black body has ownership of in production. When one goes without crediting the black creative cycles of oppression repeat themselves guised as gatekeeping. As we have shifted culturally to virtual spaces these platforms have become a way for artists and creatives of all genres to to share their work. The internet provides a space to allow viewers who would not by proximity have access to ones art be able to explore on a new level. This free market can be perceived at as a tool for connecting others and a forum to share ones work and abilities. However, it is also free visual resources for larger corporations and individuals who may have sizable financial resources to turn over your product to their consumer base. In my experience and opinion to be black is the most bountiful and creative experience one can have. There is no lack when you can create resources out of the depth of your soul. So when the work that is a part of the fabric of your being gets stolen it is the literal repetition of commodifying the black body as a means for capital gain at the expense of the labor that the black body must endure for the right to be acknowledged.

It may seem like a small act to cite other artists when I am inspired by their work or draw in relationship to what they have already created with their hands but in this way, I do not add to the systems that abuse their creativity. I also leave room for other creatives to participate in the work that exists and utilize while becoming a reference myself. Aisha Mahmud says “The message being sent is that Black women are not credible enough” as a lack of citing but I believe we are the resource and the blueprint. For what exists without the influence and nurturing of a black woman? Today I thank Aisha Mahmud for the transparency to highlight her experiences and that of other black writers. For her tenacity to continue writing despite parts of her work being stolen. An older generation would say there is nothing new under the sun, well without a reference new work has no roots.

References

McCracken, Allison, et al. A Tumblr Book. University of Michigan Press, 2020, pp. 127– 131.

Creative director: Chas Cheveonne @chaschevonne

Photographer: Myesha Evon Gardner @myeshaevongardner

Hairstylist: Jadis Joli @JadisJolie