ceramist, sculptor, filmmaker, and cofounder (with her husband, James Hatch) of the Hatch‐Billops Collection, an archive of African American cultural history, was born in Los Angeles, California, to Lucius Billops, a cook and merchant seaman, and Alma Gilmore, a dressmaker, maid, and aircraft assembly worker. Billops graduated from Catholic Girls High School in 1952, and in 1954 she began her studies at the University of Southern California. She majored in occupational therapy, which included drawing, sculpture, and ceramics. She transferred to Los Angeles State College in 1956 after she became pregnant, and then she changed her major to special education. Billops worked during the day as a bank bookkeeper and maintained a full academic workload in the evening. At the end of 1956 her daughter, Christa, was born, and Billops put her up for adoption. This was an experience she would explore in her 1992 ...
Catherine M. Grant and Margaret Rose Vendryes
American printmaker, film maker, installation and conceptual artist and writer.
Green, of African descent, has worked primarily with film-based media, and has published criticism and designed installations that reveal her commitment to ongoing feminist and black empowerment movements. She earned her BA from Wesleyan University in 1981 and also spent some time at the School of Visual Arts in New York in 1980, returning in the late 1980s to study in the Whitney Independent Study Program, graduating in 1990. At the age of 24 she began exhibiting her comparative compositions containing found objects, images, and texts that question recorded history.
Green’s work deals with issues of anthropology and travel. By undertaking projects via the methodology of the 19th-century explorer, she exposed the arbitrary and prejudiced nature of classification, as in Bequest (1991; see 1993 exh cat an installation she made at the ...
visual artist, filmmaker, and cinematographer, was born in Tupelo, Mississippi, and grew up in Clarksdale, Mississippi, the son of Rowena and Arthur Fielder. He studied architecture and film at Howard University from 1978 to 1982. While there, he worked with the filmmaker Haile Gerima, who became a mentor and an influential friend. Jafa's concerns with the centrality of the Middle Passage and slavery in the African Diaspora led him to rethink the political and aesthetic importance of defining “blackness,” and how what Jafa called “primal sites” are crucial to any project concerned with the liberation of people of African descent.
Renowned for his cinematography on Julie Dash's path-breaking film Daughters of the Dust (1992 Jafa put into practice techniques he had long been theorizing Black Visual Intonation was a radical aesthetic notion about the mechanics of filmmaking Jafa won Sundance Film Festival ...