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Alison Saar at Arion Press in San Francisco, 2024. (Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)<\/p>\nWritten by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.<\/p>\n
Alison Saar at Arion Press in San Francisco, 2024. (Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)<\/p>\n
To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.<\/p>\n
Two years ago, Ekundayo asked the SFO Museum and San Francisco Arts Commission how many women were in the permanent collection of the airport. \u201cThey gave me a list, it was very short,\u201d she says.<\/p>\n
That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.<\/p>\n
\u201cThere were two,\u201d recalls Ekundayo. \u201cMildred Howard<\/a> and Alison Saar.\u201d<\/p>\n The collection now includes the works of 14 artists who are Black women and gender-expansive people of color, including Sydney Cain<\/a>, Erica Deeman<\/a>, y\u00e9t\u00fand\u00e9 \u1ecdl\u00e1gbaj\u00fa<\/a>, Trina Michelle Robinson<\/a> and others.<\/p>\n In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo\u2019s larger goal. <\/p>\n