https://cheraynairullow.com/blog daily 0.75 2024-09-28 https://cheraynairullow.com/blog/blog-post-title-two-9bymy monthly 0.5 2021-08-16 https://cheraynairullow.com/blog/the-black-feminist-vulnerability-tl7dz monthly 0.5 2024-09-27 https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629172037784-C2OVYT5BP78KGXFTZ3AE/unnamed.jpg Blog - The Black Feminist Vulnerability - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629172187211-LNCKKV9ZU80FN4GIB93L/F6D62DEA-D4FF-4E99-9456-C776C987210F.jpeg Blog - The Black Feminist Vulnerability - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629173942819-4TDVYLXYWPCA5C09E4JU/unnamed-5.png Blog - The Black Feminist Vulnerability - William E. Scott The Turkey Market (The Rhythm, no date. Oil painting. Hattian Turkey Vendor), 1932, Oil. I start off this exhibition with a snapshot of a busy Haitian Market. The first figure we approach within this painting is the black woman with a pipe casually hanging out her mouth as she professionally carries turkeys atop her head and in her arms. She has a nonchalant expression on her face which, including how she’s able to balance live turkeys on her head, speaks to how long she’s been doing this work for. Farther into the scene are two women approaching someone selling oranges. This all gives me the impression that women were very involved in working and convening at the market. I wanted to use this painting to convey a picturesque moment of a commonly underlooked maternal power, hard work. We did achieve to be the most educated group in America somehow. This is an attribute not really in line with stereotyped ideals commonly placed over them, therefore, it shatters the objectification that would attempt to point to each female figure in this work as a Jezebel. As much as it gives off a tiresome energy, the perseverance to do what has to be done is the underlying tone here. https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629173943045-2ZM73VPW8Y25ALSSLXYI/unnamed-4.png Blog - The Black Feminist Vulnerability - Lorraine O’Grady Rivers, First Draft: The Woman in White eats coconut and looks away from the action 1982/2015 Digital chromogenic print from Kodachrome This photograph is set in the woods. What’s out of place here is a seated woman and all that’s white within it. This woman is eating coconut (as the title suggests) at a white table, placed on a white rug, with a white tablecloth that has coconut pieces on it. The woman is in a white gown and is seated, with her legs crossed. She has on a headband and earrings that are both white as well. The only splash of color is red on her lips and nails. Lastly, there’s a wooden frame structure that looks like the outline of a house in which her presentation is placed inside of. Overall this photo emanates posh and poise energy and the want to carry that part of herself everywhere because it is who she is. Knowing a sense of Lorraine O’Grady’s background, I see her incorporation of her English and Caribbean lineage- Caribbean with the coconut, grater, and rural background, and English with the elegance I spoke of before. I wanted to use this piece due to its example of female subjectivity of how Lorraine sees herself and her identity combined with the aim to resist and reconstruct. It's of a woman that claims the space she is in, which is not only a daring, dangerous thing for a black woman but also very inspiring. https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629173943363-2M22MHMGXL9AZFPS9GBT/unnamed-3.png Blog - The Black Feminist Vulnerability - Guarded Conditions || Lorna Simpson || 1989 || 18 color Polaroid prints, 21 engraved plastic plaques, and plastic letters Guarded Conditions show 6 women lined up in a loose white dress, arms held behind the back, and wearing black shoes with “skin attacks and sex attacks” repeated underneath. Each woman has 3 panels that have a 3rd of her body in it. Each body has a clenched left fist over the right hand which indicates that internally the woman is restraining something. It definitely is a sign of stress. However, there’s a slight dissonance and discordance with the alignment of the body. The arms seem lighter than the upper body which allude to mutilation, the disregard of it and the piecing of it back together for acceptable presentation. This line up replicates the visual that one would see on the auction block and for a woman in a hospital setting. In these two examples, black woman have witnessed violence because of their race and sex. I selected this photograph because it tells me that there are ways through body language where one unknowingly expresses the effects of traumatizing lacerations. This connects to the tough exterior I mentioned black women are stereotyped to have. https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629173943610-5CYY3W93EVCLJ7W8V40Z/unnamed-2.png Blog - The Black Feminist Vulnerability - Mother and Child (c. 1945) || Elizabeth Catlett || Terra cotta This sculpture by Elizabeth Catlet is a black mother with her baby nestled in her bosom. Her gaze is claimed by her child which shows her pouring full attention into the baby. She fully supports his comfort by having her feet positioned in a way where he can sink a little into the fabric of the mother’s dress. She is grounded. She also holds him with two hands. The beige of the terracotta creates a nurturing effect. When the shadows form in tiny pockets in this sculpture, it creates a blushing effect with a light coral hue. How she curves into him is protective, private, savoring. I chose this sculpture because it adds to the desire to display black people in a positive way. It focuses on motherhood and how that looks like with her baby, no one else’s. When you think of an image that has the “well-intent” for a subject like her before 1945, none comes to mind. But images of white babies suckling to the breasts or cradled in the arms of an enslaved black woman do; a child not hers but had to treat it as if it was. But this child the mother is holding is certainly hers. Her hold is too tender and cherishing around the small body of innocence to suggest otherwise. https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/1629173943881-P31N49Q5G913D0TN7JW6/unnamed.png Blog - The Black Feminist Vulnerability - Analogous Colors, TIME Magazine || Titus Kaphar || June 15, 2020 || Oil Paint Analogous Colors has such a devastating topic to share. Front and center is a grieving mother in a red hoodie holding the white silhouette of her child, with one of her hands being blue. On the iconic red border of TIME Magazine are 35 names of people who were murdered by police. There’s a connection to the mother wearing a hoodie and the first name we read from the top left is Trayvon Martin. The blues here are the analogous colors which are also seen on the window frame, the window, headband and undershirt the mother is wearing. This painting wants to directly address the traumas of being black and living under white supremacy. The mothers for each victim, lost their child forever over ill intentions, bloodlust, and “misunderstandings” that instantly erase a life from the world. The woman portrayed here is to signify the despair of this loss that’s a pain too common within the black community. I chose this to illuminate how the lack of protection of black women is something unfortunately inherited and passed down into her children. Everyday she has to hope that her child has had a chance to live again. That is such a torturous pattern to live through. So, I wanted to create a timeline of life for black women. Though some figures may seem content in the art that they are in, not a smile is found in any of them. https://cheraynairullow.com/blog/blog-post-title-one-l6sa3 monthly 0.5 2021-08-16 https://cheraynairullow.com/blog/blog-post-title-four-kths7 monthly 0.5 2021-08-17 https://cheraynairullow.com/home daily 1.0 2025-04-04 https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/5685c470-b82e-4f49-bed7-db6b5d52835d/45849622-a1c4-4287-ab8a-1a8357bfffbd.JPG Home On stage with Amara La Negra https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/f4dd3e45-c104-478c-af5f-b50e8c9bf096/IMG_0321.jpg Home SUNY Purchase O.A.P.I.A 2019 fashion show https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/6d76ff21-ea83-406b-a522-6abfacc4542a/IMG_1161.JPG Home https://images.squarespace-cdn.com/content/v1/60f6d6043e12012ec57aa48e/ed640274-8219-4671-870f-802b6e537466/IMG_1163.JPG Home "Don't touch my hair" captured by DJ 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