Dominique Duroseau read an article that said: ”...the Supreme Court has held that a school with one race or virtually one race within a district is not, in and of itself, the mark of a system that still practices segregation by law.” Personally I disagree, I think it’s the very definition of segregation today, regardless of what one calls it, regardless of its legality. Why worry about classroom segregation when entire schools remain so uniform?
jc lenochan To commit ourselves to the work of transforming the academy so that it will be a place where cultural diversity informs every aspect of our learning, we must embrace struggle and sacrifice. We cannot be easily discouraged. We cannot despair when there is conflict. Our solidarity must be affirmed by our shared belief in a spirit of intellectual openness that celebrates diversity, welcomes dissent, and rejoices in collective dedication to truth.
L. Kasimu Harris is a storyteller who uses writing, photography and video to push the narrative. He's a New Orleans native who has participated in 20 group exhibitions across America, two abroad and three solo photography exhibitions. Harris's work modulates between photojournalism, documenting culture and constructed realities, all in an effort to tell stories of underrepresented comm unities in New Orleans and beyond. He created Parish Chic, a style column for the Oxford American and has been published in Yahoo Food, and Southern Living and The FADER. Most recently, a feature he wrote for Edible New Orlean was selected for the book "Best Food Writing 2016".
Mitsuko Brooks painted a diagram illustrating Andrea Smith’s writings Heteropatriarchy and The Three Pillars of White Supremacy: ReThinking Women of Color Organizing on how to debunk assumed racial hierarchies with womyn of color onto a children's easel board left out for trash in Los Angeles.
"I use the spelling of 'womyn' in the title and piece referencing a spelling I was introduced to and used during my 90s riot girl zine days, which takes out the word "men" from the word to empower. My acrylic diagram painting within my sculpture is inspired by Smith's writings, consisting of circles which overlap and read: Asian American Womyn, Black Womyn, Latinas, Muslim Womyn."
Marvin Toure: When people discuss black excellence they often talk about origin stories and the conditions through which these individuals emerged from. What we overlook at times is the psychological effects of what happens to them afterwards. What is the price of black ambition? What do we hold internalize from the micro to macro aggressions. Our stories, all of the invisible battles we fight in plain sight lead me to participate in this exhibition
Antoine Williams: It would be naïve to believe that one piece of art or exhibition will solve an issue as complex as race in America. However, for every generation a conversation takes shape, and from that gives birth to a reaction to the systematic oppression of Black people, whether it’s mass incarceration or the wage gap for Black women. This exhibition Race and Revolution, is a part of that conversation.
Aram Han Sifuentes: Present- day school segregation is when a group of people are set to a different standard than others. My project US Citizenship Test Samplers aims at highlighting how one group of people (non-citizens) must prove their worthiness of becoming citizens by taking a test of questions that are condescending toward the immigrant community. Why must we study these questions when one-third of American citizens can’t even pass this test? What does our ability to answer such questions as “Who was president during WWI?” prove our worthiness of becoming citizens?
Iviva Olenick: Schools where I teach in Jersey City, NJ and parts of Queens and Brooklyn present varied demographics, with immigrants and the children of immigrants from Latin America, the Middle East, Asia, Southeast Asia, the Caribbean and Eastern Europe; and some African American and White students. These schools challenge the notion that schools are racially and ethnically segregated. Among immigrant populations, students' literacy and education levels in their native languages vary, as do commitment to and interest in academics. So rather than ethnic or racial segregation, these schools face challenges in meeting the varying school-preparation levels of diverse populations.
Karen Lomax: With so much disconnection within the world I wanted to be surrounded by like-minded, strong voiced, creative individuals speaking up for a common goal, to support those who are not supported.
Carine Maye: The exhibition Still Separate – Still Unequal shows an immediate connection to the work produced in the Troubled Seat and Tools of Separation Series created by artist Carina Maye. She directs attention to the unrecognized student who is forced to participate in the American educational system. There are clear and intentional obstacles in place to obstruct the progression of the students within the public education system. Today’s testing and curriculum design are not structured to holistically develop all students. This leaving one to question the future of these students and the life they will lead beyond the classroom. This exhibition provides a space for creative minds to critically analyze the current version of this passé system which continues to afflict minorities. Such a platform reflects the idea that change cannot be made through this existing formula. It is proven that students are reduced for capital gains and exploited as test subjects during their matriculation. Examining the contentions minorities face in education and the organized techniques implemented by the defective structure to divide their students is the pivotal first step in a true call for reconstruction.
Truth and historical accuracy have been replaced with alternative facts and post truths. It is clear to me, we cannot rely on others to narrate nor educate us on our own story. Our resistance and resilience comes from our ability to create anew and build upon the learnings of our ancestors.
Olalekan Jeyifous My interest in participating in this exhibit is based on a developing awareness of just how much school segregation determines the quality of education for many. It is an issue of enormous importance where even those involved in the process of correcting the systems many glaring problems, often get it wrong.
As a challenge to my art-making practice I've taken a brief departure from the media I regularly work with in order to exploit the visual language of the High School Championship banner, a large tapestry which typically celebrates a school's varied athletic triumphs. Instead, I have created a series of "anti-banners" which present a few startling statistics on the testing, policing, and incarceration of Black and Latino students.
Dennis Redmoon Darkeem I wanted to be part of this show because as an Art Educator, I have bore witness to many dilemmas children face on a day-to-day basis. Through this show, I am able to explore students' perception and be their voice to an audience they may never speak to or engage with. "Still Separate- Still Unequal" has allowed me to recall memories of being a child/ student and remember the societal pressures to "succeed" while functioning in an impoverished, lower socio-economic community with little to no resources. With legislature that has allowed schools to be zoned based on the community they live in, students living in lower socio-economic communities are forced to navigate issues of poverty, trauma, and institutional racism while meeting state standards. While many students are resilient, there are a number of students who struggle and are overlooked leaving their needs unmet.
Damien Davis For this show, I have made four large plexi works inspired by interviews I have done with my mother, Delores Davis. My mother was one of the first students to integrate the all-white high school (Crowley High) in her hometown of Crowley, Louisiana. She then went to a historically black college (Grambling University) and then worked as a high school teacher for 30 years before recently retiring.