The Black Frequency Sheets

We were going to go with a colon and some stuff after it for the title but didn’t want that term paper look. What we want to get across is that Mammy is to Jezebel what USA is to Canada and Sapphire is the Northern Shore. We want the art presented here to speak for itself because of the urgency in the messages. We don’t want to over-commentate when the world as it is over-masticates the magic of Black women. According to the inauguration schedule 2017, Black women…ahem…women, could be running out of time to talk about much of anything, let alone be heard, so with that, The Black Freqs present, ‘Yo Mamma So Jezebel She Sapphire: Signs Of The GOTDAMN Times.

Louisiana’s Alexandria Museum of Art is surely weighed down on one side by all that black woman pain inside. Naturally, only Black women artists contributed to the new exhibit ‘Beyond Mammy, Jezebel, & Sapphire: Reclaiming Images of Black Women’ that lodges a nose-smashing brick of ‘bitch please’ back at the trope of the angry black woman and other bs one-dimensional stereotypes that have plagued us up in this mofo. #insertOKAY #insertAMEN #WillanSEOboostcomewithanAmenCorner? #stilllearninghashtags

The Exhibit featuring work from the Jordan Schnitzer Family Foundation is open until February 18th. The art is curated by the InterDisciplinary Experimental Arts Space at Colorado College along with the AMoA.

Lorna Simpson, “C-Rations, edition of 50,” silver gelatin print, 1991.


Since when did black women dare to reclaim our bodies. Black bodies have value to who? Black Lives Matter how? The universe in its two-ness never stopped demanding a push for a pull. That something-for-nothing bull has never been a luxury black people can afford. In fact, I’m not sure we ever asked for it.

Y’all already know The Black Freq Sheets cuts no chase and gives zero fornications. *numberonefinger The truth is we never asked for civil rights without first being civil and sharing cultural civilization with the world. *twofingers We didn’t ask to be educated and damn sure didn’t ask for the mis-education without first educating ourselves. #Boom #Stillholdingmic #ahem

WTF do we do with all this Black Woman pain!

Insert Alice Walker link here.

Mickalene Thomas, “Left Behind Again 2, edition 9/24,” 2014, relief, intaglio, lithography, digital, collage, enamel paint

See, black women aren’t asking for their bodies and images back without making art, making waves, and making generation on some Edwidge Danticat ish. Black women aren’t asking for their bodies back without creating an environment of change. To keep it all the way thou like we only know how… Black women AREN’T asking anyone for shyt. But a few of them are pointing out that small, miscellaneous, often over looked point.

According to the site, “…while inspiring respect and admiration, the Strong Black Woman is ultimately denied the ability to fail, to suffer, to fall from grace – for to demonstrate the human frailty afforded to others is to relinquish her power and become her antithesis: the Victim. The Strong Black Woman thus earns our respect, but not our empathy.”

Mildred Howard, “I’ve Been a Witness to this Game IX,” color monoprint/digital on found paper with collage, 2016.

It appears that Black women are willing and capable of indoctrinating the masses to us and educating them in us. In 2017 through forever and via their/OUR mighty, mighty strengths, they/WE are fueling our propaganda machine and everyone can miss them/US with their flagrant epithets. The art is bitching not them. The craft is OURS TO CONTROL! Wait… we mean theirs… we mean… hmmm… GET SOME! #TheBlackFreqSheets #NeverClaimedToBe #Nonbiased #ornonviolent #thearthurts

“Why Can’t We Just Sit Down And Talk It Over” (Mickalene Thomas, edition 39/40, 2006 screenprint image: 19 1/2 x 30 inches, frame: 24 x 35 inches 2007.417)

Museum Site

Get To Know The Artists:

Read an informed article about this exhibit

Keep Freqin’

Trick Off On THE FREQS



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