{"id":11037,"date":"2021-12-18T13:25:52","date_gmt":"2021-12-18T13:25:52","guid":{"rendered":"http:\/\/media-archive.blackartinamerica.com\/?p=11037"},"modified":"2021-12-30T14:06:08","modified_gmt":"2021-12-30T14:06:08","slug":"the-fluid-artistic-dynamics-of-kimberly-camp","status":"publish","type":"post","link":"https:\/\/earthexhibitions.org\/media-archive\/?p=11037","title":{"rendered":"The Fluid Artistic Dynamics of Kimberly Camp"},"content":{"rendered":"\r\n

\u00a0The Fluid Artistic Dynamics of Kimberly Camp<\/h2>\r\n
By D. Amari Jackson<\/pre>\r\n
\u201cI will never forget the first time I met Romare Bearden. I didn\u2019t expect to meet him, I didn\u2019t expect to have that opportunity, but I went to an opening, and he was just sitting on the bench by himself. I went and sat next to him and said, \u2018What do I need to know, if there was just one pearl you could pull out of the air?’<\/em><\/p>\r\n
He said, \u2018Always live near running water because the body is majority water, and it\u2019ll help you tap into your creativity. Artists who don’t live near water, their work is angular and grid-like. But artists that live near running water, their creativity is fluid.’<\/em><\/p>\r\n
I never forgot that<\/em>.\u201d\u00a0Kimberly Camp, BAIA Talks, 11\/20\/2017\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/p>\r\n
For Kimberly Camp, the ability to flow, to adapt\u2014or like iconic martial artist, Bruce Lee, once famously quipped, to \u201cbe like water<\/em>\u201d\u2014has been a lifelong endeavor. An artist for five decades, the Camden, New Jersey-born prodigy has forged a fluid and unprecedented dual career in art and art administration. Holding her first exhibition at age 12 in Woodbury, New Jersey, Camp has continued to successfully make art while becoming one of the most powerful art administrators in the nation.<\/p>\r\n
In 1989, not long after receiving her master\u2019s degree in Arts Administration from Drexel University, Camp was appointed founding director of the Smithsonian Institution Experimental Gallery, a newly-established unit of the Smithsonian. In 1994, she became president and CEO of what would become the Charles H. Wright Museum of African American History in Detroit. There, she traveled the world to procure art for its nascent collection while managing the $65 million construction and opening of what was, at the time, the world\u2019s largest museum devoted to African-American culture. In 1998, Camp became the only African American in the country to head a major collection upon taking control of the world-renowned Barnes Foundation, a multibillion-dollar art collection and educational institution now located in Philadelphia. Upon leaving Barnes, Camp spent six years creating a science, technology, and natural history project for the Hanford Reach Interpretive Center in Washington state before opening Galerie Marie<\/strong><\/a> in Collingswood, NJ, named for her late mother, where she features her own popular paintings and dolls alongside works by artists from around the world.<\/p>\r\n
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“Back Yard Barbershop,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery<\/p><\/div>\r\n
\u201cKimberly is someone who is able to pursue, with excellence, two different paths in life, the museum administration and the art making,\u201d acknowledges Gabrielle Aruta, fine art professional and owner of Filo Sofi Arts, a contemporary gallery and education organization with locations in New York and New Jersey. Currently, Filo Sofi Arts is featuring\u00a0Kimberly Camp: Spirit Guides<\/em><\/a><\/span>,\u00a0which runs through February 13, 2022. \u201cIt\u2019s exciting to be around someone like that because we all have different aspects of our personality, and I think everybody feels like they have to compromise something,\u201d offers Aruta, who considers Camp both \u201ca mentor and a heroine\u201d given the latter\u2019s trailblazing career. \u201cBut Kimberly has beautifully pursued both these paths.\u201d The art dealer further promotes how Camp, despite becoming a top art administrator, has \u201cnever given up on her dream and her purpose as an artist who tells incredible stories through doll making and painting.\u201d<\/p>\r\n
Consistently, such fluidity has facilitated Camp\u2019s unique approach to art, one as varied as her stellar administrative career. She is the creator of \u201cKimkins,\u201d a line of dolls with hand-painted faces, composed of suede cloth and dressed in traditional African fabrics. In the mid-1980s\u2014a few years after a Kwanzaa bazaar where she introduced and sold out 55 hand-dyed dolls clothed in 32 traditional designs from numerous African countries\u2014Camp was producing 2000 Kimkins a year. Today, almost four decades later, Camp\u2019s award-winning paintings and dolls have been exhibited over 100 times throughout the world at such institutions as the Smithsonian, the American Craft Council Show, the International Sculpture Center, the University of Michigan, and the Manchester Craftsman’s Guild. Her art has been featured in numerous collections and traveling exhibitions, and her workshops and residencies include the Baltimore Museum of Art, Virginia Museum of Fine Arts, Longwood Gardens, the Smithsonian, and the African American Museum in Philadelphia.<\/p>\r\n
\u201cI collected textiles, beads, wolf teeth, bison teeth, snake vertebrae, fur, leather\u2014any place I went, whatever they specialized in, I would do some research and figure out where to go,\u201d reveals Camp, a longtime globetrotter. \u201cWhen I came back from Morocco, I brought camel belly leather. Can\u2019t get that here. When I went to Japan, I brought back silk, beads, and feathers, and when I went to Ghana, I brought back textiles and more beads,\u201d she says, of the \u201cencyclopedic collection of stuff\u201d she employs in her art. \u201cSo that\u2019s how I make my dolls.\u201d<\/p>\r\n
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“Mami Wata,”\u00a0by Kimberly Camp. Image courtesy\u00a0of artist and Filo Sofi Arts gallery<\/p><\/div>\r\n
Camp\u2019s childhood was equally remarkable and fluid. Reared in a family of creatives\u2014her father, an artistically-inclined dental surgeon, her mother, a stay-at-home mom who went to business school after teaching her daughter to draw, sew, and paint\u2014Camp showed early promise as both an artist and an intellect. After her mother set up a card table up in the living room with newspaper under it, Camp would sit there after school, drawing, painting, copper etching, and making plastic airplanes, plastic monsters, and race cars. The avid reader also spent countless hours in the library across the street from the local art supply store \u201cpicking up subjects that I wanted to know more about and teaching myself about them. At one point, I decided I needed to learn Latin, so I taught myself Latin. And then, I figured I needed to be a philosopher, so I started reading philosophy,\u201d remembers Camp, noting \u201cI read voraciously\u201d and it \u201cjust opened up a whole world for me.\u201d The gifted 12-year-old began taking art classes at the Friends School in Mullica Hill, New Jersey and, that same year, sold all her work at her debut exhibition in Woodbury.<\/p>\r\n
A year later, Camp\u2019s art instructor refused to teach her anymore. \u201cShe didn\u2019t tell me this until decades later, but she was like, \u2018Well, you were already better than me.’\u201d<\/p>\r\n
Not long after, Camp began studying painting and drawing under a graduate of The Academy of Fine Arts Vienna at the latter\u2019s Merchantville, New Jersey residence. Great training, but the house, recalls Camp, had some issues. \u201cWe\u2019d go in and sit around her dining room table and she would teach us art. She kept a parakeet in the other room because he was mean, and he would bite people.\u201d That wasn\u2019t all, given her tutor was the widow of an American ship captain. \u201cHer house was literally haunted,\u201d insists Camp. “We could hear people walking around upstairs, and we once asked her, \u2018Who<\/em> is up there?\u2019 She told us the floor was empty, but we didn\u2019t believe her, so she let us go up there,\u201d recounts Camp, stressing there \u201cwasn\u2019t a soul up there\u2026 wasn\u2019t a piece of furniture in the room.\u201d<\/p>\r\n
Upon closing in on her graduation from the Friends School at age 15, with college in mind, Camp received advice from the department chair that has stayed with her to this day. \u201cHe said, \u2018You\u2019re not good enough. Get a husband, have babies, you can play on the weekend. You\u2019ll be fine.\u201d Stunned, Camp later found out this administrator told all the women who graduated from the school the same thing. \u201cI didn\u2019t have a counterbalance of somebody saying, \u2018Well, you know, don\u2019t pay attention to him\u2019 or \u2018let\u2019s sit down and talk about that,’\u201d she explains, though subsequently being accepted to American University. There was more amazement, says Camp, that \u201cI got into college at age 16, and not as much guidance about what that meant, and what I could do with it. I didn\u2019t have that conversation about, \u2018Do you want go to an HBCU? Do you wanna go Ivy League?\u2019 she reflects, pointing out that her dad was the first of his generation to go to college. \u201cI didn\u2019t have that kind of guidance when I was coming up, and it wasn\u2019t my parents\u2019 fault. They didn\u2019t know.\u201d<\/p>\r\n
Realizing American University was not a fit, Camp transferred after her first year to her father\u2019s alma mater and her boyfriend\u2019s school, the University of Pittsburgh. There, under the guidance of a female art professor, she pursued two majors in Studio Arts and Art History with a concentration on the art of Japan and China. \u201cI took just about every class that she taught because she was the only one who was teaching art that was not about dead white men.\u201d<\/p>\r\n
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“Naima & Olatunji,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery.<\/p><\/div>\r\n
Subsequently earning a master\u2019s degree in Arts Administration from Drexel University in 1986, the stage was set for Camp\u2019s dual career as she was already exhibiting art, organizing shows, making her dolls, and running the mural program for the city of Camden. She was soon hired by the Pennsylvania Council on the Arts where she directed arts and education and minority arts services for two and a half years before connecting with someone who would change her life. At the time, Cheryl McClenney-Brooker was the vice president of external affairs for the Philadelphia Museum of Art and had been the \u201cfirst African-American chair of the National Endowment for the Humanities under the Carter administration,\u201d points out Camp. \u201cI interviewed her when she first came to Philadelphia, and we were all stunned by this beautiful, shorthaired, big-eyed Black woman who was at the art museum. We became friends, and Cheryl was really instrumental in my career.\u201d<\/p>\r\n
It was the late McClenney-Brooker who, in 1989, encouraged and recommended Camp to become the founding director of the Smithsonian Institution Experimental Gallery. Though mildly interested in the position, she was selected from a pool of 67 applicants for the final round of interviews. \u201cI had an NEA fellowship, and I was out in Detroit the night before doing some evaluation work for them, and I wore my hair in like big Senegalese twists,\u201d recalls Camp, of the final interview. \u201cI was skinny then because I had gone on a fast, and I had on this fuchsia blouse and a fuchsia tweed pencil skirt, slit in the back, fuchsia tights, and red suede, three-inch heeled pumps,\u201d she laughs. \u201cAnd I walked into the castle of the Smithsonian and sat down with this big scarf I\u2019d gotten in Detroit\u2014it was maroon, gold, white, and fuchsia\u2014thrown over my shoulder. I was like, this is gonna be fun \u2018cause they are not <\/em>gonna hire me.\u201d<\/p>\r\n
They did. At the Smithsonian, Camp opened the Experimental Gallery, a facility that museum professionals could use as a trial laboratory to explore exhibition development, context and design, marketing and accessibility strategies. \u201cI had an absolute blast,\u201d touts Camp, noting \u201cwe had the first exhibition at the institution that was in bilingual labels. We had the first exhibition at the Smithsonian about AIDS. The Principles of Flight gallery that\u2019s now at the Air and Space Museum was tested in my gallery.\u201d<\/p>\r\n
Still, five years in, amid shifting institutional politics prompted by the rise of the religious right, Camp was looking elsewhere and received a call from a headhunter that ultimately sent her back to Detroit to spearhead the establishment of the Charles H. Wright Museum. As president and CEO, she spent the next five years managing and overseeing the unprecedented yet contentious opening of the historic institution. \u201cI had to stop construction twice because they were not building what they needed to build,\u201d stresses Camp, reporting that the \u201carchitect had basically planned it to be a big community center. I said, \u2018You can\u2019t do that. This is going to be the largest Black museum in the world, and it has to have museum quality standards so it can take major exhibitions.\u201d Under Camp\u2019s leadership, and despite a hot public debate over the function and reach of the facility, the 125,000 square-foot, state-of-the-art museum opened in April 1997 with over a million-dollar surplus, a 26,000 square-foot main gallery, and \u201ctwo changing exhibit galleries on top of that. Nothing had ever been created about our history and culture that large.\u201d<\/p>\r\n
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“Sentry,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery.<\/p><\/div>\r\n
Another success for Camp but, once again, it was time to go. \u201cUsually a museum director leaves because you have to put in 120 percent and nobody appreciates it,\u201d she offers, depicting how McClenney-Brooker stepped in again to point her toward another career opportunity with the Barnes Foundation, at the time located in Merion, Pennsylvania. Founded in 1922 by wealthy art collector and racial equity advocate, Dr. Albert C. Barnes, the multibillion-dollar collection and educational institution holds some of the world\u2019s most important impressionist, post-impressionist, and modern paintings, including works by Renoir, C\u00e9zanne, Matisse, and Picasso alongside African masks and native American jewelry. \u201cI thought the Barnes would be much calmer and quieter,\u201d admits Camp, the first president and CEO in the foundation\u2019s history. At the time, it was limited to 200 visitors per week and the foundation was closed in July and August. I said, “This is great,” and they were going to increase my salary by 50 percent, “so I can go here and have a calmer life and get out of the controversies of the previous museum.\u201d<\/p>\r\n
New ones awaited. \u201cIt was the most dysfunctional organization that you could ever imagine,\u201d laments Camp, stressing \u201cthere was no order. None<\/em>. The grounds looked horrible. There had never been a full inventory of the collection since Barnes had died in 1951. There were students and staff running in and out of just about every door, and it seemed like everybody had keys to everything.\u201d Hands full, Camp dove in to increase support, create a viable infrastructure for the foundation, limit access to the multibillion-dollar collection to key personnel, hire new administrators and staffers, perform a full inventory of the collection and archives, redo the grounds, and restore the educational programming promoted by Barnes.<\/p>\r\n
And then there was The Move, one of the most highly contested relocations in American institutional history (and far too nuanced and extensive to detail here), where Camp was at Ground Zero of a nasty public feud between numerous competing entities who, for a variety of reasons, either rallied against or supported the foundation\u2019s proposed move to its current location in Philadelphia. The battle, which played out both in the courtroom and in the media, would intensify for several years during the first decade of the 21st<\/sup> century, producing numerous court challenges, a mountain of editorials and press, and several popular documentaries. The conflict would take its toll, and Camp announced her resignation in 2005. \u201cI left because I had gone through three full changes of the board,\u201d through \u201call the gymnastics of a forensic audit,\u201d and through a \u201c10-year accounting from the attorney general of Pennsylvania, which was started when I got there,\u201d reveals Camp, pointing out that \u201cby the time I got there, the foundation had spent over six million in legal fees the previous four years. And I fixed all of it.\u201d<\/p>\r\n
Currently, Camp consults, lectures<\/strong><\/a><\/span>,<\/strong> and teaches a course on the history of the Barnes Foundation and its founder based on her research of foundation archives, oral histories, and her controversial seven-year tenure. It was during this tenure that Aruta, the Filo Sofi Arts gallery owner, first learned about Camp as a student enrolled in the Barnes\u2019 three-year educational program, one largely devoted to iconic educator John Dewey\u2019s pledge to better race relations in America. \u201cI was a 21-year-old, idealistic young white woman, not having experienced racism on that level, not having lived in a city like Philadelphia before, and there was a lot of turmoil around the Barnes Foundation,\u201d recounts Aruta, offering that it was \u201cdeeply fascinating to me, and also startling, to see how the history of systemic racism in Philadelphia was playing out through this institution.\u201d Aruta acknowledges, \u201cIt\u2019s not that I got to know Kimberly well when I was 21 and she was on her way out, but I met her a couple times\u201d and recognized her as \u201can incredibly strong person\u201d with a \u201clarger than life\u201d character that \u201cI deeply admire.\u201d Just seeing \u201chow she was dismissed, I think, as a woman, as a Black woman, as a leader in art administration, that shaped me and shaped my role in what I wanted to do with my life, and how I wanted to be involved in the arts and right the flaws in the museum industry.\u201d<\/p>\r\n
\u201cShe broke a glass ceiling in the art administration world,\u201d continues Aruta. \u201cAs you get older, it\u2019s harder to find people you admire so much and people you want to emulate, and I just think that she is somebody whose story needs to be told as loudly and as widely as it can.\u201d<\/p>\r\n
Upon leaving Barnes, Camp relocated to Washington state to establish and lead the Hanford Reach Interpretive Center, a science, technology, and natural history project. And though this new museum project was also plagued by dysfunction, it triggered something different in the veteran administrator. \u201cI had decided, given I had worked so hard when I was at the foundation and nobody appreciated it, that I was never doing that again,\u201d says Camp, promoting that \u201canybody who brings change to an organization can be found with their back full of swords, laying in a pool of their own blood. It doesn\u2019t win you friends.\u201d So \u201cI went to work at ten and I left at five. I didn\u2019t work in the evenings, I didn\u2019t work on the weekends, I didn\u2019t bring any work home, period, end of story,\u201d stresses Camp, reporting how her new approach provided her \u201ca lot of time to paint. I had a wonderful studio over the garage, so I painted, I made dolls, and all that.\u201d<\/p>\r\n
By 2013, Camp had retired from art administration, was back in New Jersey, and wholly focused on art. She opened Galerie Marie in Collingswood with her painting studio upstairs and doll studio downstairs. \u201cI\u2019m a realistic figurative painter,\u201d she clarifies, of her family renderings. \u201cI love color, and to try and illustrate the fact that we really are all the same. I feel like I\u2019m successful if somebody who\u2019s not African American looks at one of my paintings and says, \u2018that reminds me of my son and I when we were fishing\u2019 or \u2018my mother and her sisters,\u2019 because we all love and laugh the same way.\u201d<\/p>\r\n
\u201cThen there are the ones that I think are just guided by spirit because I\u2019ve always been a student of the metaphysical and the occult, and I do work that reflects that research,\u201d reveals Camp, noting that \u201ca lot of that stuff I tend to not show because it scares people. We, as a people, are doggedly Christian and taught to fear our own spiritual beliefs, and I\u2019ve just never bought into that. So that work, I tend to not show,\u201d she reiterates, but \u201cI wish I could. I would actually love to do an exhibition of just that. It would liberate my soul tremendously.\u201d<\/p>\r\n
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“Latest News,” by Kimberly Camp. Image courtesy of Filo Sofi Arts gallery.<\/p><\/div>\r\n
Along with her prolific artwork, and consistent with her lifelong artistic fluidity, Camp was recently contracted to write a book about racism and museums for which she is now looking for a publisher after parting with her initial one. \u201cThere are people who have decided that telling the truth is bad for them,\u201d she observes, \u201cso I\u2019m trying to find a publisher that\u2019s gonna see the good in telling the truth.\u201d For the project, Camp has interviewed senior level African-American museum professionals \u201cwho went into the field the same time I did, which was the last racial reckoning. Rodney King was the atrocity. The pandemic was AIDS. Instead of Mitch McConnell, we had Jesse Helms. Very similar periods,\u201d stresses Camp, noting that museums, in a rush to diversify, were hiring Black people then as well. \u201cI interviewed senior administrators so they could tell stories of what happened to them so, hopefully, we can tell young people what to look for and what to avoid.\u201d<\/p>\r\n
\u201cSo it\u2019s the stories, it is the advice to young professionals,\u201d continues Camp, on the value of her current endeavor. \u201cAnd then it begs the question: Will things change<\/em>?\u201d<\/p>\r\n
For things to change, Camp would likely agree that people\u2014at least, to a certain extent\u2014have to change as well. And her ultimate take on humans, one forged through a groundbreaking and actively engaged lifetime of art and art administration, is as fluid as her body of work.<\/p>\r\n
\u201cPeople that have cats know that there\u2019s no such thing as a purebred cat,\u201d points out Camp, clarifying \u201cit doesn\u2019t exist. But they come out looking certain ways, and you can breed to have a black cat and you can say it\u2019s an Abyssinian or whatever, but it\u2019s a black cat, and every black cat looks different than the last one.\u201d She describes how some may \u201chave a white hair that\u2019s in the back,\u201d one white toe, or \u201ca pink patch on their nose. They’re all different, but they\u2019re the same thing, right?\u201d \u00a0<\/p>\r\n
To drive the point further, Camp offers that \u201cthere\u2019s more genetic difference in breeds of dogs than there are in people. Imagine if we were that distinct, if we had spots and stripes and different colored fur, it would be really hard to segregate out people and hate them as a group,\u201d she promotes, noting that \u201cpeople who love cats, love cats. They might only buy black cats, but they love cats. People who have dogs, love dogs. They might buy only bulldogs, but every bulldog is different.\u201d<\/p>\r\n
\u201cWe should take a lesson from that,\u201d concludes Camp. \u201cBecause if we don\u2019t heal up from all this hate\u2014and if white people don\u2019t start talking to each other about their own hate\u2014it\u2019s gonna destroy this country.\u201d<\/p>\r\n
\u201cAnd that\u2019s the bottom line.\u201d<\/p>\r\n
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Amari Jackson<\/strong> is a creator, author, TV\/web\/film producer, and award-winning journalist. He is author of the 2011 novel, The Savion Sequence; creator\/writer\/coproducer of the 2012-2014 web series The Book Look; writer\/coproducer of the 2016 film Edge of the Pier; and current writer\/coproducer of Listen Up! on HBCU GO\/Roku TV. He is a former Chief of Staff for a NJ State Senator; a former VP of Communications & Development for the Jamestown Project at Harvard University; and a recipient of several writing fellowships including the George Washington Williams Fellowship from the Independent Press Association. An active ghost writer, song writer, martial artist, and journalist, his writings have appeared in a wide variety of national and regional publications.<\/p>\r\n
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Harris, Arbrie Griffin Bradley, Sandra Sautner,\u00a0Barbara Brown<\/b>, Bronwen Hodgkinson,\u00a0Sonia Deane,<\/b>\u00a0January Hoskin, Quinton Foreman, Key Mosley, Jim Alexander, Terri Pease, Annette Groschke, Richard MacMillan, D T Ray, Camille, Elayne Gross, Ann Tankersley, Samori Augusto, Karen M Hirsch, Jeanne H Chaney, Jacqueline Konan, Jerome Moore, Patricia Andrews-Keenan, India Still, Luna Cascade, Amy Peck, Marnese Barksdale, Elder Bridgette, Ren\u00e9 McCullough, Kevin and Tracy Burton, Raven Burnes, Kim Dubois, Edwina King Diva E, Charlotte Bender,\u00a0Phyllis Stephens,<\/b>\u00a0Alisa R Elliot, Ebony English, Otto Neals, Michael Nix, Terri Bowles, Nelly Maynard, Leslie Smith, Bernard W. Kinsey, Toby Sisson, Raynard Hall, Milton Loupe, Wren Mckinley, Arturo Lindsay, Lindiwe Stovall Lester, Phil,\u00a0Ricki Carroll,\u00a0<\/strong>\u00a0 Sherman E Jackson Jr, Janine P Rouson, Raynard Hall, Vickie Townsend-Carter, Peter Prinz, PB Fine Art Appraisal, Alison Woods, Suzette Davis, Carlton Cotton, Art Now After Hours, Diane E Leifheit, Tamara clements, \u00a0lisa tomlinson, vince leal, Deborah BarnwellGarr, Sonia Pollard, Barbara Hayes, Loretta Y Blakely, Gregg Y, Paige Jernigan, Randy McAnulty, raven walthor, Will Johnson, jack, Shameika Ingram, Trina Virginia Brooks, Black Wall Street Gallery, Suzanne Roberts, Faye Edwards, Tara, Crystal Green, Sedonia Phillips Kniskern, \u00a0R Simpson, Kate Gadd, Judy Nyquist, Velma McLaurin-Bell, Frazier and Myra O\u2019Leary, Rosemarie Rogers, Elaine Buchsbaum, Hope Elliott, Renee Williams Jefferson, Atiya Slaughter, <\/strong>Stephanie Stephens, Takisia Whites, Robert Taylor, Christina, Taylor Jackson, Brenda Joyner, Dr. Karen Patricia Williams, Paul Daniel Curtis, Zawadi, DJIBRIL N\u2019DOYE, Monique Johnson, Christine J Vincent, Paige Jernigan, Willa Bandler, Valerie A. Cooper, Cordell Boyd, DARRIS L SHAW, Shurvon Haynes, S J, Cynthia Hargrove, THERESA PATTERSON, Kree8tive DJ, LaShanda Chirunga, Anita Askew Wharton<\/p>\r\n
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