Where We At!

at the National Gallery at Art

In-person

Three Days

A series of in-gallery experiences, crafted by María Fernanda, debuted at The National Gallery of Art. The title of this program is directly inspired by Black Women Artists Inc.’s name and their exhibition, “Where We At!” (circa 1971). This program has a special focus on the impact of Carolee Prince, Nina Simone, and The Grandassa Models (now The Grandassa Association).

What People Are Saying

  • I forget how powerful and moving poetry is and this was a fantastic reminder

    — Where We At! attendee

  • I could not help but to be grateful for the fluidity of this workshop. Flow and freedom was nurtured by the facilitator.

    — Where We At! attendee

  • She not only educated, but provided feedback and appreciation for participation from the attendees.

    — Where We At! attendee

  • Such beautiful facilitation. Great combo of expertise, warmth, and enthusiasm.

    — Where We At! attendee

  • María Fernanda made me realize that art and poetry is for everyone.

    — Where We At! attendee

  • This was a great creative outlet where I not only learned but also explored within.

    — Where We At! attendee

  • This workshop was inspiring and affirming. Much appreciated

    — Where We At! attendee

  • Very informative, inviting, learning more than a long lecture.

    — Where We At! attendee

  • The workshop brought the exhibition to my attention—I would probably have overlooked it otherwise.

    — Where We At! attendee

  • This was the wellness lunch break that I needed.

    — Attendee

  • She was very knowledgeable and made me feel comfortable to write and participate in the group discussion.

    — Attendee

  • María Fernanda made me feel at ease, used the information in the space to add clarity to the class, and gave all a chance to participate.

    — Where We At! attendee

  • María Fernanda did an excellent job. During the workshop I was exposed to new authors, poems, and art that guided my writing during the workshop. I left feeling inspired.

    — Where We At! attendee

  • María Fernanda cultivated an environment for learning and sharing that was comfortable and safe.

    — Where We At! attendee

  • I learned so many new concepts today. I’m leaving feeling challenged and inspired.

    — Where We At! attendee

  • I learned so much and am so inspired. Also, using photography as a basis was amazing

    — Where We At! attendee

  • This was a great way to spend a few hours. I had so much fun. There are poets among us!

    — Where We At! attendee

  • Please continue enriching and enlightening.

    — Where We At! attendee

Pat Davis (American, 1943–2017). “Where We At” Black Women Artists. From left to right: Carol Blank, Pat Davis, Victoria Lucus, Crystal McKenzie, Dindga McCannon, Kay Brown, Modu Tanzania, Jeanne Downer, Priscilla Taylor, Emma Zuwadi, Akweke Singho, Linda Hiwot, and Saeeda Stanley (1980). Digital C-print. Courtesy of the artist. © Estate of Pat Davis. Image source: Buffalo AKG Art Museum

Celebrate the history of Where We At! and this inspired series

“I forget how powerful and moving poetry is and this was a fantastic reminder.” —Where We At! attendee

“The discussions, the pace, and the facilitation was well done. I’d love to do a full course.” —Where We At! attendee

  • Join award-winning poet María Fernanda for an in-gallery poetry writing workshop inspired by the exhibition Photography and the Black Arts Movement, 1955–1985. We encourage you to wear your favorite accessories, clothing, or both to help draw inspiration for your poems. You will be invited to write and experience contrapuntal poems, a poetic form blending two or more poems.This program is for people of all experience levels. Paper, pencil, and a folding seat will be provided. Notebooks encouraged.

  • Join award-winning poet María Fernanda for an in-gallery poetry writing workshop inspired by the exhibition Photography and the Black Arts Movement, 1955–1985. We encourage you to wear your favorite accessories, clothing, or both to help draw inspiration for your poems. You will be invited to write and experience contrapuntal poems, a poetic form blending two or more poems.This program is for people of all experience levels. Paper, pencil, and a folding seat will be provided. Notebooks encouraged.

  • Join award-winning poet María Fernanda for an in-gallery poetry writing workshop inspired by the exhibition Photography and the Black Arts Movement, 1955–1985. We encourage you to wear your favorite accessories, clothing, or both to help draw inspiration for your poems. You will be invited to write and experience contrapuntal poems, a poetic form blending two or more poems.This program is for people of all experience levels. Paper, pencil, and a folding seat will be provided. Notebooks encouraged.

Support and learn about the history that inspired the series. Each description below is a starting point for readers to research further:

“Where We At” Black Women Artists, Inc. (WWA)

featured in Soul of Our Nation

In early 1971, Kay Brown, Dindga McCannon, and Faith Ringgold gathered a group of black women at McCannon’s Brooklyn home to discuss their common frustrations in trying to build their careers as artists. Not only did they find that juggling their creative ambitions with their roles as mothers and working heads of households left little time to make and promote their art, but they also felt excluded from the largely white downtown art world as well as from the male-dominated black art world. “Where We At” was initially the title of a 1971 art show featuring Black women artists. The women decided to take the synergy and mold it into an art collective that supported one another’s life, art, and careers. WWA also took up the cause of developing the mind and spirits of their communities by creating art and culture workshops in schools, prisons, hospitals, and cultural centers. Source

Linda Goode Bryant

featured in Soul of Our Nation

Linda Goode Bryant is a New York-based artist whose decades long career has seen her move successfully between roles as educator, gallerist, activist, filmmaker and farmer. Having received her Bachelor of Arts from Spelman College in Atlanta, Georgia in 1972, she went on to study art history at the City College of New York until 1974, later receiving her MBA from Columbia University in 1980. In the mid 1970, Goode Bryant founded Just Above Midtown (JAM), one of the city’s first galleries to show work by African American and other artists of color. Open from 1974 until 1986, JAM’s legacy was cultivated as a self-described laboratory and a place where Black art flourished; in 2022 JAM was the subject of a retrospective exhibition at the Museum of Modern Art, New York. Source.

Faith Ringgold

“Where We At” Black Women Artists, Inc. (WWA)

Faith Ringgold (b. 1926) is a New York-based visual artist, storyteller, and feminist activist. Ringgold’s versatile expression includes paintings, Tibetan-style tankas, performance art, masks, sculptures, and painted quilts. Ringgold’s writing and visual art creations are motivated by her interest in themes of African identity and history, including struggle, social transformation, freedom, and overcoming adversity. Her works are held by the Metropolitan Museum of Art, the MFA Boston, and the Guggenheim Museum, among others. Source.

The Grandassa Models

The Grandassa Association

The Grandassa models were seen as the epitome of Black  proud women, they feathered African grab, natural hair and Black pride. They were not merely models  but exemplified a profound confidence in being true to their Africanness, not only in outer appearance but also in their awareness of their history.

The two founders of The African Jazz Art Society and Studies (AJASS), Elombe and Kwame Braithwaite, believed that relinquishing the word “Negro” and replacing it with a term that reflected not only pigmentation, but our unique culture would raise Black consciousness. To push these new ideas forward in the Black community, AJASS, in the fall of 1961 organized a group of young ladies, to model African style clothing and natural hair styles. In the fall of 1961, under the guidance of Elombe and Kwame the Grandassa Models were created. Included in this founding group were Bob Gumbs, Frank Adu, and the secretary, Shirley Anderson. In 1962, at the Purple Manor in Harlem New York city, they performed the first fashion extravaganza called “Naturally 62.” This first show received such an overwhelming response within the Black community they had to immediately reschedule a second show. Source.

More about the series

Award-winning poet María Fernanda led an in-gallery poetry writing workshop, inspired by the 2026 exhibition Photography and the Black Arts Movement, 1955–1985. The title of this literary series Where We At! is directly inspired by Black Women Artists Inc.’s name and their exhibition, “Where We At!” (circa 1971). This program is for people of all experience levels. Paper, pencil, and a folding seat will be provided. Notebooks encouraged. You will be invited to write and experience contrapuntal poems, a poetic form blending two or more poems. This program will have a special focus on the impact of Carolee Prince, Nina Simone, and The Grandassa Models.