By Robert Lloyd

As I step into this conversation with young women artists, I aim to challenge and inspire critical thought while remaining respectful and open-minded. Our discussions can illuminate the complexities of feminism, art, and spirituality today. Thoughtful questions and a willingness to share experiences, create an environment where all voices can be heard and valued.

Navigating the ever-evolving landscape of art, feminism, and spirituality, one compelling discussion is the intersection of these themes in the lives of young women artists. As we engage I reflect on my unique perspective as an 80-year-old Black man. My goal is to bring thought-provoking insights, encourage critical reflection, and spark meaningful dialogue without veering into offensive territory.

Understanding “Woo-Woo”

The term “woo-woo” often evokes reflections on beliefs and practices that may seem abstract or disconnected from scientific reasoning. In creative circles, some embrace this term as a badge of honor, associating it with personal empowerment and spiritual exploration. However, it can also critique superficial spirituality. As we embark on this conversation, it’s essential to consider how artists interpret “woo-woo.”

– Do they view it as an essential facet of their creativity and identity?

– Is there a generational divide in understanding its significance?

– In what ways might their relationship with “woo-woo” reflect their artistic ethos?

Given my life experiences, I challenge perceptions by pushing to explore how “woo-woo” fits into the larger societal fabric—especially concerning intersectional feminism and the struggles of marginalized communities.

Themes for Exploration

1.  Generational Differences in Feminism: 

   How do today’s artists define feminism compared to past movements? Is there continuity with the legacies of Black feminists like Audre Lorde or bell hooks, or do these histories feel distant to them? I ask for reflection on the intersectionality of their work, ensuring it encompasses diverse voices, including those of older Black men and women.

2.  Art as a Political Tool: 

   Let’s delve into the role of art in challenging power structures. Is the motivation radical, or is it self-serving? Sharing experiences of art as activism during the Civil Rights Movement, how do they perceive their work’s political impact?

3.  Can We Critique “Woo-Woo” Culture?

   If artists embrace “woo-woo,” can we examine its implications? Does it risk becoming disconnected from pressing real-world issues like racism and poverty? Is “woo-woo” a privilege afforded to those not entangled in survival struggles? Can it reflect broader societal disparities?

4.  Race, Gender, and Privilege: 

   It’s crucial to discuss how race intersects with feminism and artistic practices. Are artists aware of how their perspectives might be shaped by whiteness? Black artists have integrated spirituality into their activism, reinforcing the connection between art and the fight for justice.

5.  Engaging the Audience: 

   Who is the intended audience for their art? Does it resonate with marginalized communities, or does it cater primarily to privileged and academic spaces? Let’s reflect on whether “woo-woo” artistic expressions can genuinely instigate change, or if they merely serve to bolster personal identities.

Provocative Yet Respectful Engagement

Navigating this conversation thoughtfully,  can we incorporate the following strategies?

–  Humor and Wit:  Using light-hearted humor can defuse tension. For instance, one might quip, “Woo-woo? Back in my day, we just called it nonsense! So, how have you all turned that into something meaningful?”

–  Personal Narratives:  Do you have any stories from your life, like the civil rights activism of my youth, that can illustrate your points clearly? I might ask, “When I was your age, we were marching in the streets. How does ‘woo-woo’ contribute to social change today?”

–  Acknowledging Humanity:  Even in critique, can we express admiration for the artists’ dedication, affirming, “We may not agree with everything, but we genuinely respect your passion for your art and beliefs.”

Here’s to a thought-provoking discussion—let’s encourage each other to think critically, respect one another’s beliefs, and navigate the intricacies of art and feminism together!

Resources for Further Exploration

  For those interested in deepening this conversation, consider engaging with works that explore feminism, intersectionality, and the role of art as a catalyst for change. Notable books include: Sister Outsider by Audre Lord and Ain’t I a Woman by bell hooks.  Additionally, examining the Black Arts Movement and critical perspectives on “woo-woo” culture may help illuminate some of these discussions.

Gallery For Community & Culture

Part 1

The pictures are illustrations of crucifixions. Historically Black men have been crucified. It may have been dying stacked in slave ships, it may have been hanging from a tree during slavery, it may have been jailing after Reconstruction, it may have been in the media, it may have been psychological. The talk that went with these images was about my personal psychological crucifixions.

Part 2

Women have been crucified through time also, be it body shaming, be it cultural taboos, be it cultural appropriation, be it political correctness.

Part 3

When your dad gives you millions of dollars you think that they are toys for you to play with. Because you’re rich you think you have access to women that you can fondle, sexually abuse and dominate. You think you can trample on the American flag and on democracy. You’ve been a thug all of your life. Any Black person who did any of these things would have ended up in prison garb.

Plants and Lovers at Garden Party 107 S Madison St, Spokane WA Oct 6, 2023 5pm Oct 6 – 29 Wed – Sun 11 am Visit Garden Party

Fly on the Wall Part 1 at Hamilton Studio 1427 W Dean St, Spokane WA Nov 3 2023 5 pm Talk at 7 pm

Fly on the Wall Part 2 at Carl Maxey Center 3114 E 5th Ave, Spokane WA Mon – Fri 10 am – 4 pm Gallery Premier Opening Dec 1, 2023 5 pm

Plants and Lovers at Garden Party

Artist Statement

Robert has always had an interest in social justice, community development and the visual arts. His explorations started with a Brownie Hawkeye camera through digital imaging and Artificial Intelligence Art. He has explored film sizes and materials, printing processes from the mimeograph machine through letter press, offset to inkjet. He’s explored imagery from illustration to the pictorial and the conceptual. This body of work, Eros, was inspired by his wife’s love of the garden and the non-violent teachings of Dr. Martin Luther King and his sermon on love – AGAPE, EROS, PHILIA.

Eros is an aesthetic love of beautiful literature and art. It has also come to mean a romantic love that we experience when we find someone that is attractive and to whom we pour out all of our love.

Biography

Robert Lloyd was an organizer and documentary photographer in the Chicago Freedom Movement from 1962-1967. In 1974 he completed an MFA in Design and Photography at California Institute of the Arts and began teaching photography at Eastern Washington University. He founded, directed, and curated The Grand Photography Gallery at Eastern Washington University and The Lloyd Gallery at 123 Arts.

From 1996-2000 he founded and published a community newspaper, the Spokane African American Voice. He retired from Eastern Washington University in 2004 after 30 years of teaching photography and digital imaging. After his retirement he photographed in South Africa, Kenya, Uganda, China and Japan and he photographed for The Black Lens News. His work has been recently exhibited at Washington State University’s Jordan Schnitzer Museum of Art in the Black Lives Matter Artist Grant exhibit, Charles Ball in the letter L in the Black Lives Matter Mural in Spokane Washington, and in Our Voices Our Visions, the exhibit he curated for the opening of the Carl Maxey Center featuring 25 BIPOC artists. He can be reached at rdlloyd@comcast.net and website 4comculture.com

Robert Lloyd’s Multimedia Images Price List

8 1/2 x 11: First Friday Exhibition Price $35.00 each unframed

Robert J. Lloyd’s portfolios are online at: https://4comculture.com/253-2

Available online in these formats:

Premium art papers:
8 1/2 x 11 				$ 50.00
11 x 17  				$ 75.00
Diptych 			        $100.00
Triptych				$125.00
Quadriptych		                $150.00

Rag or Watercolor Paper or Sunset Canvas w/border:	
11 x 14					$100.00 
16 x 20					$125.00
20 x 24					$150.00
24 x 36					$200.00

Canvas stretched on #4 bar gallery wrap: 
16 x 20					$220.00 
18 x 24					$245.00
24 x 36					$450.00

Additional sizes and paper surfaces available. 
Matting and framing available. Ask for quote.
Shipping available additional. 

Left: Photograph from the Spokesman review. Right: My comment on the photograph.

Marjorie Taylor Greene Slams “Nasty Women” After Being Faced With Protests

Do these Raging Grannies look like “Nasty Women”?

Hats off to the Raging Grannies for their funny satirical musical expose of Marjorie Taylor Greene’s dreadful policies.

Homage to the Past, Hope & Inspiration for the Future

Black Women are inspiring their peers and other generations to break the stereotypes that are often associated with aging. The idea for this work comes from a Chicago Black women’s band The KCR Ensemble, led by 75 year old guitarist Rita Hassell and managed by her husband Oliver Hassell.

Here they are:
https://www.youtube.com/results? search_query=youtu.be%2FX3KYqgv2vWY

The art is not portraits of the KCR Ensemble members, but follows the pattern of and pays homage to these women who are playing the classics, the music from the diaspora, contemporary and futuristic jazz.

The images pay homage to art that has gone before, art media, and cutting edge art of today.

Black Women are inspiring their peers and other generations to break the stereotypes that are often associated with aging. The idea for this work comes from a Chicago Black women’s band The KCR Ensemble, led by 75 year old guitarist Rita Hassell and managed by her husband Oliver Hassell. Here they are:
https://www.youtube.com/results?search_query=youtu.be%2FX3KYqgv2vWY

The art is not portraits of the KCR Ensemble members, but follows the pattern of and pays homage to these women who are playing the classics, the music from the diaspora, contemporary and futuristic jazz.

The images pay homage to art that has gone before, art media, and cutting edge art of today.

So to keep you up to date I will be publishing an African American portrait every Tuesday. See you on Tuesdays!

Black Women are inspiring their peers and other generations to break the stereotypes that are often associated with aging. The idea for this work comes from a Chicago Black women’s band The KCR Ensemble, led by 75 year old guitarist Rita Hassell and managed by her husband Oliver Hassell. Here they are:
https://www.youtube.com/results?search_query=youtu.be%2FX3KYqgv2vWY The art is not portraits of the KCR Ensemble members, but follows the pattern of and pays homage to these women who are playing the classics, the music from the diaspora, contemporary and futuristic jazz. The images pay homage to art that has gone before, art media, and cutting edge art of today.

Make masks for Blue voters / Let Red go to church / Blue pray at home

Sometimes we can’t wait on the cavalry!
Let’s put the wagons in a circle.
The battle has begun!
We are under attack, we must do the best we can with what we have.
The creative will have the best chance for survival.
It’s good to be prepared and independent but in times like this we need to be inter-dependent.