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In August of 1988, Mildred Thompson was the one of three associate editors to contribute to Volume 12, Number 4 of ART PAPERS, a Special Issue of Contemporary Black Artists.

In her introduction she poses various questions to the reader that I re-imagine as if we had been in conversation today.

Mildred Thompson:  What and who defines Black art and Black artists?

Sierra King: As an artist and photographer myself, I deeply believe that the definition and narrative of the artist should be defined by themselves. Oftentimes, we get stuck in the mirrors and perceptions that others have of us, when in fact the one that ultimately matters is that one that comes from our own understanding of self.

It has been recorded in the journeys of artists like Lorna Simpson, Carrie Mae Weems and Deborah Roberts that the moment they decided what their definition of their practice was they were able to experience their work not only for consumption but also for self-preservation. I would have loved to spend an uninterrupted amount of time documenting that realization for them.

Mildred Thompson: Is it not true that “Every man bearth the stamp of the whole human condition?”

Sierra King: The expectation that Black Artists explain societal limitations at the foundation of their work that have been caused as a result of the condition of society, is a burden that many have chosen to lay down.  I think about how a car ride with Faith Ringgold changed the trajectory of Qualesha Woods’ career from an illustrator to a textile artist when she told her,“Go do whatever you want because other people don't have the option to.”

The permission given to be herself in her work from someone she revered was invaluable.

Mildred Thompson: Is it [Black] art made by African or African-American artists? 

Sierra King: I believe that Black art can be made  across the African Diaspora which can also include African or African-American artists. In respect to the definition that the artists have created for themselves, I would adhere to their narrative.

I think more so in the past it was a trend to separate the two but when you see the work of Simone Leigh or Toyin Ojih Odutula there is evidence that they are pulling from the lineage of their foremothers.

Mildred Thompson: What of Black artists whose work is non-objective, abstract? 

Sierra King: Brilliance made tangible! You would have loved to see your work in the exhibition Mildred Thompson: The Atlanta Years, 1986 – 2003 mounted at Spelman College Museum of Fine Art. 

While representational art can evoke particular memories that are attached to features of the human being. The non-objective and abstract art demands the viewer to develop a relationship with the artist’s mark-makings, color choice, lack of color choice and so on.