Considered a landmark show, the “Forever Free” exhibition showcased the diversity of work produced by African American women, whose collective body of work demonstrated originality, genius, and powerful aesthetic choices. In this photograph are 12 of the 49 women whose work appeared in the show. Standing from left to right: unidentified, Yvonne Parks Catchings, unidentified, unidentified, Lois Mailou Jones, Stephanie E. Pogue, Marie Johnson-Callaway, Varnette P. Honeywood, and Betty Blanton. Kneeling left to right: Camille Billops, Catti James, and Vivian E. Browne.
Throughout the 20-century black women’s art, similar to black women’s voices, was often trivialized. Yet, their commitment to creative expression helped further the liberation process initiated by their ancestors.
Camille Billops worked with other black women artists, from Faith Ringgold to Lois Mailou Jones to create change. They confronted their marginalization in the art world by co-organizing their own exhibitions and protesting against their exclusion from major museums. Each bears witness to the power of art to create spaces for expressing what is important and necessary for living.
Image: Illustration by Camille Billops for a flyer for the "Black Women Artists of Brooklyn and Environs" exhibition, January 14, 1979
Opening of the "Forever Free: Art by African-American Women, 1862-1980" exhibition, 1986
"Black Women Artists-North Carolina Connections", 1990
Hosted by the North Carolina Central University Art Museum and Delta Arts Center, the "Black Women Artists" exhibition showcased the works of 56 acclaimed black women artists.
Flyer for the "Black Women Artists of Brooklyn and Environs" exhibition, January 14, 1979
Sponsored by the Community Crossroads of Brooklyn, this exhibition showcased the work of black women artists including Camille Billops. In fact, the image on the flyer is by Billops. The figure is derived from her “For Japanese With Mirrors” series.
1978 Invitational, October 7- November 1, 1978
This group show at the SoHo 20 Gallery at 99 Spring Street in New York City, is but one of dozens Camille Billops participated in over 50 years.
Black Film Review, Volume 7, Number 2, 1992
According to cultural historian Valerie Smith, Camille Billops’ controversial film Finding Christa challenges the “monolithic notion of black motherhood.” The film explores the choices that women have within the context of a patriarchal society, and the consequences of choosing independence. The film leaves much to be discussed with regards to family dynamics, adoption, truth, and reconciliation.