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Blackside, Inc.
I'LL MAKE ME A WORLD: Stories of African-American Arts, Artists and Community

Questions for Dr. Jeff Donaldson, 9/16/97

1. When did you first know you wanted to be an artist? Were you encouraged at home? In school?

2. Who were your idols and role models growing up?

3. What was your early art training like?

4. How did you come to write your dissertation on Charles Alston and Henry Bannarn's 306 workshop?

5. What was the relationship between the artists at the 306 workshop and those studying at Augusta Savage's studio? At the panel discussion at the Schomburg Center's Augusta Savage exhibit, you suggested that there was some tension?

6. What was the atmosphere in Savage's studio like? From talking with people and watching the panel discussion at the Schomburg Center's Augusta Savage exhibit, it seems like Savage tried to help people find their own artistic style rather than train them in her way of working. Is this accurate?

7. How should we assess Augusta Savage's artistic output? What is important to say about works like "Gamin," "The Harp," etc.?

8. From your experiences founding AFRICOBRA, why do you think it's important for African-American artists to have their own art organizations in their community?

9. How did the WPA effect artists in Harlem during the 1930s? Did it have a long term impact? What are the most important works by black artists for the WPA? How were black and white artists treated differently by the WPA in terms of salary, work assignments, supervisory jobs?

10. How was the Harlem Artists Guild organized? What were the meetings like? What kinds of issues were discussed and what actions were taken by the members? Do you feel the organization was successful in its goals?

11. What was the relationship between African-American artists and the Harmon Foundation? How did people feel about the Harmon Foundation's Mary Beattie Brady? How did Augusta Savage feel about Mrs. Brady?