...Connie Winston Founded in 1972, the Hatch-Billops Collection houses an extensive archive of African American memorabilia and exists as a direct result of the 1965 “open admissions” policy at the City College of New York, where James Hatch was teaching theater history. Today the collection’s mission...

... of the Gammon’s first interview with Billops suggests that situation: established artists relegated to consolidat- the show was not reviewed. Uncatalogued material ing their resources to exhibit with less established from the Bearden Foundation, the archives of the artists. Studio Museum in Harlem...

... (New York: Hatch-Billops Collection, 1995), 46. 3 Phoebe Wolfskill, Love and Theft in the Art of Emma Amos, Archives of American Art Journal 55, no. 2 (2016): 46 65. Wolfskill Nka 127 Emma Amos, Paths, 2005. Acrylic on canvas with African fabric borders, 82.5 x 66 in. © Emma Amos. Courtesy Ryan Lee...

... supporters of the vidual artists such as Camille Billops, Elizabeth women artists. In 1968 I had been fortunate to have Catlett, lnge Hardison, Loïs Mailou Jones, Faith worked as a printmaking apprentice at their Harlem Ringgold, and Betye Saar were gaining high repute cooperative gallery, Nyumba Ya...

... states, "I accept the Schneemann, Lorraine O'Grady, Faith Ringgold, Camille idea that my art may lose some of its relevance." She actually Billops, and many others. hopes that it will, and says further, "I don't believe work is time- Amos, "Measuring Content," p. 38...

... Waddy, Camille Billops, John Outterbridge, militant language had sought to engender. Among and Cecil Fergerson all had musical backgrounds. others, Eric Hobsbawm has written persuasively of Riddle, Hammons, and Purifoy incorporated musi- the problems inherent in considering religio-­ethnic cal...

... screamed right along with them. Why didn’t they invite—now let’s think about this—Camille Billops, who was photographing every art exhibition that opened in the area at the time? She was the official pho- tographer on her own of all the openings of anybody’s work. And if you want to see them, you...