
She Speaks: Black Women Artists and the Power of Historical Memory
Through a diverse range of mediums—including collage, painting, print, photography, textile, installation, and time-based media—She Speaks acknowledges Black women as active participants in the making of this country, highlighting artists who operate as historians, archivists, and scholars to tell their stories. Curated by Martina Dodd, Curator of Collections & Exhibitions at the Banneker-Douglass-Tubman Museum, this exhibit brings together contemporary Black women artists whose works bear witness to the past, illuminate its impact on the present, and conjure Afrofuturist visions.
Featured artists include Elizabeth Catlett, Alanna Fields, Dr. Joan M. E. Gaither, Charlyn Griffith-Oro, Khaleelah I. L. Harris, Martha Jackson Jarvis, Fabiola Jean-Louis, Jeannine Kayembe-Oro, Zsudayka Nzinga, Ada Pinkston, Beverly Price, Faith Ringgold, Noreen Smith, Darlene R. Taylor, Jessica Valoris, Savannah Wood, and Alisha B. Wormsley.

"The Chesapeake Bay is an Archive" and Spring Planting

Archive Mother File #1 and textile artifacts from the museum

Pepco Edison Place Gallery
Washington, DC
Rest, a Spell, a solo exhibition of the artist's HEIRLOOMS collage silhouettes.
Rest, a Spell gathers Taylor's meditations on everyday Black women and girls. The silhouette figures rest in the quiet spaces of home and nature, reflecting on the past so that history is not forgotten.
Memory pulses within the artist’s chosen materials—vintage linens, laces, cottons, and buttons preserved and handed down in acts of love and remembrance.
Gallery photos by Vivian Marie Doering.

(Here She) Rest a Spell and "Rest a Spell"

"Dear Mothers" and Archive Mother Plaid & Lace

International Arts & Artists
Hillyer Gallery
Washington, DC
For The Beauty She Gave Us, a solo exhibition of collage silhouette heirloom textiles on paper examines beauty in historical landscapes.
Taylor merges heirloom fabrics and paper in portraits that meditate on the lifework, sweatwork, and lovework of Black mothers. Memory pulses within the artist’s chosen materials—vintage linens, laces, cottons, and buttons handed down from one generation to another. The planting season blooms with longing as silhouetted figures pause in quiet fields, sites of refuge and contemplation, and burial grounds. Taylor’s (re)membered stories honor mothers for whom there has been no song or poem. Thus, For the Beauty She Gave Us both celebrates and mourns.

Academy Art Museum, Easton, Maryland
Mother: Archive File Numbers 1-8 mixed media heirlooms by Darlene R. Taylor
"The art on view in these galleries ranges from the well-known historical subjects of Elizabeth Catlett and Jacob Lawrence, to Carole Boston Weatherford and Jeffery Weatherford's poems and portraits of their ancestors, to the imagined, but fully present, women in Faith Ringgold's and Darlene R. Taylor's textile-based works. All share a common interest in contributing to an artistic archive of Black history that is both public and deeply personal."
https://academyartmuseum.org/kin-rooted-in-hope/
Gallery photograph by Jeff McGuiness.

Gibson Centr for the Arts Atrium
Kohl Gallery
Washington College, Chestertown, Maryland
Remembering the Names of Slaves is a large-scale mixed media heirlooms wall banner by Darlene R. Taylor
Kohl Gallery presents “Remembering the Names of Slaves” in the Gibson Center for the Arts Atrium immediately outside Kohl Gallery. Arranged with vintage linens, lace, cottons, and buttons, this large-scale work from Taylor’s Heirlooms Series honors the memories of Black women and girls. Speaking about this work, Taylor said, “Heirlooms is a conversation between generations inspired by historical landscapes and imagined personal narratives of people we know little about. When I discover archival images of unnamed women, I want to touch behind the gazes that greet me to know the whispers, witness, and memories they hold.”
This work is on view courtesy of the Amy Haines and Richard Marks Collection and has been arranged to coincide with the exhibition Kin: Rooted in Hope, which also features artwork by Darlene R. Taylor at the Academy Art Museum in Easton, Maryland from May 1 - May 2026.
https://www.washcoll.edu/arts/kohl-gallery/index.php
Photograph by Joseph Hyde.

Academy Art Museum
Easton, MD
Through a commission as the solo exhibition artist at the Academy Art Museum in Easton, Maryland, Taylor's mixed media collage silhouettes reimagine archival figures. The absences in the archive inspire portraits of under-imagined Black life and family from material artifacts in Heirlooms.
HEIRLOOMS Academy Art Museum, Easton, Maryland April 5 - July 14, 2024.
https://academyartmuseum.org/darlene-r-taylor-heirlooms/
Photography by Kea Taylor, Imagine Photography.

DC Commission on Arts and Humanities
Galley
The DC Commission on Arts and Humanities celebrated the 60th anniversary of the Civil Rights Act with art from DC artists that expressed the meaning of that landmark legislation.
January - February, 2024.

Private Gallery
Behind Her Gaze, an inquiry into how memories survive and recuperate half-told stories.
The historic New African Church building, Washington, DC, September 2023

In Behind Her Gaze at the Columbus Museum of Art, Taylor begins her examination of porch-talk storytelling that responds to historical omissions. She creates visual prose poetry on textured papers in a multidisciplinary form of narrative that assembles a critical counter-archive. The panels feature intergenerational (re)membering from the unspoken interiors of Black women and girls.
The panels form a visual story of memories and tellings beginning with ingredients for a recipe and ending with a tribute to Fannie, a foremother who was likely enslaved. The stories are drawn from notes on fragments, ephemeral artifacts, and archival research as the writer (re)imagines biography of Black women public history neglects.
The collective works expand the written narrative from Taylor’s prose poem “Blood on a Blackberry” to a visual story.

