This qualitative mixed methods study examines how six participants- three Black college-level art students and three accomplished Black artists-educators, respond to curated installations designed to probe their understandings of and reactions to depictions of Black Americans in examples of visual culture from the United States of America (US), namely early film and television. The participants viewed and responded to two presentations designed from two contextual analyses. Exhibition Part 1 featured popular early US American films, animated movies, and a television sitcom from 1915 to 1979. Exhibition Part 2 displayed artistic, historical, and scholarly materials from 1903 to the present, which related to the content in Exhibition Part 1 to examine the enduring presence and implications of the famous media. Specifically, this study addressed the following questions: Given that stereotypical depictions of Black people in popular American visual culture have historically influenced societal perceptions of Black people and how these stereotypes can manifest into racial propaganda for capitalist means, what might we learn about the enduring nature of racial stereotypes from the responses of six Black participants to a curated visual arts exhibition based on the theme racial stereotyping? Given a specifically created visual arts exhibition embedding several racist tropes, how do three Black college art educators and three Black college art students recognize the stereotypes embedded in the exhibition and know anything about their origins and histories? What have participants' experiences been with the stereotypes they recognize, and in what different forms and settings? If some of the racial stereotypes embedded in the visual installation are unrecognized, how do participants account for this? The data analysis, especially cross-examinations, revealed participants' assessments of the exhibitions, which centered on their observances of media created by White US American artists that spotlighted fictional Black characters in creative storylines and how these endeavors sought to control and define Black Americans. When discussing Exhibition Part 1, participants had unfavorable reactions to the content and witnessed unfavorable depictions that reminded them of unfavorable lived experiences. When answering questions about Exhibition Part 2, their remarks primarily cited control, gains, and trauma as examples of racial propaganda for capitalist means. The concluding discussion of the significant takeaways from this study centered on six salient implications for art and art education: 1. Artistic Racism and Art as Racial Capitalism in popular American visual culture 2. Action-oriented, racially conscious educational practices 3. The fundamental need for Black Intellectual Thought 4. Subsequent scholarly work for the researcher 5. Black Research Throughout this study, I evoked the Black gaze, meaning I approached and tackled this scholarly work from my perspective as a Black queen, a proud descendant of and advocate for African people and the Black Race. I lead with a culturally informed Black stance and dare to do so in academia. It is for readers who are the same. Despite identifying differently, it is also for those who can decenter themselves to acknowledge and consider information about African Americans, the Black Race, and viewpoints of Black individuals to appreciate this study and its suggestions. KEYWORDS:artistic racism, the Black gaze, the Black Race, Blackness, depictions, education, film, media, lived experiences, perceptions, Race, racial bias, racial capitalism, racial gaslighting, racial propaganda, racial stereotypes, racism, representations in early US media, research, social and racial implications, social assumptions, teaching, visual art, visual culture, US American history

This qualitative study uses intersectionality as a theoretical framework to examine the experiences of first-generation Black female doctoral graduates of science education who immigrated to the United States. The study uses narrative and intersectionality approaches to answer the following questions: (1) How did immigrant, first-generation Black female doctoral graduates of science education negotiate their multiple identities pre-graduation? (2) How do immigrant, first-generation Black female doctoral graduates of science education negotiate their multiple identities post-graduation? And (3) How do their multiple identities influence these women’s short and long-term career goals? Questionnaires and semi-structured interviews were used to gather qualitative data from the participants. The responses to the questionnaires were analyzed using Qualtrics Survey Software. The interview responses were analyzed using two narrative analysis approaches: the deductive (confirmatory) approach and the inductive (exploratory) approach. The deductive approach was used to understand the effect(s) of each of the interpersonal and structural domains of power on each of the multiple identities (racial, gender, science, first-generation, and immigrant) of each participant. Emergent themes common to the participants’ stories on their doctoral journeys were noted using the inductive approach. The study addressed issues of racism and gender discrimination, in addition to the first-generation and immigration statuses. Findings from the study can be used to understand the positionalities of the participants and to inform the formulation of educational policies to encourage individuals with marginalized intersectional identities to participate and persist in STEM doctoral programs, and ultimately add to faculty of color in the educational pipeline.