Imani Congdon is a researcher and archivist whose work focuses on the communal, political, and organizational functions of the print shop, as well as its status as a site of innovation in the fine arts space. Her involvement in the Robert Blackburn Printmaking Workshop started with an archival internship in the summer of 2024, assisting in projects: Where We At, Black Women Artists. Now! at Blackburn Study Center and The Only Thing That Lasts: An Oral History of Robert Blackburn's Printmaking Workshop, funded by Hauser & Wirth Institute and Dedalus Foundation. In the Fall of 2026, she will curate the Workshop's exhibition Asilah Oui: Robert Blackburn in Morocco supported by the Teiger Foundation. She contributed to the forthcoming catalogue raisonné The Editions of Robert Kipniss, 1967 - 2023 (set to be published in 2026) and assisted in conserving E'wao Kagoshima's works on paper ahead of his 2025 retrospective Animated Minds at the Center for Art, Research, and Alliances (CARA).
Imani holds an MFA in Creative Writing from Brooklyn College CUNY and an MA from the Institute of Fine Arts NYU, and was the recipient of the Institute’s Harriet Griffin Fellowship in 2023. Her 2025 thesis, “An Unrelieved Blackness: Charles White and Charles Keller’s Print Work in the Workshop of Graphic Arts Folio Negro: USA,” focuses on the Workshop of Graphic Arts - a politically left print workshop established in postwar New York - and its 1949 print folio “Negro: USA,” an ensemble project which sought to illustrate the historical plight of Black people in the United States through a lens of labor solidarity.
Imani holds an MFA in Creative Writing from Brooklyn College CUNY and an MA from the Institute of Fine Arts NYU, and was the recipient of the Institute’s Harriet Griffin Fellowship in 2023. Her 2025 thesis, “An Unrelieved Blackness: Charles White and Charles Keller’s Print Work in the Workshop of Graphic Arts Folio Negro: USA,” focuses on the Workshop of Graphic Arts--a politically left print workshop established in postwar New York--and its 1949 print folio “Negro: USA,” an ensemble project which sought to illustrate the historical plight of Black people in the United States through a lens of labor solidarity.
