Comments on: Najee responds to Times Article: Why have There Been No Great Black Art Dealers?

By: Ralph B. Beach

Ralph B. Beach — Fri, 06 Jul 2018 19:25:39 +0000

In reply to Gregory" target="_blank" title="https://earthexhibitions.org/media-archive/?p=3508#comment-85">Gregory">https://earthexhibitions.org/media-archive/?p=3508#comment-85">Gregory Coates. it is a fact that African American artist are still not included in mainstream American art. It is sad but true. However, that is fuel to keep creating gallery spaces of our own. I am very grateful for the gallery owners that we have. An article like that should not surprise us or upset us. I live in Boston Massachusetts and the Boston Museum of fine art has only had a one-man show of an African American in it's one hundred year existence. Thank you black gallery owners.

By: Gregory Coates

Gregory Coates — Fri, 06 Jul 2018 04:40:06 +0000

In reply to Richard" target="_blank" title="https://earthexhibitions.org/media-archive/?p=3508#comment-74">Richard">https://earthexhibitions.org/media-archive/?p=3508#comment-74">Richard Beavers. I am a Black American Artist and I agree with Najee Dorsey and the comments . lets include Skoto Gallery, Bill Hodges , Margret Porter Troupe , Sande Webster Gallery , Carol Sims Gallery and BAF gallery in this conversation, they all contributed to the exhibition of Black American Artist .

By: Richard Beavers

Richard Beavers — Sun, 24 Jun 2018 11:11:17 +0000

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Let me begin by applauding all Black Dealers and Gallerist who have created spaces for Black artists to exhibit their works.
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PSA. The NY Times Magazine article is Paid Propaganda. The plan is to hand select those that they believe can be controlled. Who are willing to play the game for some inclusion, prominence, money and a little camera time. As a successful Black dealer and gallerist for 15+ years I would be ashamed if my name was associated with this article while the pioneering Black dealers/gallerist who paved the path for individuals such as myself were blatantly omitted. We must not continually participate in allowing white people to control the narrative pertaining to Black culture, art and history.
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Historically this is what the white structure has done, so I’m not surprised. I personally would not rely on @nytimes as a source of accuracy when it comes to anything pertaining to Black people.
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Here’s a list of galleries that were or are currently owned by Great Black Art Dealers. Please add on.
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Dorsey’s Gallery @dorseycollection
@kenkelebahouse
Savacou Gallery
@eandsgallery
@stellajonesgallery
@nnamdi_gallery
Clinton Hill Simply Art Gallery
June Kelly Gallery
Essie Green Gallery
@hearnefineart

By: Ralph B. Beach

Ralph B. Beach — Fri, 22 Jun 2018 14:48:47 +0000

The race problem in America is as prevalent as it ever was. We ( people) of color have to build our own museum. And stop trying to assimilate. Remember Black Wall Street.

By: Della Wells

Della Wells — Fri, 22 Jun 2018 05:41:28 +0000

I agree. Too often African American history is either overlooked or misrepresented. Frankly, I am tired of broad statements made about African American art and African American artists. You are right, one should do their homework .

By: Auna Hearne

Auna Hearne — Fri, 22 Jun 2018 04:28:56 +0000

In reply to SAVONA" target="_blank" title="https://earthexhibitions.org/media-archive/?p=3508#comment-61">SAVONA">https://earthexhibitions.org/media-archive/?p=3508#comment-61">SAVONA BAILEY-MCCLAIN. I believe you’re missing the point. The original question asks “Why are there no great black art dealers?” BUT THERE ARE AND HAVE BEEN FOR DECADES. The author was not thorough in her research and glossed over a rich history of black owned galleries. She did, however, address why (she thinks) there are no “great black dealers,” several factors of which you expounded upon here. We, Black art dealers, are more concerned about the slanted narrative and blatant absence of key figures and institutions that have been actively doing the work. You are so right. The art market is challenging and not for the faint of heart or finances. But pieces like this undermine the efforts of those black gallerists that have made those sacrifices.

By: JOYCE DADE

JOYCE DADE — Fri, 22 Jun 2018 04:14:31 +0000

Ambroise Vollard was Pablo Picasso’s first art dealer, when Picasso barely had a pot of paint to paint with. Vollard was a self denying dealer of mixed racial heritage, of great significance, and did a lot of dealing with Russian collectors who bought some of Picasso’s finest paintings at the time, and much of Picasso’s earliest works still remain in Russian hands. Vollard was a white/black man of West Indian or “island” descent, and used to cook Caribbean meals at parties he threw. He wrote a memoir, I could not bring myself to read it through. He had identity issues, but clearly, he had African blood white skin or not. Whatever the case may have been, historically speaking, he remains on the greatest “black” art dealers of 20th century. I feel inspired now to do a little more research into Vollard, if I can find the time, perhaps even tonight, I will do a Google for additional info. History plays down the fact that he was of a mixed racial origin, perhaps for obvious reasons, but that was what he was, and despite his white skin, some of his features, including his hair I suspect was kinky. He kept his hair hidden under hats and or possibly short to hide his roots, forgive me the pun. I have not read this article yet, but look forward to reading it now. Thank you!

By: Leslie

Leslie — Fri, 22 Jun 2018 02:13:26 +0000

The NY Times article was a good read but the piece by Najee was very necessary and most informative. As a New Yorker, I was introduced to the arts by my parents who frequented Dorsey’s a Black-owned gallery in Brooklyn. I was surprised that Cinque was not included in the NY Times article.
Thanks, Najee for the corrections and inclusions. I hope you sent it directly to the paper.

By: Tim Davis

Tim Davis — Fri, 22 Jun 2018 01:30:25 +0000

I agree with you Najee, The article is lacking all the research required to make a valid point, dealers are much different than galleries, Galleries are in the community and create not only a venue for artist and black artist but also a place for the community to meet , discuss, share, collect, and give artists and the space a place in society. Black galleries are dealers only because the the artist and the gallery have to survive and also make a difference in the art world. Artist have survive for many years because of dealers and galleries and that is success. The bottom line is that we need more writers and videos, films and other platforms so we are part of the mainstream and America will know we have been here and will always be here!

By: Myrtis Bedolla

Myrtis Bedolla — Fri, 22 Jun 2018 01:29:24 +0000

The article is just another attempt to erase the contributions of black owned galleries within and outside of NY who have built and continue to sustain the black art market. The author’s failure to mention June Kelly’s Gallery, in NY, which is one of the oldest black owned galleries in the US, makes the article suspect. And its failure to acknowledge black galleries who have launched the careers of many black artists, only to loss them to white galleries who step in and harvest the talent after the hard work has been done to launch their careers -perpetuates the lie that there have been no great black art dealers. This article lacks research and truth in reporting. It is truly a clever advert to promote certain galleries.