Investing in Black Artist: A Conversation With Dr Griffin

Systemic racial inequalities have come to the forefront of our consciousness this year, most notably with the murders of George Floyd, Breonna Taylor, and countless other Black Americans at the hands of law enforcement. However, there has been one bright light: the reemergence of a concerted and widespread movement towards racial justice. In addition, there seems to be a novel understanding that the path to racial justice and equality requires a multi-faceted approach, including investing in the talent of Black and brown thinkers and creators.

Wanting to start my own exploration of Black talent in the arts, I reached out to Dr. Sarah Mantilla Griffin. Put succinctly: Sarah’s life work has been the amplification of Black artists. She has a Ph.D. in English Lit from Penn, where she wrote her dissertation on Black female fiction authors. She is a curator for private collectors looking to build an eclectic and diverse art collection. On Instagram (@arthousemarket), she regularly highlights the works of Black artists and provides information on where private collectors can go to find truly incredible works, and through her website, UNREPD, and Instagram account (@unrepd) — both launching in the next week! — and her West Hollywood UNREPD showroom, she provides a forum for art collectors to find the remarkable works of unrepresented artists who are primarily people of color. In addition, she’s also an accomplished artist in several mediums.

Below is my interview with Sarah, where she addresses all of my questions, ranging from the best sources of Black art history to responsible curation by white collectors:

What challenges do Black artists uniquely face? Is it primarily the systemic barriers Black Americans face generally (e.g., lack of access to art education and access to expensive art materials), or are there other barriers that are specific to the creative world?

SMG: To put it bluntly, the biggest challenge that black artists face is racism. For a long time (up until the last few years, and even now), the art world believed that “black art” was inherently inferior, so black artists have had very few non-black champions of their work. Very recently, galleries and collectors have become more interested in art by black artists, but there is a dearth of black representation among the ranks of gallerists, curators, and critics. So finding spaces where their art is really going to be understood and appreciated continues to be a challenge for black artists.

In your opinion, which Black artists are currently making the most impact vis-a-vis political (and social justice) speech through art?

SMG: If I can be literal about the size of the impact, Kara Walker and Simone Leigh’s monumental sculptures come immediately to mind. Walker’s “A Subtlety, or the Marvelous Sugar Baby,” a 35-foot sculpture coated in sugar and placed in Brooklyn’s Domino Sugar Factory, commented on the history of the sugar trade and black women. Simone Leigh’s “Brick House,” a 16-foot bronze bust installed on New York City’s High Line, considers architecture and its interactions with black women’s bodies. In both cases, rendering the black female form in larger than life proportions forces conversations about the ways those bodies have shaped—and been shaped by—America. 

If someone isn’t familiar with Black American art history, are there books that you would suggest they purchase to educate him/herself?

SMG: For a historical overview, I’d recommend Sharon F. Patton’s “African-American Art.” For deeper information about artistic movements and noteworthy artists, Lisa Farrington’s “African-American Art: A Visual and Cultural History” is good. For an academic take on the social and cultural contexts surrounding African-American art, I like Richard J. Powell’s “Black Art: A Cultural History.“

Black art often deals with painful aspects of the Black experience. If you’re a white art collector, how do you support the Black art community without fetishizing or exploiting that painful history? 

SMG: This is a great question. It’s often the awkward ones that are the most important. When it comes to black art, educating yourself about the context is key. Try as hard as you can to understand where the artist might have been coming from; if you have questions, ask them! or Google! Read the books, look at a lot of art, talk to gallerists, talk to artists, read artist statements. And then, as with all art, I advise that you buy what speaks to you personally. You’re not always going to “get it right.” You might have some awkward moments where you clearly miss the point. But being willing and eager to learn is the first step. There are also a number of artists who surface and highlight the beautiful aspects of black history and being; if it’s more comfortable to start there, that’s okay too. For example, Valincy-Jean Patelli’s work re-narrativizes history by pulling together “artifacts and heirlooms” in ways never before seen. The result is breathtaking and actually bestows a sense of calm. 

Who are the Black artists who you believe not only create impactful art, but also create important content on Instagram? 

SMG: So many artists have beautiful and inspiring Instagram accounts, but a few that I find particularly dynamic include: Genevieve Gaignard (@creativecurvyginger), who I could have included under the list of groundbreaking social justice work, and whose Instagram is a constant delight; Diedrick Brackens (@deedsweaves), who writes as beautifully as he weaves; and Corey Pemberton (@instantglassic), whose varied projects are engaging and important. I’d also suggest following organizations/curators: @legacybros, @shelovesblackart, @cerebral_women, and @christina.fine.art

And that’s not including galleries or museums!

Can you name some online galleries that showcase and sell the work of Black artists? Are there any places where a new collector with a smaller budget can purchase original art by Black artists, possibly even from the artist directly?

SMG: Unrepresented artists usually have websites, through which you can buy directly. Many of them make limited edition prints that are affordable for a new collector. But I know that finding the right artist/art can be overwhelming! If you are looking for a more curated experience, I just launched an art space in West Hollywood. It’s called UNREPD and features a selection of museum-quality art by unrepresented artists, predominantly people of color. Our website and Instagram will be live in the next few weeks—unrepd.com and @unrepd—and our showroom is at 927 N. Sycamore.

Which charitable organizations do you think do the best job supporting the Black artists and/or providing arts education opportunities for Black communities? 

SMG: The Underground Museum, here in LA, is the number one art organization I’d ask you to support. They’re temporarily closed during COVID, but I think their exhibits and programming have been some of the best of all time. You can donate through their website. Secondly, I’d name the Black Art Futures Fund, the Black Artists and Designers Guild, the Harlem Arts Alliance, and Crafting the Future as great charitable organizations.

What is the best way for someone to contact you if they would like your help curating their art collection?

SMG: I’m scaling back my consulting work as I launch UNREPD, but I’m always available at
@arthousemarket or by email, sarah@unrepd.com.