“Baltimore Museum of Art cancels Sotheby’s auction of works by Still, Marden and Warhol.”—The Collector
The Baltimore Museum of Art tried an experiment: Publicly sell White Master’s Art to pay for new Black Artists Art, artists who descend from American Slavery. In an anti-racism euphoria, the museum attempted to reverse the polarity of the power in the US. Then saw they were about to be electrocuted and pulled the plug. White Master’s Art will not be used to compensate for the children of slaves being dispossessed.
Patronage is the way to maintain hegemonic control.
The United States never intended for the enslaved to be part of America — as people. There has never been an actual plan to bring the progenies of the enslaved to a level of participation in the US economy that would make the African in American an equal, not only in rights but in privileges, power, and wealth.
The United States sold newly arrived African slaves on the same stage as paintings that had just come from Europe.
The force of power this represents was and will never be eradicated —by having a few Black Artists as board members.
Contrary to the argument that the African has not been represented in European Art, paintings have been created that include enslaved Africans. Since “From Titian and Rubens” and through van Dyck, and so many more who did this work.
The point of this was a wealth display that moved from personal wealth display in a mansion or estate house to permanent wealth display of European luxury as a form of power in museums.
Paintings advertised depicted silver collars of enslaved Africans in an untold number of European paintings alongside dog collars.
Imagine what the artists said to the US Global Wealth Syndicate when asked what they thought about selling White Master’s Art to pay for new Black art from the children of the Africans enslaved in America.
Imagine what the Black Contemporary Artists say to the US Global Wealth Syndicate. To a museum in the Netherlands where the paintings by the Dutch Golden Age Old Masters, the museum building itself, and the Dutch slavers depicted with their winnings from slavery all exist because of the barbaric Dutch Slave Trade that funded the Dutch Golden Age.
Several years ago, a Black Conceptual Artist was commissioned by a museum in the Netherlands to make known the Dutch role in the slave trade that caused the Netherlands to become the most prosperous place on earth. The artist did just that. One curator at the museum said it was like a tremendous sadomasochist session: Beat me, whip me, spank me. Say horrible things about me. Oh, the pain is exquisite; being beaten by a Black is the height of pleasure.
It turns out that the funding scheme that created Bath, the English Landscape Garden, and English Country House comes from British enslaving Africans.
Art Nouveau Architecture in Belgium is literally the product of Belgian’s plunder in the Congo. The ivory, wood, gold used to create this magnificent architecture is from the trade.
Gaudi’s spectacular Art Nouveau architecture was funded by his patron, Eusebi Guell, whose family were major slavers in the Caribbean.
The Royal Africa Museum in Belgium has over 200,000 works of art from the Congo.
In Belgium, the leading African Art dealer had family members in high posts in the Congo, sending her the Congo’s art.
Durer’s notebook on human faces features the regularized derogatory remarks on the physiognomy of the African.
Europe’s most enlightened philosophers have written that a Black Body cannot contain a human soul. Malevitch said something equally evil in his art “jokes.” New York Times published Gertrude Stein’s profanely ignorant remarks about Blacks.
In 2021 the first-ever (for now unnamed) Black-owned powerhouse contemporary art gallery in the world opens in New York; the director will be Ebony Hayes. The owner Nicole Vassell was the director at Deitch Projects for almost two decades.
The first Black Artist to have a One Person Show at the Whitney was 81-years-old, Alma Thomas living in Columbus, Georgia.
Meaning the entire Harlem Renaissance was Flyover Country.
In 2021 the world’s first Black Artist German Kunsthalle/Sales Room opens in New York. Blacks will run it.
In a recent interview in Momus Haynes, explained that she was called a n*#ger at a 2018 at Art Brussels by a Belgian collector. She said she was so upset that she got up and left the booth though she was in charge of it.
by Vincent Johnson
Vincent Johnson is a writer and artist based in Los Angeles, which provides landscape and inspiration for much of his work. Turning his camera often toward architectural artifacts, Johnson documents the transformation and decay of North American cities. He brings to his work immense research and knowledge of cinema, architecture, and art history, effortlessly alluding to phenomena like urban decay in the absence of human subjects. He likens his textured, rich photographs to staring through the window on a Los Angeles drive — a duality between the “temporary encounter” of an object and the “enduring intimacy” that memory savors. He received his MFA from Art Center College of Design, Pasadena, CA, and has exhibited widely at MoMA PS1, New York; the SK Stiftung, Cologne; Santa Monica Museum of Art; the Studio Museum in Harlem; and LAXART, Los Angeles. This work is offered as an extension of his participation in Drive by Art LA.