Here stands the “African Market Women” painting. This artwork offers a glimpse into a world where black women artists are claiming their space. The “African Market Women” painting uses oil paint on canvas. It measures 48 x 27 inches.
In 1970, a pop-up exhibition titled “Come A Long Way, Baby: The Sapphire Show” opened in Los Angeles. It ran for five days. This show was a consequence of black women artists having few opportunities to exhibit their work. The name Sapphire speaks volumes. Black women artists felt they were being perceived through stereotypes. Sapphire Stevens was the stereotypical Angry Black Woman.
Historically, women artists have been underrepresented in museums and galleries. In 1985, the Guerrilla Girls shook up the art world. They publicized that female artists represented less than 8% in the Museum of Modern Art exhibit. A 2019 study revealed that between 2008 and 2019, only 11% of artists in major museum collections were women. The absence of black women artists in galleries and museums is glaring.
Faith Ringgold is an artist, activist, author, and educator. She is finally getting her first New York retrospective in 2022. Only this year did the National Gallery of Art in Washington, DC acquire its first work by Ringgold. It is titled “American People Series #18: The Flag is Bleeding” 1967. Ringgold’s quilts opened the door for a new generation of textile artists. Older black American women artists had been consigned to the lesser realm of folk art by the art world. Ringgold’s recognition represents the glacial pace of progress for black women artists.
In 1971, Dindga McKinnon hosted a group of black women artists. They discussed their omission from exhibitions. The result was Where We At. It was one of the first exhibitions in New York City for professional black women artists.
Betye Saar cemented her reputation. Her work “The Liberation of Aunt Jemima” transformed Aunt Jemima into a grenade-throwing revolutionary.
According to Artnet, between 2008 and 2019, more than $196.6 billion has been spent on art at auctions. Only 2 percent were sales of works by women. Five white female artists accounted for 40 percent of the $4 billion spent on women artists.
While individual black women artists have made great strides, they overall remain marginalized. Buyers are still reluctant to pay high prices for work by female artists. The “superstar effect” exacerbates the issue. Competition is even greater for minorities.
A few black women artists have sold works at auctions for more than USD $1 million dollars. Amy Sherald’s “The Bathers” sold for $4.2 million in 2020. Mickalene Thomas’s “Racquel Reclining Wearing Purple Jumpsuit” sold in 2021 for more than $1.8 million. Lynette Yiadom-Boakye’s Diplomacy III sold at auction for $1.95 million in 2021.
Black women artists have to be in the forefront. They must create opportunities for their work to be shown and bought. Sasha Loriene founded Black Girls Who Paint. She was tired of seeing rejection emails. Loriene decided to create her own table.
Black women artists and their supporters need to develop exhibition opportunities. These opportunities will allow them to reach black art buyers. The art world will be slowly reformed. Black artists, curators, and collectors are part of the current structure. They are fighting for more equity and inclusion. Black artists should also be using available resources. They can create local arts ecosystems. These ecosystems showcase and sell art that reflects their community’s tastes and budgets.
Robert Commey’s artistic style is a fusion of Expressionism and textile design. His art addresses important social issues. “African Market Women” reminds us of the ongoing struggle. It also celebrates the growing recognition of black women artists. It encourages a future where their voices and visions are fully valued.