New York City

The National Black Fine Art Show

by Lita Solis-Cohen

Joscelyn Wainwright, well known in the antiques world as show impresario Sanford Smith's right-hand man, brought The National Black Fine Art Show back to New York City's Puck Building on January 30 through February 1 for a second year in his effort to establish a marketplace for the work of Black artists.

It was a stronger and larger collection of paintings, collages, sculptures, prints, and photographs than last year, and the show was better attended. More sales were made, though some said it was easier to sell well-known names than the work of emerging artists. Nonetheless, dealers showcasing emerging artists sold well indeed. There was more work by artists who had gone to art school and less self-taught art than last year, which made the quality higher, but critics noted that the show was not without commercial reproduction prints, tourist art, and just plain kitsch. Moreover, many asked, why have a show that separates the Black artist from the mainstream?

"Let me ask you, where have you seen most of these artists before?" Wainright responded. "It is very hard for Black artists to get exhibitions at galleries and art fairs. There are exceptions—Romare Bearden and Jacob Lawrence are in major museums, along with Horace Pippin, Henry O. Tanner, and Bill Traylor—but there are many others with a lot of talent who are not widely known."

Moreover, Wainwright contends that Black collectors are intimidated by the mainstream galleries and feel more comfortable about meeting gallery owners and buying art at a Black art show. The large attendance proved that when Black consumers are targeted by advertising, they respond well. A very attractive and well-dressed crowd, including some very tall basketball stars, slim fashion models, and diplomats in native African dress, attended the January 29th preview. There were reports of crowed aisles all weekend, with about 30% non-Black attendees and lots of children. More important, some museum curators were there too.

Some complained that the show could have been more elegant, with fresh flowers, live music, and decent food at the preview party. That might have changed the mood from that of a busy street bazaar to a more aesthetic experience.

It was possible nevertheless to find some first-rate works of art shown by professional dealers, several of whom have been dealing in works by Black artists for more than 20 years and a few for more than 30 years. Romare Bearden's works were available at five different venues, including ACA Gallery and Merton D. Simpson Gallery, both in New York City, and Jerald Melberg Gallery, Charlotte, North Carolina.

Essie Green, the legendary Harlem dealer, offered appealing works by Allen Stringfellow, who like Bearden made decorative and expressive collages crammed with figures in dance halls and at parties.

Wendell Street Gallery, Cambridge, Massachusetts, and ACA Galleries offered works by Benny Andrews, another artist who used collage with great skill in depicting Black subjects, such as the migrant and middle-class Blacks out for a stroll. There were 19th-century landscapes by Edwin Bannister and still lifes by Charles Ethan Porter (1847-1923) as well as works by Tanner, Pippin, Traylor, and Lawrence.

Avant-garde artists were shown by New York City dealer Jack Tilton and Chicago dealer G.R. N'Namdi. Artists who made their mark in the 1930's to the present day were shown by Philadelphia galleries Sande Webster and Dolan/Maxwell and by New York City dealer Bill Hodges, who represents the estate of Norman Lewis, whose work spans the period from the WPA to Abstract Expressionism.

Some galleries featured only one artist, others offered a broad range. Musicians were the most popular subject, and dancing was the second theme. There were some fine sculptures from Africa shown by New York City dealers Eric Robertson and Merton Simpson. The show also had an impressive selection of photography; James Van Der Zee prints could be bought from New York City dealer Howard Greenberg for $650.

A number of artists were present to talk to collectors, and the accomplished paintings by gallery owner Merton Simpson and art consultant David Driskell were a surprise. Sherry Pardee of The Pardee Collection, Iowa City, Iowa, attracted a crowd and much praise for her collection of African barbershop signs, used by itinerant barbers in Mali and Ghana, and for abstract pygmy bark paintings from Zaire.

Most of the 41 dealers from the Caribbean, Africa, Canada, and across the U.S. from California to New York said they made expenses. A few said they sold very well, and most said they would be back next year.

"We cannot build this market overnight," said Wainwright. "I'm in it for the long haul."

Wainwright said his aim is to make good art available to everyone. He pointed out that the lectures, sponsored by the Boys and Girls Clubs of America, were well attended this year, proving that the educational process is a big part of this show. He stressed, "I have tried to bring a whole body of work previously denied a venue to an appreciative public, hoping all sorts of people will discover art by artists who just happen to be Black."