Y'all Better Act Right: 14 Things Not to Do at a Gallery

We were inspired to share these 14 things as an inspiration from art business’s article: Etiquette No-No’s for Artists and Everyone Else. This list forms from our own personal experiences or from people we’ve spoken to.

  1. Act like your at a party when really you are at a business event.

  2. Kee Kee in front of the works for long periods of time while others are trying to view the show.

  3. Take pictures of every work leaving nothing to the imagination for others to view later on.

  4. Hit on and/or harass people within the space. This is a space of business and comfortability. You will be asked to leave.

  5. Hover around the FREE food or wine area like we didn’t feed you with black art earlier.

  6. Talk to the curators and gallery owners for a long time like we don’t need to get this money honey. Black artists need to get paid too!

  7. Release your kids into the a space with expensive and/or delicate art works.

  8. Lean on the art.

  9. Touch the art.

  10. Get drunk. Better yet, arrive drunk.

  11. Promote yourself in a way that takes away from the artist’s work and the space. It isn’t about you, it’s about the artist’s who took time to create something amazing.

  12. Ask the artists to hold art directly for you so you can get it for less instead of paying them what they are truly worth.

  13. Pass out your business cards, brochures, artist book or announcements without asking permission. This is EXTREMELY inappropriate.

  14. Leave your business materials around the gallery when no one is looking. Don’t…cause we immediately throw it away. Thanks.

Please take all of these things into consideration no matter the gallery space you are in. At the end of the day, exhibitions are meant to support the gallery and the artists we love to see. Help us create a space where they can grow and sell work.

You can wear my blackness as a shirt?

In 2018, Jamaal Barber exhibited the Bright Black gallery to bring attention to the shared experiences black people feel in America's past, present and future. Bright Black gallery created a space for the complex experiences of black Americans to be acknowledged. It is here where Barber presents his viewer with The American Color Theory. Using 10 serigraphs, Barber applies basic color theory to define acceptable blackness in American culture. Unconventionally, this ingenious collaboration of traditional artistic rule and the black experience brings about a compelling conversation: to what extent does a concept prescribe an understanding of survival?

At Georgia State University, film studies professor, Dr.Alessandra Raengo, leads the research group, "Liquid Blackness," that conceptually seeks to examine blackness as aesthetics. Upon first hearing the phrase I was unnerved, as something within me felt true concern.   On their research site they express that"[liquid blackness] is moved by the conviction that blackness, as both a visual and racial fact, is the most productive and important starting point to theorize the ontology of images and, similarly, that the “color line” –even when it is scrambled and molecularized in aesthetics forms of black liquidity—offers the most sophisticated and urgent approach to the conjunction of aesthetics and politics.” For a group to be examining the cultural influence of the black experience, there were very few black people contributing to the dialogue. Liquid blackness suggested a mode of the black experience without the absence of white understanding. What started off as a class exercise steadily transitioned to the realms of academic conferences in a bid to combine aesthetics with theory. I met with Raengo to find out who liquid blackness was for.  As she and I sit across from each other we both share the same concern: to get things right.

Raengo explained that liquid blackness, since before its creation, was meant to create a space for students to start discussions of race in a productive manner.  In contemporary film, black artists possess more expressive freedom than ever before, that explores the black community and experiences without compromise. As I spoke with Raengo, it increasingly became clear that the work was a call to action.  The phrase first stated between class walls was soon partnered up with discussions of post-blackness during the LA Rebellion Film tour and eventually found its way to become the foundation of the liquid blackness film project. It is only now in the process of grounding itself as a theory.

I understood what space she was trying to create, but I couldn't help but question the gaze the group feeds. Scholarly expectation does not always take into consideration the validity and significance of culture, especially in regards to black arts.  Barber explains that a concept comes with a limitation of what one wants to understand. There is something in the black experience one does not want. Since conducting our interview, Liquid Blackness has updated their website with an openness to exploring better ways of addressing their audience.  As they move forward, I encourage them to consider the audience they are reaching versus the audience that deserves to be heard.


An African Marvel: The Diasporic Symbolism of Simone Leigh's Brick House

An African Marvel: The Diasporic Symbolism of Simone Leigh's Brick House

The mere presence of Brick House on the High Line reminds us of the importance of African art and invites viewers to engage with African architecture on a grand scale. As a fusion of historically suppressed African architectural practices and a great African American hit song, Brick House stands as a powerful reminder to appreciate African art and intellectual thought.

Read More

What is the #BlackArtChallenge?

What is the #BlackArtChallenge?

ZuCot Gallery, the largest black owned gallery in the Southeast, hopes to engage visual art enthusiasts of all ages with a challenge that they’ve been promoting since February of 2018. The challenge— dubbed the #BlackArtChallenge — is a compelling intiative involving all things black art history.


Read More