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in other words

Everything you ever wanted to know about the art market but didn't know who to ask

This is a collaboration between In Other Words and artnet News

Special Issue: Tracing the Representation of African American Artists

In Pictures: What Museums Have Been Acquiring

Art From 1840 to the Present Day

BY Chelsea Perkins
project manager at AAP

Published 20 September 2018
In Galleries

: David Drake, Two-Handled Jug (1840). Courtesy Virginia Museum of Fine Arts

: Robert S. Duncanson, Dog’s Head of Scotland(1870). Photo © Museum of Fine Arts, Boston

: Henry Ossawa Tanner, Interior of a Mosque, Cairo (1897). Photo © Museum of Fine Arts, Boston

: Archibald Motley, Town of Hope (1927). Virginia Museum of Fine Arts

: Horace Pippin, Country Doctor (Night Call) (1935). Photo © Museum of Fine Arts, Boston

: Charles Wilbert White, Goodnight Irene (1952), Photo courtesy Nelson-Atkins Media Services/John Lamberton

: Lucy T. Pettway, “Housetop” and “Bricklayer” blocks with bars (c.1955) © 2018 Estate of Lucy T. Pettway/Artists Rights Society (ARS), New York. The Metropolitan Museum of Art

: Gordon Parks, Race of Poverty (negative 1967, print later) © The Gordon Parks Foundation. The J. Paul Getty Museum, Los Angeles

: Jacob Lawrence, Dream Series #5: The Library (1967) © 2018 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York. Courtesy the Pennsylvania Academy of the Fine Arts, Philadelphia

: Elizabeth Catlett, Black Unity (1968). Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photo credit: Edward C. Robison III

: Barkley L. Hendricks, Bahsir (Robert Gowens) (1975) © Barkley L. Hendricks. Collection of the Nasher Museum of Art at Duke University. Photo credit: Peter Paul Geoffrion

: Romare Bearden, Profile/Part II, The Thirties: Artist with Painting and Model (1981). Courtesy High Museum of Art, Atlanta, Georgia

: Emma Amos, 22 and Cheetah (1983) © 2018 Emma Amos/Licensed by VAGA at Artists Rights Society (ARS), NY. Courtesy the Nasher Museum of Art at Duke University

: Robert Colescott, Les Demoiselles d’Alabama: Vestidas (1985) © Robert Colescott/Artists Rights Society. Seattle Art Museum

: Lyle Ashton Harris, Man and Woman #1 (1987-88) © Lyle Ashton Harris. The J. Paul Getty Museum, Los Angeles

: Arthur Jafa, Monster (1988). Collection Museum of Contemporary Art Chicago. Courtesy Arthur Jafa and Gavin Brown’s enterprise, New York/Rome

: Lorna Simpson, Two Sisters and Two Tongues (1991). Photo credit: Nathan Keay © MCA Chicago

: Kerry James Marshall, Our Town (1995). Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas

: Carrie Mae Weems, Black and Tanned Your Whipped Wind of Change Howled Low Blowing Itself – Ha – Smack into the Middle of Duke Ellington’s Orchestra Billie Heard It Too & Cried Strange Fruit Tears (1995) © Carrie Mae Weems. The J. Paul Getty Museum, Los Angeles

: Ellen Gallagher, Pomp-Bang (2003). Photo: Nathan Keay, © MCA Chicago

: Stanley Whitney, Upstate (2005) © Stanley Whitney. Photo courtesy Nelson-Atkins Media Services/John Lamberton

: Jack Whitten, 9.11.01. (2006) © Jack Whitten. The Baltimore Museum of Art

: Mickalene Thomas, Din Avec le Main Dans le Miroir (2008) © Mickalene Thomas. Image courtesy the Pennsylvania Academy of the Fine Arts, Philadelphia

: Julie Mehretu, Auguries (2010). The Baltimore Museum of Art © Julie Mehretu and Gemini G.E.L. Photo © Todd-White Art Photography. Courtesy White Cube

: Rashid Johnson, Multiple Consciousness (2010). Photo credit: Nathan Keay © MCA Chicago

: Detail of Wangechi Mutu, Family Tree (2012) © Wangechi Mutu. Collection of Nasher Museum of Art and Duke University. Photo credit: Peter Paul Geoffrion

: Nick Cave, Soundsuit (2013) © Nick Cave. The Baltimore Museum of Art. Courtesy the artist and Jack Shainman Gallery, New York

: Njideka Akunyili Crosby, “The Beautyful Ones Are Not Yet Born” Might Not Hold True For Much Longer (2013). Nasher Museum of Art at Duke University

: Detail of Hank Willis Thomas, Ain’t Gonna Let Nobody Turn Us Around (2015-16). Commissioned by the Nasher Museum of Art at Duke University. Courtesy the artist and Jack Shainman Gallery, New York, New York

: Henry Taylor, Hammons meets a hyena on holiday (2016) © Henry Taylor. Collection of the Nasher Museum of Art at Duke University. Photo credit: Paul Geoffrion

: Kara Walker, Slaughter of the Innocents (They Might be Guilty of Something) (2016) © Kara Walker. Courtesy Museum of Fine Arts, Houston

: Michael Armitage, The Fourth Estate (2017) © Michael Armitage. Collection of the Nasher Museum of Art at Duke University. Image courtesy the artist and White Cube, London, United Kingdom

: Titus Kaphar, The Cost of Removal (2017). Crystal Bridges Museum of American Art, Bentonville, Arkansas

: Xaviera Simmons, Session Six: Kitty Hawk from the project Thundersnow Road, North Carolina (2010). Collection Nasher Museum of Art at Duke University

: Nina Chanel Abney, Hobson’s Choice (2017). Nasher Museum of Art at Duke University

: Amy Sherald, Michelle LaVaughn Robinson Obama (2018). Courtesy National Portrait Gallery, Smithsonian Institution

: Kehinde Wiley, Barack Obama (2018) © 2018 Kehinde Wiley. Courtesy National Portrait Gallery, Smithsonian Institution

This issue of In Other Words

Special Issue: Tracing the Representation of African American Artists

“I would have thought the needle would have moved more” By Charlotte Burns and Julia Halperin
“From a dealer’s point of view, there is a huge opportunity” By Charlotte Burns and Julia Halperin
Mapping the numbers By Charlotte Burns and Chelsea Perkins
“They can’t wait and wait because then I’ll die and it’ll cost big bucks” By Charlotte Burns and Julia Halperin
#39 “The natural disposition is to not want to believe the numbers because it just can’t be this bad” By Charlotte Burns
Methodology By Charlotte Burns and Julia Halperin
Charles White: A Retrospective By Antwaun Sargent
In Pictures: What Museums Have Been Acquiring By Chelsea Perkins
About Time By Kaitlin Chan

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