Artists Archives - SHOPPE BLACK

Published on May 18, 2022May 19, 2022

3 mins read

Ernie Barnes Painting From ‘Good Times’ Sells For $15.2 Million

Ernie Barnes created the painting “The Sugar Shack” in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.

On the 12th of May, the iconic painting was sold at auction in New York City for almost $15.27 million.

#AuctionUpdate Ernie Barnes ‘The Sugar Shack sets an auction record for the artist this evening, 27x the previous record set by the artist. After over 10 minutes of bidding by up to 22 bidders, the piece realized $15.275 million. pic.twitter.com/GQOH03vF0a

— Christie's (@ChristiesInc) May 13, 2022

According to Christie’s auction house, the sale set an auction record for Barnes’ work by more than 27 times the artist’s previous record, and was 76 times the high estimate of $200,000. The 10-minute auction drew 22 bidders before Houston-based energy trader Bill Perkins.

“I would have paid a lot more,” Perkins told The New York Times following the auction. “For certain segments of America, it’s more famous than the Mona Lisa.”

According to Ernie Barnes official website, he created the original version of “The Sugar Shack” after reflecting upon his childhood, during which he was not “able to go to a dance.”

Barnes said in a 2008 interview, “The Sugar Shack’ is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension.”

“The Sugar Shack” has been known to art critics for embodying the style of art composition known as “Black Romantic,” which, according to Natalie Hopkinson of The Washington Post, is the “visual-art equivalent of the Chitlin’ circuit.”

When Barnes first created “The Sugar Shack,” he included his hometown radio station WSRC (Durham, NC) on a banner. He incorrectly listed the frequency as 620. It was actually 1410. Barnes confused what he used to hear WSRC’s on-air personality Norfley Whitted saying “620 on your dial” when Whitted was at his former station WDNC in the early 1950s.

After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye’s album, including banners hanging from the ceiling to promote the album’s singles.

During the “Motown 25: Yesterday, Today, Forever” anniversary television special on March 25, 1983, tribute was paid to “The Sugar Shack” with a dance interpretation of the painting. It was also during this telecast that Michael Jackson introduced his famous “moonwalk” dance.

Barnes died of leukemia in 2009 at age 70.

Tony O. Lawson

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Published on February 12, 2021February 12, 2021

15 mins read

Why Black Art Should Be Part Of Your Investment Portfolio

With the increasing knowledge that art is a viable alternative asset, the rising interest in art by Black artists, coupled with the number of ways we can now invest in art, “Black art”, or African & Diaspora art should be considered as part of your investment portfolio.

A huge advocate of this asset class is art collector and entrepreneur, Freda Isingoma. Freda is the founder of KIISA, an investment & advisory firm focused on developing investment solutions for the Contemporary African & Diaspora Art market and ecosystem.

We caught up with her to learn more about investing in art and why she is so passionate about supporting the work of Black artists around the world.

What inspired you to start KIISA?

KIISA started as a response to a need and a gap that I identified in the African and Diaspora art market. Although my background is in investment banking and entrepreneurship, I have always loved art and have been collecting African & Diaspora art for 20 years. My collecting journey gave me an insight into the market and its dynamics.

This then prompted me to do a course on “Curating Contemporary Art” and the University of the Arts London, which gave me a bit of background on the more research element of the art world. It’s then that I started to further investigate the African and Diaspora art ecosystem as a whole and really understand what the gaps were.

After many conversations with mentors, I am glad I got to where I am now, where our focus is on developing a new “story” around African & Diaspora art investments and ecosystem development, and I get to leverage my skills and experience in finance, art collecting, and economic analysis.

KIISA is a pioneer in the Art Investments sector, providing investors with the opportunity to participate in Alternative Asset Funds that are intentionally designed to not only provide long term returns, but also develop impact solutions that drive the growth, visibility, knowledge, and sustainability of the Contemporary African and Diaspora art market.

Why do you prefer the term “African & Diaspora Art” over “Black Art”?

Many in the art world use either or. I specifically use African & Diaspora Art as it suggests the global footprint and impact of the Black artistic community, history, culture, identity, language, and much more. Ultimately, art made by Black artists is simply art.

Why is there a growing interest in African & Diaspora art?

The interest in African & Diaspora art has always been there and that’s evident by the fact Classic African art influenced Early European and American Art movements including Cubism, Fauvism, German Expressionism, and American Modernism. We see this in the works of Picasso, Matisse, and Gaugin to name a few.

Furthermore, there has been interest in Modern and Contemporary art by Black artists over the years, but the main issue is that the interest has largely been shallow and inconsistent. The current spotlight on art by Black artists has mainly been generated by a wider interest from the Black community to collect art and be part of cultural economic growth, particularly the younger generation of collectors.

While we have always had collectors within the Black community globally, there has been this misconception that art by Black artists is in main collected by Europeans and other non-Black communities. This is simply not true. The current wave of new collectors that are framing the new dynamic, is being driven by the acknowledgment of art collecting as a way of building cultural equity, preserving heritage, and also participating in an alternative investment growth story.

Saying that, there has been a rising focus on Black artists by Western art museums and institutions post the protests in the US and globally last Summer. This is due to the fact that many of them were forced to finally face the racial disparities in their collections and programming and at the same time address this bias within the Western art cannon overall. If you ask me how much impact this will make, the jury is still out. There has been more virtue signaling to date, than measurable action.

Why is it important to increase the number of Black people investing in African & Diaspora?

Any community needs to be the bedrock and foundation of their art ecosystem and cultural expression. I often draw similarities to the Chinese Art market emergence during the last global economic downturn 12 years ago and the intentional build of what is now a dominant art market player.

Although we are dealing with 54 countries and a global diaspora base, Black collectors are realizing that they are an essential part of the art ecosystem as a whole. If we look at art as a language and a way of telling the stories that document our cultural history and current social and political dynamics, it makes sense that these pieces of cultural documentation (and pride), inherent to your own cultural background, are collated and kept. In doing so, it builds a legacy of cultural heritage preservation, that will be shared with, and inform generations to come.

The other significance in Black collectors taking a greater interest in building cultural equity ownership through collecting art, is that its organically spearheading this wave of new initiatives, collaborations, and technology focused on facilitating growth within the art economy.

Not only will this intensify the much needed demand for art by Black artists, but it will also transform the number of ways in which we invest in it. Furthermore, collectors are not only custodians of art, many are also patrons. Greater patronage makes sure that art/educational institutions and cultural centers continue to serve the local community adequately.

What roles can Black owned galleries and museums play in strengthening the market for African & Diaspora?

Black owned galleries and museums on the Continent and Black communities globally, play a vital and critical role in the growth of the African & Diaspora market. We are at a pivotal time in Africa’s artistic history where the repatriation debate is gaining momentum, and additionally where the demand for Modern and Contemporary African & Diaspora art has caught the attention of the art world.

Fundamentally, art museums are shared public spaces dedicated to promoting and educating on artistic and cultural knowledge, while preserving the heritage and artistic integrity of the local community. As a result, they form the foundational pillar of any cultural ecosystem. Therefore, it’s imperative that the community from which the art, the practice, and narrative originate, are also the primary validators of that art. This should not in any way stop the art from being shown, celebrated, engaged within other regions and nations.

Black owned galleries also play an important function too. They not only serve as a powerful portal to communicate the narrative of the artistic production from the community, they cultivate and reinforce a dynamic arts culture and economy that promotes the local artistic talent. This is essential, as it supports the growth, and investment of, artists within the Black community.

Additionally, they in turn nurture the development of collectors and art practitioners (e.g. curators and secondary market advisors), which is a critical component of the ecosystem development. Furthermore, galleries naturally then become procurers of ancillary services in adjacent and complementary businesses/industries in their local communities, as well as attracting “art” tourism, which can be catalysts for economic growth and infrastructural development within that community.

Underplaying the importance of Black owned museums and galleries hinders the empowerment of home-grown narratives and talent, while subsequently weakening the advancement of the domestic artistic community.

What are the first steps to becoming an art investor?

There a few ways in which you can invest in the art market. The obvious way is through building a collection. My advice is always to just start. Once you start, you get to sharpen your eye and taste, while at the same time learning more about the industry, its nuances, peculiarities ad possibilities.

I am a fan of “burning shoe leather”, whether it’s in person or virtual, through attending Art Fairs, studio visits, galleries, auctions, Art School final year shows, and even residencies. Routinely doing this helps to build relationships with artists, curators, dealers, and other collectors, that help to inform how to build your collection. Building a collection of significance can be fun, but it does take time to really define your taste, demystify the dynamics of the market and build relationships.

There’s no cheat sheet for this. The key is to buy what you love, that way you won’t look back and have any regrets. Do your research, then buy with your eyes and heart, not your ears, because trends in this market come and go just like any other industry.

The other ways to invest in the market are through art investment vehicles, which include art funds and syndicates. The last 12 years has seen a significant increase in the number of art investment vehicles launched because art typically produces returns that have little or no correlation to traditional stock and bond investments.

There was a recent study done by Morgan Stanley that showed that HNWIs have between 5-10% of their net worth invested in art. This is not surprising as alternative assets tend to be seen as a safer way of diversifying the overall risk of your investment portfolio, particularly when stock markets are overheated or/and volatile.

Furthermore, investing in art offers tax advantages, potential hedging against inflation/currency risk, and tends to hold its value over time irrespective of economic sentiment. Structured art investment vehicles offer an opportunity for investors to pool their investment with others, thereby diversifying their exposure to individual art holdings while increasing their exposure to a wider variety of art. Furthermore, they present an opportunity to benefit from the expertise of art investment specialists who understand how to operate in what is generally regarded as a potentially lucrative, but non-transparent market.

The other channel is through Bitcoin. I am quite excited to see what impact Bitcoin will make in the market, and how it can democratize investment in art. Although the impact is still too small to measure, I believe it has the potential to be revolutionary, particularly for Black artists and Black investors in art. Currently, there are platforms being created to address this. We wait and see!

Tony O. Lawson

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Published on March 20, 2016June 7, 2023

12 mins read

20 Young African Influencers in the Diaspora

It goes without saying but i’ll say it anyway – Continental African’s get our shine on wherever we go. In almost every industry, the bylines of the world’s emerging leaders are looking like a young continental African “Who’s Who”. Here’s a look at a group of young African influencers who deserve kudos and a slow clap for their accomplishments. We see you and we’re excited about what’s to come. It is never an easy process to become an influencer in any form. Social media influencers have become very popular in recent times and the goal of many young people. The secret could be that Social media influencers buy Instagram likes at Buzzoid.

Young African Influencers in the Diaspora

Rahiel Tesfamariam is a native of Eritrea who was raised in Washington D.C. She is a social activist, public theologian, writer and international speaker. She is the brains behind #NotOneDime a nationwide economic boycott launched in the aftermath of the Ferguson non-indictment decision. Rahiel is also the founder and publisher of Urban Cusp, a cutting-edge online lifestyle magazine highlighting progressive urban culture, faith, social change and global awareness.

Chef Rougui Dia, “The African Queen of Parisian Cuisine” was born in Paris to Senegalese parents. While serving as Executive Chef at Le 144, a restaurant affiliated with Paris’ posh art deco venue and restaurant, Petrossian, Dia became one of the most respected female chefs in France. She later presided over the kitchen at Le Vraymonde, an upscale restaurant located in Paris’ Buddha-Bar Hotel.

Angelica Nwandu is a Sundance Screenwriter Fellow and the creator of The Shade Room, the first blog to publish directly to Instagram. She was recently named one of Forbes 30 under 30. Since its start in early 2014, The Shade Room has grown into a lucrative enterprise. The site currently has four million followers and reportedly pulls in hundreds of thousands of followers each month.

Adewale “Wally” Adeyemoa is a Nigerian-American who grew up in Southern California. In December 2015, President Barack Obama appointed him as his Deputy National Security Adviser for International Economic Affairs. In a statement released by the White House, President Obama remarked, “I will be calling on Wally’s intellect, judgment and dedication as we sustain America’s global economic leadership, which reinforces our national security, and as we work with allies and partners around the world to create jobs and opportunity for all our people.”

Luvvie Ajayi was born in Nigeria and moved to the U.S. when she was nine. She is the creator of Awesomely Luvvie, a popular entertainment and humor blog that covers everything pop culture. Last year, she was named a 2015 Black Innovator by XFINITY Comcast. With over a decade of experience, you could say that she’s an O.G. in the blogging game. Her first book, titled, I’M JUDGING YOU: The Do Better Manual, was released in September and quickly became a New York Times bestseller.

In January 2015, D.C. Mayor Muriel Bowser appointed Mamadou Samba to serve as the Director of the Mayor’s Office of African Affairs. Originally from Dakar, Mamadou is passionate about addressing the challenges faced by African immigrants in the District and nationwide. He has played a significant role in securing grants for African nonprofit organizations and highlighting issues impacting African-born residents in the United States.

Nina Oduro grew up in Ghana and moved to Virginia at the age of seven, She is the founder of AfricanDevJobs.com, an online platform that connects organizations and professionals who are focused on Africa’s growth and development. Her company offers employment opportunities and career advancement resources. Nina is also the co-founder of Dine Diaspora, a lifestyle and events company that creates dynamic experiences around food, culture, and heritage.

A native of Rwanda, Jackson Mvunganyi is a Radio host and new media reporter at Voice of America. In 2007 VOA’s launched a youth-oriented talk show, Upront Africa. It became the first cross continental radio show reaching millions of students and young professionals around Africa and beyond. His more than 17,000 Twitter followers include President Obama.

Zim Ugochukwu is the Founder & CEO of Travel Noire, a digital platform that has become one of the most popular resources for Black travelers. She was recently listed on Forbes 2016 ’30 Under 30’ list as of the brightest young entrepreneurs. Thanks to Zim, it is now obvious to those that didn’t know – Black people love to get their travel on!

Rediate Tekeste is a first generation Ethiopian-American and founder of the Ethiopian Diaspora Fellowship (EDF). This Los Angeles-based fellowship program connects young Ethiopians in the diaspora with their home country and provides them with the opportunity to be part of the country’s development through practical work experience.

Samuel Bazawule, known by the stage name Blitz the Ambassador, is a Ghanaian-American hip-hop artist, composer, producer and visual artist based in Brooklyn. He was recently named TED Fellow, Blitz combines the political boldness of Public Enemy, and the groove sense of Fela Kuti. His label, Embassy MVMT, is proving that Hip Hop fans are tired of the same old radio playlists and are hungry for music that is more creative and thoughtful.

Mariéme Jamme is a Senegalese-born businesswoman based in the U.K. Her company, Spotone Global Solutions helps technology companies develop business in new markets such as Africa, Europe, the Middle East and Asia. Mariéme is also an international speaker and co-founder of Africa Gathering, the first global platform bringing together entrepreneurs and others to share ideas about development in Africa. She was named by the World Economic Forum as one of its Young Global Leaders for 2013.

Ugandan fashion model, Aamito Lagum, — a former Top Model winner, is more recently known for the controversy caused by racist comments about her lips that were posted on MAC cosmetics Instagram page. Aamito boldly took to the internet in defense of her beauty, and the beauty of other women with similar features. This prompted campaigns like #PrettyLipsPeriod (created by Dr. Yaba Blay and Thembisa Mshaka) where Black women around the world unapologetically celebrate their full lips.

Yinka Ilori is a U.K based designer. He is passionately against the unnecessary waste he has seen in European and West African consumer cultures. His craft and vision is collecting discarded furniture, and re-upholstering and designing into something new. Yinka is inspired by the traditional Nigerian parables and African fabrics that surrounded him as child.

Folasade Adeoso is a New York-based, Nigerian-born, model and digital artist. She’s the chief editor and writer behind the lifestyle blog, LoveFola and the owner of the online boutique, “1953 | THE COLLECTIONS”. Folasade is known for her digital collages, which mix archival and contemporary images into Dalí-esque visions.

Chef Djibril Bodian is a second-generation baker of Senegalese origin. Last year he won first prize in the Grand Prix de la Baguette de Tradition Française de la Ville de Paris, a.k.a. The Best Baguette in Paris Competition. Chef Djibril also won the top prize five years ago. This prestigious award allowed him to be the only baguette supplier to French President Holland at the Elysées Palace. The fame and publicity didn’t hurt his pockets either. He can be found creating baked goodness at ‘Grenier à Pain’ in Montmartre.

Heben Nigatu was born in Ethiopia and moved to the U.S. when she was five. The Columbia grad is a senior editor at Buzzfeed and co-host of “Another Round”, Buzzfeed’s most successful podcast. Heben was recently ranked #17 on Forbe’s 30 Under 30 in media. The podcast, (an iTunes’ podcast top 100) gets hundreds of thousands of listeners a month and touches on topics that range from race and politics to pop culture and favorite alcoholic drinks.

Bouba Dola was born in Kinshasa, Congo. His family moved to the Netherlands when he was a child. He studied at HKU in Utrecht and has been working throughout the Netherlands, specifically between Amsterdam and Rotterdam. He focuses his creative energy on the infusion of digital art – drawings, music and videos. His collaboration with young Black Dutch hip hop artists has helped to jump start many of their careers. His sound is reminiscent of the Los Angeles music of Flying Lotus but with elements of ancient Kikongo vibrations and patterns. Currently, Bouba is working on his first cinematic work.

Saran Kaba Jones is a clean water advocate and social entrepreneur from Liberia. She is the founder of Face Africa, a U.S.-based non-profit organization that provides access to clean drinking water in Liberia’s rural communities, where running water and sewage infrastructure is often scarce. Face Africa was launched in 2009, and has provided clean water to thousands of rural Liberians. Saran was named by the World Economic Forum as one of its Young Global Leaders for 2013.