Black Art Matters | Armando Payton | TEDxOvertown

Quick Overview

Armando Payton argues that the art world, particularly institutions in the West, has historically marginalized Black figurative art by underrepresenting it, leading to a current necessary shift where Black art and artists must be intentionally supported in collections, galleries, and boardrooms to counteract erasure and affirm Black identity.

Key Points: Payton notes that less than 1% of 18 major US art museums' collections from the 11th to 19th centuries depict Black figures, and those depictions were often objectified or subservient. He cites Frederick Douglass, who successfully sought to become the most photographed person of the 19th century, as an example of intentional representation against erasure. Payton highlights the work of Black artists like Jacob Lawrence, Romare Bearden, and the Overtown native Evelyn Dease, whose work was foundational to the Harlem Renaissance and subsequent movements. Since the George Floyd murder in 2020, Black art sales have received an unexpected boost, forcing museums, collectors, and dealers to re-evaluate their practices. Payton advocates for action on multiple fronts: advocating in boardrooms, supporting Black trustees/curators, and ensuring Black art thrives independently of white validation. He emphasizes that his personal collection focuses on works that reflect his identity and bring him joy, rather than works solely validated by the mainstream art market.

Context: Armando Payton delivers a TEDx Overtown talk titled "Black Art Matters," focusing on the historical underrepresentation and misrepresentation of Black figurative art within Western art institutions. He uses historical examples, such as Frederick Douglass's photographic legacy, and recent shifts following 2020 to argue for intentional, sustained support for Black artists across the art ecosystem, including acquisitions, board representation, and cultural celebration.

Detailed Analysis

Armando Payton begins by stating his love for art, immediately contrasting it with his childhood experience of only seeing paintings of white angels in churches, implying a lack of representation from his formative years. He reveals that research shows that from the 11th to 19th centuries, less than 1% of the art in 18 major US museums depicted Black figures, and when they were depicted, they were often portrayed as subservient or objectified, citing the example of Michelangelo's Creation of Adam where the figure of Adam is white and just out of reach. Payton then pivots to historical figures like Frederick Douglass, who, along with contemporaries like Aaron Douglas, successfully sought to control their visual legacy by ensuring they were heavily photographed, becoming the most photographed person of the 19th century, which Payton frames as an act of intentional self-affirmation against erasure. He argues that this intentionality is now needed in the art world, pointing out that Black art sales saw an unexpected boost after 2020, which is forcing a shift in perspectives among museums, collectors, and dealers who are moving away from solely portraiture and figurative art towards abstraction. Payton calls for action on multiple fronts: advocating for Black trustees and curators in boardrooms, supporting Black-owned institutions like Charm City Cultural Cultivation, and ensuring Black art thrives independently rather than solely seeking validation from established white institutions. He concludes by stating that his personal mission is to support artists who need it most and to leave a legacy where Black art is reflected on screens and in collections, ultimately stating that Black art matters.