Charles Moore - The Black Market: A guide to art collecting

Alexandra M. Thomas

T o the mainstream art world, Black art is more in vogue now than everthis 21 st century notoriety results from decades of activism by Black curators, scholars, and artists for whom the fight for increased representation has always been a matter of fashioning a more inclusive community. For several years, I have been working as a writer, scholar, and museum professional in the modern and contemporary art world. As a young African-American woman committed to the work of studying and teaching Black art histories, I am cognizant of art world practices and rituals that appear to be pushing toward a more inclusive vision while established ways of gatekeeping in the form of classism, racism, and other systems of oppression remain. This is the socio-cultural context in which The Black Market is publisheda growing community of Black people dedicated to a more democratic vision of the art world. The spirit of this call to action led me to Charles Moore. I met Moore during my time in coursework as a Ph.D. student in African American Studies and History of Art at Yale University in New Haven, Connecticut. It was, in fact, during some of those visits to New Haven that Moore interviewed and forged meaningful connections for the ultimate production of this book. Inspired by his steadfast commitment to supporting and uplifting Black artists, our friendship has blossomed in the 21 st century milieu of the Black arts world. One is immediately struck by Moores dedication to accessibility and communitytraits that are not always celebrated in an increasingly elite commercial art world. In his role as a collector, writer, and scholar in the field of modern and contemporary African-American art, Moore demonstrates the generosity and intellectual rigor demanded of someone who handles African-American art and the narratives of Black artists with care. And what a deeply useful treat this book isMoore welcomes us into his life-world, modelling his labor of love for Black artists and Black people who are interested in collecting their works of art and material culture. The book functions as an essential introduction to literary, visual, and material culture collecting practices that centers African-American artists born in the twentieth century. This is a welcome addition to the literature on Black art and cultureMoore pragmatically guides us through the terminology, philosophies, and histories of African-American artists and the people and institutions that collect their artwork. The organizational composition of the book will likely strike readers; one Black artist is explored for each decade from 1900 to 1990. Moore begins with Norman Lewis and concludes with Tschabalala Self, introducing a diverse range of Black artists working with disparate mediums in between these two examples. The Black Market simultaneously functions as an accessible introduction to art collecting, a history of modern and contemporary Black art through major artists from different generations, and an example of art historical analysis rooted in the experiences and philosophies of the artists themselves. Moore reminds us through his research practice that oral histories and close reading of artworks are as important as collecting the material artworks themselves. If we are to take heed of Moores invitation into collecting, archiving, and learning about Black artit begins with a meticulous engagement with The Black Market.