"ART" - June 2021 - A Publication of Pigment International

PIGMENT INTERNATIONAL MESSAGE FROM THE EDITOR PATRICIA ANDREWS-KEENAN

FINDING BLACK JOY

I’ve been thinking a lot lately about what we’ve lost. How could we not? We’ve lost family, friends, and loved ones due to COVID. We’ve lost Black lives because of police malfeasance, too many to comprehend. And the mental anguish associated with the current racial reckoning seems never ending. Even our anniversaries are fraught. The first anniversary of George Floyd’s death. Juneteenth is a reminder of the two years of freedom stolen from us when slavery ended.

The 100th anniversary of the Tulsa Massacre is heart-wrenching, even more so because of the efforts to discredit it as part of history that demands recompense.

Yet, in my conversations with artists, gallery owners, collectors, and others we all agree it is time to grasp some Black joy from this miasma caused by these colliding disasters. It’s indisputable there is so much joy to be derived from art. My very first post-vaccination trip was to Atlanta to visit artists and galleries. I quickly followed that up with a visit to New York. So much art. Grief and Grievances at the New Museum; Sandford Bigger’s sculpture Oracle in Rockefeller Center; the murals of Harlem. Being in the presence of so much life affirming art, talking art, and yes, buying art has been soul-satisfying To talk with Jamelle Wright (featured on the April cover of ART) and Charly Palmer and gallerists September Gray, September Gray Fine Art, and Oton Atim Annette, Calabar Gallery, was akin to immersing myself in Black resilience and joy. I think Palmer summed it up best for me, perhaps for you too, when he said, “Stop questioning the spirit and the message, and go for it.”

You can hear his entire conversation with Pigment International™ on our YouTube Channel http://bit.ly/PINTLYouTube. His was our first Pigment Art Talk.

I hope you are getting out as well and I hope you’ll see some art when you do, perhaps one of the artists featured in this edition of ART. Artists like Pamella Allen, in New York. She’s an artist, teacher, photographer, author, and installation artist. And she’s loving doing it all. The Continent is brimming with more artists, museums, and art events than during any time in history, and London-based author Elisabeth Prah lays out for us why you must experience West African art now. How do Black members of the State Department’s diplomatic corps commemorate the United Nations International Decade of People of African Descent? With art of course. Lastly, read how Jamaican immigrant, Canadian raised, Sean Green, CEO of Arternal, helped to move the staid art industry to use tech tools to track how works move within the art ecosystem.

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We all need family, friends, and faith to get from where we are now, to what comes next. And that does not mean a return to what was. What we need is to push forward to what comes next, to better. When we next come upon these anniversaries, they will be tempered by the enlightenment we’ve gained, the progress we made, the restitutions made, the reconciliations, and the joy we are stepping into.

Cover art by Sena Avoke

How

Mysticisym, Storytelling, Prose

shape the art practice of

Pamella Allen

by Patricia Andrews-Keenan When Pamella Allen says she’s from a long line of ‘resilient, proliic, and mystic storytellers’, the Jamaican born artist’s lineage bears it out. Her grandfather, Ivanhoe, “spoke the language of nature” she says, and her father’s grandmother was a medicine woman. “They understood the mystic arts, including the ‘dark arts’, which govern all that happens within the earth ea and under the oceans.”

Relocating to New York, took Allen, then ve, far from her grandparent’s teachings about nature and mysticism. A loss she does grieve, yet that kinship is embedded in her consciousness, and was key to her developing her own language via the visual arts.

Allen lost her mother as a young girl, and she readily acknowledges that ‘death and impermanence’ have been deening factors in her work. Nature, she says speaks both to her and through her practice. “I speak visually in seeking out questions about the mystic and the union and communion of all things,” she says.

The Brooklyn-based artist says she can't think of a time when she wasn’t ‘scratching something’ and as the youngest she was wont to separate herself from everyone, preferring to be alone with her creating. Her family she says made it a point to give her art supplies for her birthdays and Christmas, both to make her happy, and keep her quiet. “ There was a point when everything was changing in my life and I didn't understand what everything was, what I was supposed to remember, where I was supposed to be,” the artist says. She found solace creating while sitting under a particular tree, the quiet was calming for her and allowed her to remember those long-gone family members, and most importantly it gave her a sense of purpose. ‘It gave me a certain level of control and I came to understand that as a tool. You get that endorphin rush when creating, and then you do it again, and you do it again, and I’d go back to that place that felt good, that grounded me.”

Early on she began creating posters and graphics for work functions and events for her family, and she did her rst oil portrait in the 80s while in high school. Yet, she also had a fascination for words, that grew equally alongside her art. Words are always incorporated into her works, even when you can’t ca see them. Many times, she paints over the words which ‘embeds them in the piece’ she says. Her dad was a writer with a love for literature, including Dante’s Inferno, which he would have her read. Of the unexpected tome, she says, "It has depth, and everybody nds their personal relationship to it. I absolutely love the text and the hieroglyphics,” she says.

The hummingbird, a mythic bird that connects the material and spiritual world, is the logo for her practice, Pamella Allen Fine Art. Allen uses artifacts from her life experiences pulled from memory and observation in her multi-faceted practice that includes mixed media paintings, printmaking, sculpture, Asked how she works in so many mediums, she says, “I don't know how to work any other way.” After 30 years of working as an artist and being told you have to do one thing, or you do too many things, I said, tough, I’m doing this my way. It’s just who I am.” And even her canvases are not traditional. Her series of mandalas are round canvases using the circle, not in the literal Buddhist interpretation, but rather as a universal geometric shape that represents the innnite. And yes, she incorporates words into the pieces. In one there is a poem she penned called the “Innnite Electric.”

The self-study is another constant in Allen’s practice. In her work Life is Mystery Love, the artist is featured with her back to the viewer, existing, in her words, ‘somewhere between what is known, and the mystery of what is unknown’. She employs a technique known as ‘encaustic’ or hot wax painting, in which she uses heated beeswax to which she adds colored pigments. The words Life is Mystery love & A peace of the Soul are repeated throughout the black, gold, and white portrait.

“I want to give the viewer a place to just be, for a moment, a place to reeect on the images and words and memory, a place that brings joy. That to me is really beautiful.”

Allen is also an educator. She has engaged in art residencies for the past 10 years both in the states and in Africa. Of her work in underserved communities she says, students are hungry for the engagement that art offers. “And even when they don’t have the right tools, or don’t have computers, they want to engage, they want to create, whether it’s illustrations, graphic design, or other forms of art.”

Currently, Allen is working in mixed media collage, in a series she calls Seven. Her installation work she says is designed to capture what “sweet liberation” feels like now. “I want to give the viewer a place to just be, for a moment, a place to reeect on the images and words and memory, a place that brings joy. That to me is really beautiful.”

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Allen’s work is currently on exhibit at Calabar Gallery 2504 Frederick Douglass Blvd, New York

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Artists: P. Wamaitha Ng'ang'a, Alexandre Kyungu Mwimbalwe , Winfred Nana Amoah, Donchellee Fulwood and Pamella Allen.

CALABARGALLERY AFRI CAN,CARI BBEAN ANDAFRI CAN AMERI CAN ART 2504FREDERI CKDOUGLASSBOULEVARD,HARLEM,NY10030 6469645062 WWW. CALABARGALLERY. COM I NFO@CALABARGALLERY. COM FB/ I NSTA/ TWI TTER:CALABARGALLERY. COM SERVI CES:CURATI ON, ARTLI CENSI NG,AUCTI ONS, TV/ MEDI APLACEMENT,EXHI BI TI ON,ADVI SORY,DEALI NG,

Photo Credit - Greyson Tarantino

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In this interview Green shares what drives him, and how his Jamaican heritage, and Canadian upbringing, led him to a career in tech and the creation of a platform that is revolutionizing an otherwise staid industry.

Interview is lightly edited for clarity.

Q: Who is Sean Green, how would you describe yourself to a stranger?

A: Sean is energetic and super positive, and a hustler. My work ethic comes from my mom and seeing her day in and day out. I want to see people that look like me thrive and survive. I do wear my culture on my back. For me it is multifaceted, I am very focused, and believe in equity.

Q: I want to understand how this looks for our culture and how it cultivates the next generation of artists. How do you feel your background has influenced you to do what you are doing now?

A: There is always the joke that Jamaicans have ten different jobs. I was born in Jamaica, where my mother is from, but I grew up in Toronto, Canada. My mom’s mom died when she was five, and her dad died when she was 16, so she had to fend for herself. She was self-assured, and took on adult responsibilities at an early age. I embody aspects of her, from her will to win and her determination to succeed, coupled with her good-hearted nature. She was the first entrepreneur I ever knew. She was cleaning the homes of doctors, lawyers, and dentists. I was able to watch her build her business. It is no coincidence that I have a client relationship management company in the art world.

Q: What is a personal antidote that really connects you to the art world?

A: Art dealers will tell you that it’s all about the relationship, it is how the business is driven and relationships are how I got to where I am today. Seeing my mom as a businesswoman at such an early age, and as a father to a son and two daughters, I think it is important to change the game for women. My daughters have to grow up in this world. I am very focused on what I have to do to make the path they have to trod easier.

Q: How did these prior opportunities get you to ARTERNAL? A: My “failures” showed me where I needed to be, and what my role in this world was, but I think empathy got us to where we are now. My friend let me know she was going to become an artist full time. Before that, I didn’t know any artists. Our focus at ARTERNAL is on the commercial side of the business.

Q: Your work ethic has been multidimensional but in regards to this CRM platform what makes it similar to who you are, and different than what is currently out there?

A: Back in Toronto one of my advisors told me ‘time is your most precious resource’. That has a direct monetary correlation on a business, yet it can sometimes be hard for people to grasp. We were at the New Museum Incubator in NYC and I was observing how art dealers and galleries worked. Our first question to them was “where is your CRM”? Every other company outside of the art world has client relationship management tools so how are you functioning? The responses didn’t align with the scale of business some of them were conducting.

Q: What is the workflow of the art professionals you are interacting with?

A. If you are doing on average five art fairs a year; six to eight exhibitions out of your gallery; and traveling around the world, yet relying on older practices, it isn’t the most efficient way to achieve your goals. In deep dives with dealers, I shared that disruptions in their workflow resulted in wasted time. if you redesign your workflow and how you get things done, then you can spend the time you save with your client, building new relationships and driving revenue. At ARTERNAL we focus on how you get the job done through streamlining.

Bespoke emailing is extremely key to this effort. You want to optimize the workflow while interjecting a personal touch.

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Q: What is your take on data, and how ARTERNAL optimizes it?

A: Data is the future. We have to understand the engagement behind why and what we are doing!

Everything is digital and digital means data. For us, we want to help people own their data, make better business decisions through the lens of data, and take less time to get the job done. In the art world that means more time with your client.

Q: The art world is very old school in regards to how we go about projects. The only CRM company that comes to mind is Artbase. How are you pushing this new way of thinking?

A: Cloud storage is the standard today, yet how data is stored in the art world has barely changed. We need to change the dialogue of CRM in the art world and then connect that into inventory management that supports the asset side of the business.

Q: How do you see this communication playing out?

A: We see this as two-way communication.

You can see activity related to the artwork as well as client activity. This provides a 360 degree view of what’s happening, which allows you to understand the business better.

Business automation tools are extremely important.

Q: Do you feel like this is specific for small, mid, blue-chip galleries. Who is the target audience?

A: In New York, we visit lots of smaller galleries on the lower east side, and for them, there is an issue of being at scale with the blue-chip galleries in terms of information and organization. We have to create tools for these people first.

Q: Regardless of the size of the galley, it appears leveraging data has been overlooked. How is ARTERNAL evolving to meet the need?

A: As we started testing the waters we realized that the larger galleries were working identically to smaller galleries, but they just had more people to get the job done. Employing our data-driven approach we now have blue-chip galleries and auction houses as clients. What is key for us is building infrastructure for the ecosystem to operate on.

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Q: Can you elaborate on the different facets of the art world ecosystem?

A: If you think about different players there are auction houses, private sales, the underserved collector, and the artist. This whole ecosystem has very old-school ways of operating. If we can build great tools for these disparate constituents then we can calibrate the marketplace for these interactions through the lens of data and help people connect more seamlessly to get business done.

Q: How has the COVID-19 pandemic influenced the course of ARTERNAL? 24 months ago, I was thinking about how to tighten up our businesses. How can I become more aligned with what shifts the needle? How can I operate more efficiently? During the pandemic, people were forced to work differently while trying to get the same job done. You have no art fairs or openings to attend. The constant was that the art world trades on information, and that information is driven by data. Data drives transparency and now that we are operating in an online space there is an even greater need for transparency, especially in pricing. All this plays into ARTERNAL sweet spot. We have built better tools for working, for the cloud, and for team assignment distribution.

Q: What did you see as a central disruptor for these gallery professionals as it pertains to ARTERNAL? A: Understanding your data and communication tools which are typically housed in the same place but are now in different locations. Now you need one central unit of information, that is what is key. People were coming to us wanting to know how to work better.

Q: What’s in store for ARTERNAL now, with the pandemic slowing and the world opening?

A: We see light at the end of the tunnel with the world opening up. But being at the epicenter of the art world we also see smaller galleries closing while major galleries aren't leveraging newer and better tools. ARTERNAL is built on working smarter and providing you the tools to understand your client base. We need to understand the new buyer and their habits. Our mission is to enable our constituents to understand how to connect today.

Q. Lastly, which artists are you watching now, both established and new?

A: Rashid Johnson @rashidjohnson (Established) and Monica Ikegwu @monica165 (New) IG Sean: @sean_arternal IG ARTERNAL: @_arternal Twitter Sean: @sean_arternal

Twitter ARTERNAL: @_ARTERNAL_ LinkedIn Sean: https://www.linkedin.com/in/seanartgreen LinkedIn ARTERNAL: https://www.linkedin.com/company/arternal

PIGMENT ARTISTS

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SOCIAL JUSTICE, ART, and the

INTERNATIONAL COMMUNITY

POST GEORGE FLOYD

by Alexandria J. Maloney, Britney Paddy, and Giggs Kgole

Art is an outlet for communication, expression, imagination, and technical skill.

Artists across cultures and eras evoke emotions, examine history, explore experiences, and can ultimately advance civil and social movements using different artistic means.

Currently, the Black Lives Matter movement has prompted an expansion of art-focused initiatives to support Black people, document and share Black history, and explore Black experiences. Illustrative of this is street art or murals, powerful artistic works rendered within community spaces. Murals are now prevalent in both urban and rural areas, in an effort to amplify social justice messages to broader audiences. Additionally, art galleries across the world are constructing exhibits to highlight social justice messages. To today’s global civil rights movement, one can reflect upon past and understand today present Black art that tells our story.

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Giggs Kgole, Boshielo, Anaglyph, Oil, Acrylic fabric & mixed media on Canvas 230cm x 150cm, 2020. Can be viewed with 3D glasses.

In March 2021, members of the African diaspora diplomatic and arts community including UNESCO, UN Global Communications Office, Elizabeth Foundation for the Arts, Create2030 and others joined a historical program commemorating the United Nations International Decade of People of African Descent entitled, “The Struggle, The Beauty, The Hope,” featuring a special presentation of the Say My Name art exhibition. To date, there has been no formal convening of the United Nations global diaspora community; this powerful art-centered program may serve as a catalyst for future coordination and policy agenda setting at the international level.

South African-born visual artist, Giggs Kgole, has been inspired by the movement. Kgole’s larger than life interactive masterpiece, titled Boshielo, uses his signature anaglyph technique to explore the never-ending beauty of Black resilience. Boshielo is both poetic and poignant as it captures the true essence of black stories through past and current day adversity. Kgole’s mixed media masterpiece pays tribute to #SayHerName, a social movement that raises awareness of how the Black female form has been sbject to globally. The theme victimization by police brutality and anti- Black violence globall draws a similar thread, within the same masterpiece, where he ominously alludes to gender-based violence taking place in South Africa. In his artwork and life, Kgole acknowledges the crucial responsibility that young Black men have to themselves and their peers to protect Black women and end systemic gender violence, as well as preserve Black history for future learning opportunities. Kgole notes that Boshielo is a historical archive and a reminder for future generations, “Do not let history repeat itself! Do not repeat mistakes!

Please, stop killing out mothers.” Furthermore, Kgole states, “I feel it is my responsibility and duty, as a young Black man, to remind my peers and the world, that we cannot exist without our mothers.” -- Kgole, nicknamed the Mighty Ancestor of Limpopo.

Art has the ability to inspire solidarity, prompt conversation and discourse, and advance civil and social justice movements. The international community is presented with an opportunity to amplify voices through artistic means in a way that is respectful and transparent, therefore allowing Black artists to have the creative freedom to showcase their art --or in other words tell their story --without constraints. Supporting Black artists and showcasing Black art is an impactful way of standing in solidarity with the Black Lives Matter movement and cultivating change. To strengthen your own commitment to the movement and activate your senses to the cause, seek out Black art and allow yourself to read its story.

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By Elisabeth Prah

Zeitz Museum of Contemporary African Art in Cape

Exposure fragments of Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA)

SOCIAL JUSTICE ART Many Came Back, 2005 El Anatsui, Nsukka, Nigeria Aluminum (liquor bottle tops) and copper wire, H: 84 in, W: 115 in

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Juneteenth Day of Observance 2021

“Juneteenth is a day of profound weight and power.”

President Joseph R. Biden, Jr.

I N T E R N A T I O N A LT M

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