ニューヨーク・タイムズのインスタグラム(nytimes) - 6月27日 22時06分

In the last decade, major museums have amped up efforts to re-examine the past, unearthing the work of artists who had previously been excluded. During this newfound institutional interest, critics and historians have described artists of color as “overlooked,” while the more difficult truth is that they were willfully ignored. But if such artists were, until recently, effectively written out of art history, black dealers have remained almost entirely absent from the narrative of contemporary art. A black-owned gallery is to this day an exception, though in the last few years, a small group of black gallery owners and directors — taking cues from an even smaller group of forebears — is working hard to prevent the art world from repeating its mistakes. But in 2018, even as black artists enjoy growing acclaim, American art continues to privilege the perspective of white men. The abstract painter Peter A. Bradley, with the support of the Houston-based collector John de Menil, put together what is widely considered one of the first racially integrated art shows in the country’s history in the ’70s. And somewhere between the DeLuxe Show and today, America was forced to confront its longstanding misperceptions on the value of black culture. @seandonnola took this photo of Peter for @tmagazine. Visit the link in our profile to read more.

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