British institutions are taking a renewed interest in Black artists. Collaboration is growing, says Aurella Yussuf - but will it be broad enough and sustained enough to make positive change?
'From commercial galleries to public arts institutions, the last year has seen a flurry of interest in Black artists who have been overlooked by the industry for decades.
National museums and galleries in Britain are keen to respond to criticisms about the relevance of collection and exhibition policies, with calls to “diversify” and “decolonize.” Working with Black artists who are now well known in spite of the doors that have been closed to them for decades is an easy way for museums to address these criticisms. However, it is a quick fix for an industry that offers little support for young and emerging artists, particularly those who come from marginalized backgrounds. The UK is lacking in specific art institutions that nurture and support young Black artists on an ongoing basis — the few inroads that were made during the 1980s were quickly absorbed into the “multiculturalism” of the 1990s. Funding cuts disproportionately affected Black artists and Black women in particular, and arts organizations intended to redress the imbalances of representation became homogenized spaces for all ethnic minorities. A handful of younger Black artists saw success during this time, namely Chris Ofili and Steve McQueen, partially because of their association with the Young British Artists of the 1990s , but this did not have a ripple effect into the wider industry.' ... Keep reading on Hyperallergic
'From commercial galleries to public arts institutions, the last year has seen a flurry of interest in Black artists who have been overlooked by the industry for decades.
National museums and galleries in Britain are keen to respond to criticisms about the relevance of collection and exhibition policies, with calls to “diversify” and “decolonize.” Working with Black artists who are now well known in spite of the doors that have been closed to them for decades is an easy way for museums to address these criticisms. However, it is a quick fix for an industry that offers little support for young and emerging artists, particularly those who come from marginalized backgrounds. The UK is lacking in specific art institutions that nurture and support young Black artists on an ongoing basis — the few inroads that were made during the 1980s were quickly absorbed into the “multiculturalism” of the 1990s. Funding cuts disproportionately affected Black artists and Black women in particular, and arts organizations intended to redress the imbalances of representation became homogenized spaces for all ethnic minorities. A handful of younger Black artists saw success during this time, namely Chris Ofili and Steve McQueen, partially because of their association with the Young British Artists of the 1990s , but this did not have a ripple effect into the wider industry.' ... Keep reading on Hyperallergic