For Antwaun Sargent, shifting the balance of power towards artists isn't a fleeting trend, but rather a generational effort to dismantle outdated hierarchies and rebuild them around creators.
Sargent's success is built on his philosophy that true representation takes time and dedication. He rejects the label "Art Star Maker" insisting that it's the artists he champions who deserve recognition. By putting their visions to life, Sargent believes in giving more power directly to artists. His approach has transformed exhibitions, from Virgil Abloh's "Figures of Speech" at the Brooklyn Museum to "Barkley L. Hendricks: Portraits at the Frick," showcasing Black creativity and expanding cultural value.
Sargent's influence extends beyond his gallery work. As a writer and curator, he has reframed how we engage with art, race, and representation through publications like The New York Times and The New Yorker, as well as books such as "The New Black Vanguard: Photography Between Art and Fashion" and "Young, Gifted and Black: A New Generation of Artists," which he edited.
Power dynamics in the art world are shifting, with technology transforming ideas of artistic authorship. Sargent believes that true inclusion requires long-term commitment. He continues to focus on making great shows possible, supporting artists like Lauren Halsey, Rick Lowe, Tyler Mitchell, Cy Gavin, and Derrick Adams. His role is to ask how he can help them produce the best work possible.
Looking ahead, Sargent sees the evolution of the art world as greatly exaggerated, with his focus being on putting more power in the hands of artists. He envisions creating an ecosystem that broadens participation and expands understanding of cultural value.
The success of an artist is not solely dependent on external validation; it's a personal achievement. Sargent believes the art world needs to keep its word on promises of diversity and representation, acknowledging that this work requires generational commitment.
For Sargent, expanding what's possible inside the white cube means showcasing diverse artworks and giving artists the freedom to express themselves without constraints. Working within a mega-gallery hasn't altered his ideas about equity; it's essential for more galleries to prioritize it.
The collector base for young artists of color has exploded, but Sargent advises against market overexposure, encouraging them to build careers over time. His written work informs his curatorial practice, emphasizing the importance of taking Black artists seriously and at their word. By doing so, he rewards the viewer with a deeper understanding of art's possibilities.
Sargent's recent exhibitions demonstrate that there are no boxes when it comes to Black art; it's whatever the artist says it is. Digital culture and social media are transforming how we perceive authorship and artistic labor, but Sargent hopes that these platforms won't replace direct human connection with art.
Sargent's success is built on his philosophy that true representation takes time and dedication. He rejects the label "Art Star Maker" insisting that it's the artists he champions who deserve recognition. By putting their visions to life, Sargent believes in giving more power directly to artists. His approach has transformed exhibitions, from Virgil Abloh's "Figures of Speech" at the Brooklyn Museum to "Barkley L. Hendricks: Portraits at the Frick," showcasing Black creativity and expanding cultural value.
Sargent's influence extends beyond his gallery work. As a writer and curator, he has reframed how we engage with art, race, and representation through publications like The New York Times and The New Yorker, as well as books such as "The New Black Vanguard: Photography Between Art and Fashion" and "Young, Gifted and Black: A New Generation of Artists," which he edited.
Power dynamics in the art world are shifting, with technology transforming ideas of artistic authorship. Sargent believes that true inclusion requires long-term commitment. He continues to focus on making great shows possible, supporting artists like Lauren Halsey, Rick Lowe, Tyler Mitchell, Cy Gavin, and Derrick Adams. His role is to ask how he can help them produce the best work possible.
Looking ahead, Sargent sees the evolution of the art world as greatly exaggerated, with his focus being on putting more power in the hands of artists. He envisions creating an ecosystem that broadens participation and expands understanding of cultural value.
The success of an artist is not solely dependent on external validation; it's a personal achievement. Sargent believes the art world needs to keep its word on promises of diversity and representation, acknowledging that this work requires generational commitment.
For Sargent, expanding what's possible inside the white cube means showcasing diverse artworks and giving artists the freedom to express themselves without constraints. Working within a mega-gallery hasn't altered his ideas about equity; it's essential for more galleries to prioritize it.
The collector base for young artists of color has exploded, but Sargent advises against market overexposure, encouraging them to build careers over time. His written work informs his curatorial practice, emphasizing the importance of taking Black artists seriously and at their word. By doing so, he rewards the viewer with a deeper understanding of art's possibilities.
Sargent's recent exhibitions demonstrate that there are no boxes when it comes to Black art; it's whatever the artist says it is. Digital culture and social media are transforming how we perceive authorship and artistic labor, but Sargent hopes that these platforms won't replace direct human connection with art.
. As someone who's been around for a bit, I've seen some galleries try to just jump on the diversity bandwagon without really putting in the effort to make a change 
. But Sargent's approach is different - he's not just talking about it, he's doing the work and making sure that artists of color are getting the recognition they deserve 
.
. It's easy to get caught up in the excitement of a new trend or exhibition, but Sargent knows that real change takes time and effort 
. And I think it's really refreshing to see him prioritize the artists over the galleries themselves - like, let's be real, some galleries are more interested in making a profit than they are in showcasing diverse art 
.
. His books and publications are like a wake-up call for people who think that diversity is just a superficial trend - it's not, it's a fundamental shift in the way we think about art and representation 
. And I love how he's always pushing back against the idea that technology will replace human connection with art 
. Like, can't we still have both? 
. I mean, just because some guy like Antwaun Sargent is trying to empower artists doesn't necessarily mean it's going to change the game forever. There are always going to be power dynamics at play in any industry, and art is no exception.
. Can we really say that digital culture is going to revolutionize the way we experience and understand art? I'm not convinced 
.
Power should be in the hands of artists not just collectors or galleries 
i mean, some ppl say he's just trying to shift the balance of power and i'm like, okay sure