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Given the buying and selling of art, museums are involved in massive wealth transfers. They are, in a sense, ideological centers that record moments of history and represent societal views. They are repositories that can serve educational purposes, provide visitor enjoyment, and give artists exposure and recognition. Black artists and their work have not been widely recognized by museums.

One study found that White male artists dominated museum acquisitions. “An analysis of more than 40,000 works of art detailed in 18 major U.S. museums' online catalogs found that 85 percent of artists featured are [W] hite, and 87 percent are men.” (1) In a ten-year study from 2008 to 2018, “less than three percent of museum acquisitions over the past decade have been of work [by] African American artists.” Black artists have routinely been shut out of museums whose leaders and boards are often comprised of Whites (2). Black artists have consistently voiced their anger about museum erasure and non-recognition.

Museums, whether by ignorance, omission, or the procurement choices they make about Black artists and our subject matter, can contribute to forms of racist capitalism. “Racial capitalism - the process of deriving social and economic value from the racial identity of another person - is a longstanding, common, and deeply problematic practice.” (3) Examine this statement from the Art Institute of Chicago as they detail how sold artwork is classified. “Proceeds from the Sale of Art Objects are recognized when the artwork is sold and are classified as non-operating revenues. For the years ended June 30, 2023 and 2022, approximately $200,000 and $3.9 million, respectively, were recognized as proceeds from the sale of art objects.” (4) Essentially, museums and collectors find ways to monetize the creative fruits of the person who produced the work. This monetization practice has happened to Blacks, Native Americans, Latinos, and other artist members of historically minoritized groups.

Eldzier (el-d-zeer) Cortor was a gifted and prolific artist whose work captured the grace, dignity, and beauty of African American women. Despite his extraordinary talent and nearly century-long life—he passed away at age 99 in 2015—Cortor faced a lifetime of uneven recognition from the very institutions meant to honor artists. His career was marked by marginalization and exploitation, a reflection of broader systemic barriers that Black artists have long confronted in the art world. This reflection honors his legacy and invites us to consider how many other voices remain overlooked.

Painting the 20th Century: Black Artists | The New York Times

https://youtu.be/ej8WY9up33k?si=i1nfB8OfT1otQGHj

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The history of loneliness is as complex and evolving as human society itself. While the feeling of loneliness has likely existed since early human communities, our understanding of it—and even the word itself—has a more recent history.

According to recent Gallup data in 2021 and 2022, nearly 1 in 4 men aged 18 to 29 report feeling lonely. That’s 24%. And here’s the kicker—this rate has been rising over the past decade. Social isolation, fewer close friendships, less emotional intimacy with peers—these are just a few of the patterns showing up.

Some of this loneliness has to do with societal expectations. Men are often taught to be independent, stoic, and strong. But those messages can become barriers when what we really need is connection, vulnerability, and support.’

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"Transforming Minds with Dr. Brian"
Hosted by Dr. Brian Ragsdale, Psychologist

Blending research, creativity, and education to explore how personal stories intersect with larger systems, shaping how we think, feel, and connect.

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