The couple's private collection of works by Black diasporic artists is on display through the summer.
, Brooklyn Museum’s retrospective of the portraitist’s career. As he has told the story multiple times before, Beatz noticed that no Black collectors were listed as owners of the pieces on exhibit. So he asked Wiley about it.
“He was already over it,” Beatz recalls. According to him, while Wiley would have loved for his work to be owned by more Black collectors, he had resigned himself to the fact that “our culture wasn’t messing with him.” The interaction led Beatz, who had been buying art for about 15 years at that point, to purchase one of the largest pieces in the show. Now that work, Wiley’san eight-foot mural featuring a sitter in a zip-up hoodie, fitted cap, gold Adidas sneakers, and low-slung baggy jeans that reveal the top of his Hanes briefs as he lies, twisted in an almost sensual position, sits as a centerpiece of sorts for a new Brooklyn Museum show.
“That work has so much in it that it would take me a long time to go through things, but overall he is thinking about knowledge, history and culture and the incredible nuances that we think we know and that we ultimately never know completely,” Gant says. “Bread, Butter, and Power” opens a section of the show titled “Giant Conversations,” which addresses issues faced by Black people throughout the 20th and 21st centuries.
But the show’s true power is in its intention. In one corner, hung salon-style, is a series of beach and quarry landscapes from contemporary American painter Barkley Hendricks. They are lesser-known works than his large-scale portraits. But, according to Hendricks’ wife, they were some of his personal favorites.Instillation view of Barkley Hendricks, oil on linen.
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