A Burgeoning Force for Change
Meet five young women reimagining the art world
“You can't sit around waiting for someone else to say who you are—you need to write it and paint it and do it.”
– Faith Ringgold
An Article by Rhea Khanna
Turning the page on the centuries-old definition of the art world begins with the voices of new narrators. Narrators who bring with them a brand-new vocabulary and storyboards for chapters rooted in the now.
At the forefront of this charge are trailblazing young women who, although as a group have been historically engineered as absent from the pages of art history, are now staking their claim on a vibrantly inclusive future and revolutionizing the ways we experience art. From founding initiatives exploring diverse art histories, to curating feminist art exhibitions, to placing the art of living Black artists into flourishing Black art collections, here are five young women who are not only making their mark in the art world, but are carving their communities’ stories into stone.
As we look to these young women solidifying the foundation for a new era of discourse and action within the arts, I’m reminded of the words of the inimitable Faith Ringgold: "You can't sit around waiting for someone else to say who you are—you need to write it and paint it and do it.”
Alexandra Steinacker Clark
Alexandra Steinacker Clark
© Jennifer Moyes
“…art can educate, enlighten, uplift, be cathartic, and so much more, and I want to bring that closer to people.”
– Alexandra Steinacker Clark
“I was always more interested in creative activities since I was young,” says the American-Austrian art historian, curator, and writer. "I used to draw with my dad on the weekends and participated in drama class when I lived in the United States. When I moved to Austria, it was my high school art history professor—an amazing local Salzburg artist, Gerold Tusch—who really got me interested in the themes of art history and art discourse."
Nurturing her early creative inclinations into one of the most dynamic career starts, Alexandra is busy carving an omnivorous space for herself as the founder and host of the refreshingly approachable, perfect late night/coffee break/listen-while-you-cook podcast, ‘All About Art’, as well as the C/20 Association for International Curatorial Practice, dedicated to bringing art closer to communities. On completing her BA in History of Art at University College London, Alexandra dived right into her MA in Arts Administration and Cultural Policy at Goldsmiths University while continuing her work at Sotheby’s Auction House. Filling the rest of her time as an independent curator and an Ambassador for MTArt Agency, Alexandra explores her interests in contemporary art, specifically feminism, technology, and artificial intelligence in artistic practice. Last October, Alexandra curated an exhibition at Offshoot Gallery with works by Othello De'Souza Hartley dissecting the various representations of masculinity in present-day society.
In your opinion, what is the most pressing change that needs to take place within the arts?
Inequality. It's one word that holds a very complex meaning, because it is extremely multifaceted. I am researching gatekeeping and barriers in the arts at the moment, and realize that there are structural and systemic issues, not only when it comes to racial inequality but also class, gender, and geographical inequalities as well. Actions need to be taken and policies need to be changed in order to address them, and this is something I am thinking about and working on at the moment.
What are some goals that you are most excited about?
Finishing my MA is one goal. I graduated from UCL in the summer of 2020 and went directly into my MA at Goldsmiths. I've learned so much and am happy with my course, but will feel really accomplished once I finish this autumn. When it comes to freelance and personal projects, I am excited to see my podcast grow because so far, I have really enjoyed producing it. It’s my own way of contributing to making the arts more accessible. I know there are already some great art podcasts out there, but I feel like mine covers a wide range of art world topics that make it all a little bit less obscure for those who don't work in the field, as well as fun to listen to for those who do.
What motivates you to stay dedicated to your work?
I'm quite a political and opinionated person that tries to see the bigger picture, and for me, I think that arts and culture is something that could improve the quality of life for communities. So I try to keep that in mind when I start projects, but I am definitely still learning. When I go to the National Gallery, the works never fail to bring tears to my eyes—I'm not exaggerating. It's a bit embarrassing sometimes. But what I'm trying to say with this is that art can educate, enlighten, uplift, be cathartic, and so much more, and I want to bring that closer to people.
Are there any contemporary artists you're keeping your eye on?
I will list 10 because I could list many more but will hold myself back:
Betty Leung (UK), Victoria Cantons (UK), Kathrin Isabell Rhomberg (AUT), Tina Graf (AUT), Nengi Omuku (UK), Gretchen Andrew (USA), Claudia Chanhoi (CHN), Claire Luxton (UK), Amber Vittoria (USA), & Delphine Diallo (USA)—but the list definitely goes on.
Alayo Akinkugbe
Photograph Courtesy Alayo Akinkugbe
“Big institutions have both the power and the influence to incite change in the art world, and working with them gives me hope that the arts are heading in a better direction.”
– Alayo Akinkugbe
Founder of the pivotal and change-making platform @ABlackHistoryOfArt, Alayo Akinkugbe is determined to illuminate the contributions of Black artists, sitters, curators, and thinkers, across art historical periods and continents, and to create a magnanimous shift in the arts curriculums of today. While completing her Bachelor's in History of Art at the University of Cambridge, Alayo gleaned the extent to which Black representation was rendered absent in higher education, and was spurred into addressing the unjust exclusion herself. Now captivating a community of over 50,000 followers, Alayo continues to celebrate Black creativity across media and history while collaborating with major art institutions to address historical & institutional gaps. Partnering with Gucci for their recent ‘Northface X Gucci: Pioneers of the Past’ collaboration, Alayo, along with 3 other young curators, was called upon to celebrate the Black image and its representation in art and society, by capturing her own self-portrait wearing the new Northface X Gucci collection.
“I’ve always been an aesthete, but I didn’t really think that my studies or career could have anything to do with art when I was younger because I didn’t make any art myself,” says Alayo, looking back on her art roots. “I chose to do History of Art in my final two years at school, and I took part in a competition called ARTiculation in 2017 when I was 16, for which I delivered a talk on Marie Guillemine-Benoist’s Portrait of Madeleine (then still archaically named Portrait d’Une Negresse, 1800)—that painting was the catalyst really, and after the experience of researching it I knew that I wanted to study History of Art at University, and three years later it was the first image I posted about on @ABlackHistoryOfArt.”
Interested in exploring contemporary art from Africa, in particular West African countries, as well as works by artists in the African diaspora, Alayo hopes to become a curator advocating for more diverse representation and the globalization of non-western art histories.
In your opinion, what is the most pressing change that needs to take place within the arts?
For me the most pressing change that needs to happen is in art curriculums at both school and university level (this extends also beyond the arts, of course). I really believe that the lack of diversity in the arts and lack of awareness of Black artists’ contributions to art history in particular, stems from the fact that people are not exposed to a diverse group of artists at school, while Art History curriculums at university, in my experience at least, tend to be very “canonical.” Doing fine art up to age 15 at school, I wasn’t once exposed to the work of an artist who wasn’t white, and we had a whole 12-week term dedicated to painting like Picasso in 2012. I am sure things have changed a bit now, but I imagine there still needs to be a lot of work done.
What are some goals that you are most excited about?
In the long-term, I would love to see @ABlackHistoryOfArt make a tangible impact on school curriculums, and of course in the art world. I am not sure how I will be able to quantify that, but it is definitely my goal to change things for the better.
What motivates you to stay dedicated to your work?
I think my motivation to keep going comes from the fact that I am continually able to collaborate with institutions that have long been viewed as “traditional,” who I never thought would have any interest in what I do, helping them to highlight the role of black figures in their past and going forward. Big institutions have both the power and the influence to incite change in the art world, and working with them gives me hope that the arts are heading in a better direction.
Are there any contemporary artists you're keeping your eye on?
In Nigeria (my home country), I love the work of Chidinma Nnoli and Nengi Omuku; outside of Nigeria I am constantly drawn to the work of Cassi Namoda and Samuel de Saboia, and I really love the work of Asuka Ogawa, Roméo Mivekannin and Chioma Ebinama. I know these are all painters... but I’ve got painting on my mind at the moment.
Kendra Walker
Image Credit: Arielle Jean
“Underrepresentation is what motivates me. When you look at the bigger picture there is still so much work that needs to be done.”
– Kendra Walker
Writing for major art publications such as Artsy, the Art Newspaper (also known as the holy grail for art enthusiasts and professionals alike), Cultured Mag, and Sugarcane Mag, the unwavering Kendra Walker is an art advisor and writer resolutely driven to highlighting the practices of Black conceptual fine artists, while connecting art with socio-political issues prevalent today. “I studied art and architecture in Europe and fell in love with the rich culture abroad. When I came back to Atlanta, I interned at Arnika Dawkins Fine Art Photography Gallery where I was mentored and introduced to the contemporary art world. As a Black Gallerist, Arnika showed me the importance of representing and supporting Black artists and collectors. This experience is what has inspired the work that I do today.”
Kendra is opening the way for Black collectors by hosting events and collectors’ dinners, fostering dialogues about artists’ practices, and prioritizing the placement of Black art in Black collections. Currently based in Atlanta, Georgia, Kendra leads critical and vital exchange on how we can sustain the careers of living Black artists over a long period of time, and is determined to redefine presumptive views of Blackness in contemporary art.
In your opinion, what is the most pressing change that needs to take place within the arts?
Diversity, inclusion, and education. These are issues that don’t start in the art world but are rather a reflection of years of systemic functioning.
What are some goals that you are most excited about?
Now that Covid restrictions are being lifted, I’m excited to travel and start hosting in-person events centered around Black artists and Black art collectors. I’ll also be in dialogue at select galleries to conduct a few artist talks.
What motivates you to stay dedicated to your work?
Underrepresentation is what motivates me. When you look at the bigger picture there is still so much work that needs to be done. The statistics of museums, galleries, auction houses, etc. are a reminder of this issue. I hope the work I’m doing makes things easier for black individuals after me just like the ones that have gone before myself.
Are there any contemporary artists you're keeping your eye on?
Currently obsessing over Welsh-Ghanaian artist Anya Paintsil. I’m interested in conceptual work by Black artists. Because Blackness is not monolithic, I’m drawn to nontraditional expressions of representational work. What haven’t we seen before? How are these artists pushing the narrative forward indirectly? I’m excited that black artists working in textile, sculpture, and abstraction are getting more recognition.
Mollie Barnes
Mollie Barnes
Photograph Courtesy Mollie Barnes
“Looking at and working with art and alongside artists is my passion, and I am forever grateful that I can call it my job.”
– Mollie Barnes
An independent curator, presenter, writer, artist liaison, arts host, and gallery advisor, Mollie E Barnes is undeniably a force to reckon with. Since the age of 15, Mollie has unremittingly been building one of the most colorful and change-driven art careers dedicated to championing underrepresented artists. With the goal to challenge the colossal gender disparity in the art world, Mollie founded She Curates @she_curates_ in 2020, a platform devoted to uplifting the voices and stories of women & queer artists around the world. She cites, ‘There is progress to be made for equal pay, equal representation and equal respect.’
“I grew up around so many strong women and people in the arts, including artists and my art teachers. They nurtured my interest in artists and art institutions and encouraged me to begin interviewing people, which I did. I was not an artist myself, but saw quickly how artists were often taken advantage of, and given the short end of the stick or sometimes ruled by overbearing galleries.” Nurturing a community of over 20,000 followers, Mollie is continuing the START Grant she launched through She Curates last year, by now collaborating with Art Girl Rising to raise funds towards artists with caring responsibilities. Committed to putting artists first, Mollie is also working on a host of exciting new projects, including a series of shows with The Daniel Raphael Gallery, a continued collaboration with Art Girl Rising for "The Conversations" on YouTube, launching “The Clovermill Annual Residency” with Clovermill Artist Residency featuring Jennifer Smith and Nettle Grellier, and working with CURA Art on The Residency next year. Most recently, her exhibition Un | Veiled opened at Brockett Gallery in collaboration with them, and features works by Eleanor May Watson and Tanaka Mazivanhanga.
“Looking at and working with art and alongside artists is my passion, and I am forever grateful that I can call it my job.”
In your opinion, what is the most pressing change that needs to take place within the arts?
As within our society, there are so many inequalities in the art world, including discrepancies in gender that my platform and curation highlights.
A huge statistic is from Artnet: ‘Only 13.7% of living artists represented by galleries in Europe and North America are women.’
So many jobs in the art world are seemingly unreachable if you aren’t from a particular or affluent background. It’s often about who you know and those circles can be at best a little intimidating, and at worst impenetrable.
People with disabilities and accessibility needs are sometimes a last thought or not a thought at all, and classical education is often valued above all others.
So many institutions and brands see vital global movements as moments rather than long-term need to change and work towards equality. Especially on social media, movements are often regarded as trends to jump on, and can be ungenuine.
There are so many issues surrounding artist parents within the arts, and those with caring responsibilities. Check out Hettie Judah’s write up about steps for institutions to effectively and respectfully work with these artists.
What are some goals that you are most excited about?
A goal is to one day curate a series of nomadic exhibitions around the UK and beyond. I’m a big believer in decentralis1ation of the arts, not being a Londoner myself, and being able to take an exhibition around the UK would be a dream. I’d also love to take on a team and work with more professionals in the arts with a similar dream for the future of the art world.
What motivates you to stay dedicated to your work?
The artists, definitely.
Are there any contemporary artists you're keeping your eye on?
This is going to be a long list! There are so many artists whose work I am constantly looking out for, inspired by, and in awe of! We are living in such an exciting age of contemporary art—Sahara Longe, Chidinma Nnoli, Emma Prempeh, Tanaka Mazivanhanga, Eleanor Watson, Sara Anstis, Ayobola Kekere-Ekun, Lily Kemp, Eleanor Johnson, Jenna Gribbon, Esiri Erheriene-Essi-Essi, Nicole Coson, Young Lim Lee, Kristina Chan, Ania Hobson, and so many more!
Ashleigh Smith
Ashleigh Smith
Image Credit: Corey Pilson
“Our human experience is complex, and art has this unique way of helping to express the inexpressible.”
Steering the art world toward empathy, accessibility, and community care, Ashleigh Smith is a vibrant propellant in the movement for inclusivity in the arts. A curator, artist, and rising art historian, Ashleigh founded The Curator’s Pick (TCP), a pioneering collective for young, up-and-coming curators of color invested in diverse art histories. Thoughtfully building spaces for critical exchange and free exploration, Ashleigh and her team at TCP are fostering a new generation of art practitioners rooted in collaboration, community, and courageous action.
“Art has always been a really significant part of my life, but I'd say art history specifically became important for me during my senior year of high school. I took a really wonderful AP Art History course and from there I fell in love.” Eventually heading to Duke University, Ashleigh met her soon-to-be mentor, Dr. Chandra Guinn, who ran the university’s Black Culture Center and introduced her to curatorial work. Curating her first show during her freshman year at Duke led Ashleigh to fully embrace her love and advocacy for an equitable world of art. Recently completing her internship as the McDermott Intern of Contemporary Art at the Dallas Museum of Art, Ashleigh has continued to organize enlightening independent curatorial projects, including her work with Black Art Sessions (BAS) and her recent exhibition, titled With Care--No Longer, that “documents the loving act of remembering.” Dedicated to exploring Black feminist art histories, Ashleigh is now set to embark on her Master’s at Williams College and is sure to be seen expanding the playing field and holding the door open for young students of color as she paves the way.
In your opinion, what is the most pressing change that needs to take place within the arts?
There is so much that needs to be done, and a lot of really wonderful work already taking place. I'd say, though, a problem I'm noticing is a breakdown throughout the professional museum pipeline.
Speaking specifically about candidates of color and other marginalized people pursuing the field, there are all kinds of hurdles to overcome—however, an especially pressing obstacle is classism and some of the elitism that's embedded into the very nature of the field. While there has been a lot of really great work done lately when it comes to initial diversity fellowships for early career professionals, we see many of those students struggle to take the full leap into a curatorial career. Whether it be because they get stuck in the revolving door of internships and fellowships, or find themselves leaving the field all together because of an inability to take on low paid entry-level and even sometimes mid-career level positions.
There isn't a lack of talented people of color invested in pursuing the curatorial field, there's a lack of resources and support to make sure they reach their fullest potential. I see money being one of the largest contributors to this. There have been low and stagnating wages across the museum field. I see this being especially problematic in curatorial work, as many positions require advanced degrees, relocation, and more. Candidates of color carry a socio-economic burden that many of their white peers do not. Meaning that there are often very different consequences for them if they have to take on extra debt to further their career, or sacrifice their earnings to get critical internship or fellowship experiences. These are just some of the kinds of professional challenges that still carry the vestiges of the museum field’s elitist beginnings, creating yet another barrier to entry into the field for curators of color. Everyone in the museum field deserves to be paid a lot more for what they do, but as someone working particularly in a curatorial space, I notice the greatest need there.
What are some goals that you are most excited about?
Well, my most recent goal is that I've committed to Williams College and am excited to delve deeper into my studies, meet some other wonderful people, and see where my career will take me next!
What motivates you to stay dedicated to your work?
What keeps me motivated, truly, is the art. When I see images that move me, I'm immediately brought back to why I do the work that I do. Our human experience is complex, and art has this unique way of helping to express the inexpressible. It's my hope that I can write, curate and continue to make space for people to be seen, heard, known and understood through the artwork they make, experience, and encounter.
Are there any contemporary artists you're keeping your eye on?
What a great question! I'm forever a fan of people like Doron Langberg and Jennifer Packer, but I'm also excited about artists like Faith Couch and Sahara Longe as well!