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UILDING that would eventually become the number one AAA interestingly, they began to open art galleries for
themselves. Tey also began to self-publish. Tis
distributor in the nation. Robertson opened Tings
AN INDUSTRY in 1984 with a vision that AAA could be distributed market change created new and (sometimes) difcult
throughout the country utilizing a distribution
competition for entrepreneur galleries and distributors.
structure similar to that of traditional art in the U.S. From the artist’s point of view, it seemed they could
As a major publisher for artists through the 1980s and better manage their fnances and the market (to some
90s, Robertson was responsible for jumpstarting and degree) by controlling their own product. Tose
supporting the careers of many artists who are well entrepreneur galleries that did not close and wanted
known today. Robertson marketed to galleries large to survive needed to reposition themselves. It seemed
and small across the U.S. He expanded into new difcult to maintain the AAA gallery business unless
markets and new galleries as he traveled and promoted the gallery was multifaceted–dealing in market sectors,
artists. We salute Robertson and his contribution to including art sales (individual and corporate), service,
the development of today’s AAA industry. framing, gift items and education.
To reiterate, many artists are nationally known Another commerce shift was about to afect the
as a result of Tings and Mr. Robertson. Here are industry. As artists searched for additional income
quotations from two of the numerous artists who sources, they learned that the art patron wanted to meet
benefted: them and purchase their product directly. Tese face-
to-face encounters reinforced their reasons for leaving
“As a visual artist who has been painting for 30 years,
the sanctuary of their studios, maintaining the overhead
when I frst discovered an African-American–owned
of gallery operations and/or traveling throughout the
art business, I was very excited. I will always support
Edward Robertson, president of Things Graphics. country to art events.
Tings Graphics & Fine Art because they were there at
In our early years we at October Gallery (OG) the beginning when we [Black artists] needed support.” In the last 25 years, the growth and development of
sold art in both the retail and wholesale markets. We –Artist Frank Frazier our very young AAA industry has made frequent shifts.
marketed and distributed to individuals, galleries and It has established itself as a necessary part of the culture
“In 1984, Tings Graphics & Fine Art, in Washington,
dealers. While our retail business was galloping along, at large.
DC set out to establish a market for African-American art
wholesale and distribution were just maintaining a
by serving not only as a distribution point, but also as a More importantly, the industry has established itself
trot. Tere were many possible reasons for this. As we
resource to dealers and artists. Ed [Robertson, president] was as an essential part of African-American culture. Are
look back, we believe that we dedicated more time and
one of the frst people I met that was interested in publishing there new twists and turns on the horizon for the
assets to retail and that it was more difcult to climb
pieces of Black art. I was impressed with his tenacity and industry? Only time will tell.
two mountains at one time. However, the main reason
with his basic urgency to distribute Black artwork at a
might well have been the presence of Tings Graphics As artists evolve and as the marketplace requires more
level where most people could aford to purchase it.”
& Fine Art (Tings) in Washington, DC, a distributor sophisticated operational business models from them,
–Artist Paul Goodnight
of fne African-American prints. these creative persons may opt for more creative time
In the 1980s most galleries were owned by in the studio and less time working the business model.
Owner and president Edward Robertson was the
entrepreneurs (not artists) and obtained product from Tis may cause the economic pendulum to swing again,
frst to dedicate his business solely to the publishing,
distributors like Tings. By 1995, African-American and companies such as Tings and the entrepreneurial
marketing and distribution of African-American Art
art galleries had started to change over. Artist-owned galleries, retroftted with new business models, may
(AAA). And no matter how hard OG tried to gain
galleries began to replace entrepreneur galleries. grow and thrive again.
market share, we could not surpass the company
More and more artists entered the marketplace, and
122 123
UILDING that would eventually become the number one AAA interestingly, they began to open art galleries for
themselves. Tey also began to self-publish. Tis
distributor in the nation. Robertson opened Tings
AN INDUSTRY in 1984 with a vision that AAA could be distributed market change created new and (sometimes) difcult
throughout the country utilizing a distribution
competition for entrepreneur galleries and distributors.
structure similar to that of traditional art in the U.S. From the artist’s point of view, it seemed they could
As a major publisher for artists through the 1980s and better manage their fnances and the market (to some
90s, Robertson was responsible for jumpstarting and degree) by controlling their own product. Tose
supporting the careers of many artists who are well entrepreneur galleries that did not close and wanted
known today. Robertson marketed to galleries large to survive needed to reposition themselves. It seemed
and small across the U.S. He expanded into new difcult to maintain the AAA gallery business unless
markets and new galleries as he traveled and promoted the gallery was multifaceted–dealing in market sectors,
artists. We salute Robertson and his contribution to including art sales (individual and corporate), service,
the development of today’s AAA industry. framing, gift items and education.
To reiterate, many artists are nationally known Another commerce shift was about to afect the
as a result of Tings and Mr. Robertson. Here are industry. As artists searched for additional income
quotations from two of the numerous artists who sources, they learned that the art patron wanted to meet
benefted: them and purchase their product directly. Tese face-
to-face encounters reinforced their reasons for leaving
“As a visual artist who has been painting for 30 years,
the sanctuary of their studios, maintaining the overhead
when I frst discovered an African-American–owned
of gallery operations and/or traveling throughout the
art business, I was very excited. I will always support
Edward Robertson, president of Things Graphics. country to art events.
Tings Graphics & Fine Art because they were there at
In our early years we at October Gallery (OG) the beginning when we [Black artists] needed support.” In the last 25 years, the growth and development of
sold art in both the retail and wholesale markets. We –Artist Frank Frazier our very young AAA industry has made frequent shifts.
marketed and distributed to individuals, galleries and It has established itself as a necessary part of the culture
“In 1984, Tings Graphics & Fine Art, in Washington,
dealers. While our retail business was galloping along, at large.
DC set out to establish a market for African-American art
wholesale and distribution were just maintaining a
by serving not only as a distribution point, but also as a More importantly, the industry has established itself
trot. Tere were many possible reasons for this. As we
resource to dealers and artists. Ed [Robertson, president] was as an essential part of African-American culture. Are
look back, we believe that we dedicated more time and
one of the frst people I met that was interested in publishing there new twists and turns on the horizon for the
assets to retail and that it was more difcult to climb
pieces of Black art. I was impressed with his tenacity and industry? Only time will tell.
two mountains at one time. However, the main reason
with his basic urgency to distribute Black artwork at a
might well have been the presence of Tings Graphics As artists evolve and as the marketplace requires more
level where most people could aford to purchase it.”
& Fine Art (Tings) in Washington, DC, a distributor sophisticated operational business models from them,
–Artist Paul Goodnight
of fne African-American prints. these creative persons may opt for more creative time
In the 1980s most galleries were owned by in the studio and less time working the business model.
Owner and president Edward Robertson was the
entrepreneurs (not artists) and obtained product from Tis may cause the economic pendulum to swing again,
frst to dedicate his business solely to the publishing,
distributors like Tings. By 1995, African-American and companies such as Tings and the entrepreneurial
marketing and distribution of African-American Art
art galleries had started to change over. Artist-owned galleries, retroftted with new business models, may
(AAA). And no matter how hard OG tried to gain
galleries began to replace entrepreneur galleries. grow and thrive again.
market share, we could not surpass the company
More and more artists entered the marketplace, and
122 123
