By Cody Yarbrough, Contributing Writer
Exposure is one of the most important yet hardest things for an artist to obtain. And when you’re a Black person from a city like Detroit, this can be an infinitely hard challenge.
Between the scarce number of galleries and the lack of art show spots, many Black artists in the city struggle to get their work displayed. There is, however, an emerging hope coming from inside of the Black community.
Over the last few years, several Black-owned restaurants and food establishments have fashioned themselves into makeshift art galleries that allow artists to display their work for little to no gallery commission. Restaurant owners like Marcus Jones are leading examples of this new moment spreading through the city. Since opening Detroit Pizza Bar in April of 2022, he and his co-owner Akunna Olumba have made it a point to use their space to support Black artists and the community around them.
“I’ve always felt the want to support our people,” Jones said. “As a Black business owner, I knew that I needed to create a safe place for people that look like myself. And so, the goal and the intention for building this restaurant was to provide a safe place for our people to go that wasn’t dark and didn’t feel like a club or look like a dive bar or any of that. But something that really resembled downtown was right here in the neighborhood. And so, with that mindset, I also wanted to carry that same momentum to the neighborhoods and be able to open my doors to both visual artists and performing artists.”
Jones’ restaurant, located on the west side of the city, said that from the very start of his restaurateur journey, he knew that he wanted his place to be full of Black creativity. The art hanging on the walls is just as important to the restaurant’s identity as the pizza and drinks. Next to the TVs playing sports broadcasts and the college football flags brandishing school colors, you’ll see abstract paintings full of color and life that add vibrant energy to the establishment.
When heading to the second level, you’ll be confronted by the painted portraits of Black people with looks of joy and hope in their eyes. Even behind one of the bars posted above the drinks, you’ll spot a piece of artwork drawn by Jones’s own child.
“I wanted the space to feel like a gallery. So the lights upstairs are designed specifically to have downlights so that we could hang artwork and photos. I painted the walls light and bright so that it could feel more like a gallery space when you came in up to the second floor,” he said. “I didn’t realize the amount of artists that lived in the community. So we extended that vision to the first floor and we uniquely found space to be able to put artwork and showcase it throughout the space.”
Designing your establishment with Black artists in mind is a level of dedication to the culture that is seldom seen. However, Jones and his collaborators are far from alone. Located on the outskirts of the old Milwaukee Junction, Someday Gallery helps small artists in a similar fashion. The simple four-wall venue, founded by multimedia artists Jantae’ Spinks and Trotter, is a rotating display of artists’ works. Every few months, a new theme is chosen for the exhibit, and the pieces inside are completely swapped out, giving new artists a chance to shine in their new lineup.
The layout of the gallery is equally as interesting as their exhibit style. The paintings line the walls and surround visitors sitting at the table in the intimate room and make it almost impossible not to fix your gaze on a striking piece of art or a politically charged mini-exhibit. Someday also pairs their viewing selection with a baked good selection, rotating just as often as the gallery. Guests might find themselves enjoying an anti-capitalist cookie while analyzing an anti-capitalist oil painting or a 313 cookie while admiring a feminist watercolor piece.
To the folks at Someday, the connection Black people make between food and art is obvious. They suspect that, like many aspects of African American culture, this phenomenon has its roots in slavery.
“Historically, Black and other oppressed peoples have suffered various societal abuses such as extreme displacement, enslavement, and religious persecution. During these times, when folk’s lives and cultures are being threatened, we’ve seen individuals safeguard items and provisions – taking what they can with them as they navigate the unknown. It’s our understanding that foods like black-eye peas, were brought to America during the 17th century from West Africa,” said Spinks.
Spinks added: “This historical context displays an ancient relationship between a people, their food, and the culture they embody. Considering the landscape of Black or African American businesses in America, we imagine that the reason so many fusion projects exist is because owners who are within the culture understand that our communities require hospitality, comfort and empathy to truly serve and uplift. Our experience is one where tragedy and triumph exist in conversations surrounding both our food & art. Creatively mixing the two or more cohesively offers an experience akin to home that we can uniquely appreciate.”
Despite whatever pain and trauma may have accidentally embedded in this movement, the Black American resolve to move forward has transformed it into a sign of hope for a city recovering from its darkest era. Now, wherever you find Black food in Detroit, don’t be surprised if you spot some Black art somewhere close by. From Bakpak Durden’s four Eyo on the side of Yum Village to Cameron Jekins’s Phoenix inside of See You Tomorrow. These works show more Black pride than any “Black Owned Business” sign in their front window ever could. As Marcus Jones reminds us, it’s not about having a pretty picture on the wall but about using what they have to support their community.
“I think we all have a sense of responsibility to give back and to use our spaces as a place to elevate other individuals who may not have that opportunity or capital to get into one of the more established art galleries,” Jones said.
“If we can provide that steppingstone and that opportunity for the artists to be able to showcase their work, who knows? They might get discovered and their work could end up at some of the higher-end art galleries. But for us, it’s about being able to support those people around us and give them that opportunity to come from their garage or out of the basement and into a real commercial space. All it takes is that one piece and before you know it, they could be the next major artists that’s coming out of Detroit.”
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