The Rhythms and Reflections of Art Collecting with Keitha Wright

Art Collecting with Keitha Wright

The art of collecting isn’t just about amassing a trove of beautiful pieces; it’s a testament to a narrative of value, personal resonance, and the cultural memories we hold dear. Enter Keitha Wright, a formidable fusion of identities— a Dallas based art collector, lawyer, and proud mother—whose treasure trove of artwork speaks volumes about the passion she harbors for the stories within each canvas and photograph.

Immersed in a whirlwind of cultural appreciation and community empowerment, Keitha's collection stands not only as a testament to her refined taste but as milestones within her life's gallery—each piece a pivot point in her ongoing odyssey through the art world.

Jessica Vollrath, I Dreamt of God Last Night, 52x52 oil on canvas

Chapter One: From the Depths of Howard University to the Canvas of Jessica Vollrath

At the core of Keitha's collection lies a recent addition that pulses with significance for both her and the artist behind the brush. Jessica Vollrath’s 52x52 oil on canvas, "I Dreamt of God Last Night," now graces the walls of Keitha's home. "I loved the piece as soon as I saw it and when I found out the artist received her BFA from Howard University, one of my alma maters, I was sold.  I made this purchase through Pencil on Paper, a Black woman-owned gallery in Dallas."

Art patronage for Keitha is more than a solitary appreciation; it's a symbiotic relationship that binds artist and collector. Purchasing through Pencil on Paper, a Dallas-based Black woman-owned gallery, Keitha's commitment to fortifying such grassroots establishments is unwavering.

Chapter Two: The Origins of Soulful Art Appreciation

Keitha's art odyssey sprouted from a chance encounter with her first acquired piece, a poignant photograph immortalizing Willard Watson, fondly known as "The Texas Kid."

"My first piece is also my favorite piece.  It is a large-scale photograph of Willard Watson aka “The Texas Kid”.  Watson was a folk artist from Louisiana based in Dallas. He often wore cowboy attire and lots of Western jewelry.  His work is displayed at the African American Museum of Dallas.  I saw a giant copy of the print of Watson at a local restaurant and inquired about purchasing it.  I didn’t know who he was at the time but he reminded me of many of my relatives from small-town Texas with his cowboy hat and fancy western belt.  The owner told me it was not for sale (he loved it) but he gave me the name of the photographer.  The photographer, who had shot for magazines like Texas Monthly, had long retired but was so kind as to print a copy for me.  I have no idea what it’s worth but it’s my most prized piece. "

This initial acquisition underscored the unquantifiable worth of art—values that transcend the currency an artwork might fetch in the marketplace. It's about personal connection, that gives art its truest value.

Chapter Three: The Uncharted Territories of Comfort in the Collecting Realm

Comfort in any art form comes with experience, association, and learning, yet for Keitha, navigating the nebulous nuances of art collecting has long been a continuum. The intricacies of price negotiation, art world acumen, and investment potential remain a realm of perpetual curiosity and exploration for her. Trusted allies in the form of Valerie Gillespie and the broader network of Black women within the art community have proven foundational in demystifying the art world.

Keitha's anecdote highlights that every collector harbors an alchemic blend of uncertainty and discovery. Comfort in the art world is a story of stepping into uncharted territories, guided by the colorful compass of community and shared wisdom.

“This piece is by Lenworth McIntosh aka Joonbug. I bought this print many years ago for my son’s bedroom. It’s a limited edition print.”

Chapter Four: Expanding the Palette Beyond Cultural Boundaries

Keitha’s collection reveals a dance with variance. "My first formal acquisition was from an artist named Maxine Helfman.  I normally only collect works from Black artists but I saw a photograph of a Black woman for her series “Historical Correction” at a friend’s home and couldn’t get it out of my mind.  I reached out to her agent and negotiated a price.  It was an empowering feeling."

Keitha with the owners of Pencil on Paper Gallery

Epilogue: A Curator of her Own Destiny

Keitha's art collecting story is a testament to the multifaceted nature of collecting. Each piece is an entry in the ledger of her life, a chronicle of connection and community, and a chapter in the collective memory of artistic representation. Her experiences in the art world encapsulate the very essence of a culture that is not merely collected; it is curated with the courage to step out of her comfort zones, love, intention, and the belief that the greatest pieces of art transcend their frames to color our lives with meaning.

In penning her art collector's diary, Keitha has not only immortalized the pieces she holds dear but also those fleeting moments of inspiration and discovery.