‘The Sugar Shack’ Shook Up The Bidding At New York Auction

One of the most iconic paintings associated with Black culture sold for $15.3 million at Christies’ 20^th century auction in New York. Energy mogul Bill Perkins, 53, is now the owner of “The Sugar Shack” – a exuberant dance scene many African Americans recognize from the TV sitcom “Good Times” or Marvin Gaye’s album “I Want You.”

Perkins told the New York Times, “I stole it – I would have paid a lot more. For certain segments of America, it’s more famous than the ‘Mona Lisa.’”

Eager to own Ernie Barnes’ most famous painting, Perkins and his fiancee flew from Houston where he lives to New York City for the bidding which was estimated to reach $200,000. Instead, “The Sugar Shack” brought in 76 times that amount.

According to Perkins, he was afraid a more affluent fan would land the prize.

“What if Oprah shows up? What if P. Diddy shows up?” he recalled thinking. “I’m not going to be able to buy this piece.”

Perkins and an unidentified competitor bidding via telephone through an art dealer worked their way to the record-setting price in about 10 minutes.

The sell comes at a time when African American artists are commanding top dollar as the artworld expands and diversifies its community. Last year another Barnes piece “Ballroom Soul” sold for $550,000.

Barnes was born in North Carolina in 1938 and attended college at North Carolina Central University. He became a professional football player and is the only elite athlete also widely known for his artwork which is distinguished by its depictions of figures in motion. Barnes developed an appreciation for art during the time he spent with his mother at work managing the household of a prominent attorney who encouraged Barnes to look at the art history books.

Decades later Perkins, son of an attorney and an educator from New Jersey, credited Barnes with the formation of his artistic consciousness. Perkins said he hopes to make “The Sugar Shack” available for display at museums where others can share his love of the work before hanging it in his home to “see it every day and soak up the memory dividend and the happy absurdity that I can own it.”