“People are more self-aware about their role in the world and how their actions can be seen,” Ross-Sutton said during a recent interview. “The artist is able to come out and say these things now, and suddenly the spotlight is on this person who flipped their work. It’s not a comfortable position to be in; I think it should be even less comfortable than it is.”
Ross-Sutton has taken an activist approach to dissuading collectors from flipping in part because, as a curator and dealer, she works primarily with young Black artists who historically have had even less agency in the market than their more established white colleagues. At just 25 years old, her rise as an art world power player has been as dramatic as the surge in demand for the artists with whom she works. And yet this is, in a way, her second career.
“I went into journalism thinking ‘I’m gonna change this,’ and then once I got into it, you have to play by the rules, you have to do these steps and things that kind of chip away at your resolve,” she recalled. “That’s why I turned to art, because when things in the world start to fall apart, we turn to different forms of art to remind ourselves of why we deserve to thrive, beyond just surviving another day—art reminds us of our humanity.”