HARLEM FINE ARTS SHOW MAGAZINE 2024

2024

M AG A Z I N E

HFAS TURNS SWEET 16 A look at the artful journey

ISSUE TWENTY SIX FEB 2024

THE GOOD DOCTORS Honoring Those in the Healing Arts COLLECTING BLACK ART Where to Start at Any Age GOING FOR THE GLOBAL ART MARKET Two Savvy Women Investing In International Black Art Harlem Fine Arts Show | 1

CONTENTS

JWD ENTERPRISES, INC.

PUBLISHER’S PAGE pg 5 The Hippest Trip in America.

By Audrey Edwards

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All rights reserved. No part of the material protected by this copyright notice may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise without prior written permission, except in the case of brief quotations embodied in critical articles and reviews.

Queries should be addressed to JWD Enterprises, Inc., 11 West Prospect Avenue, Mount Vernon, NY, 10550 Printed in the United States of America

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© 2024 by JWD Enterprises, Inc.

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hfas.org

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CREATIVE TEAM

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WEBSITE

Allena Staples David Montini Rodney LoveJones

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Gallery Booths

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Multimedia Area Approx. 40’ x 70’

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Structural Building Columns

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Harlem Fine Art Show 2024

Display Wall

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The Glasshouse, NYC Revised 10/2/23 JC Art & Design, Inc.

HFAS ARTIST & GALLERY LISTING pg 26 A Who’s Who of the HFAS artists and gallery owners exhibiting this year.

ONLINE

Christine Suess New York Design Studio, LLC

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THE GLASSHOUSE MAP pg 24 A floor plan of The Glasshouse to find the HFAS exhibitors.

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CREATIVE DIRECTION

MBA STUDENTS BRIDGE ART AND BUSINESS pg 23 HFAS teams with an HBCU to develop student art marketers. By George Kevin Jordan

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CONTRIBUTING WRITERS

George Kevin Jordan Patricia Andrews-Keenan

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Audrey Edwards

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EDITORIAL

EDITOR-IN-CHIEF

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BANKING ON INTERNATIONAL BLACK ART pg 20 Two savvy businesswomen on international Black Art–past and future.

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PUBLIC RELATIONS

Theresa O’Neal Redd Dana Hughes Moorhead

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Richard E. Pelzer II Loleta Nicholson Pia Winslow

COLLECTING THROUGH THE GENERATIONS pg 17 How to build a Black Art collection at any age. By George Kevin Jordan

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PROJECT MANAGERS

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Debra Wallace The B’elle Group

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ADVERTISING EXECUTIVES

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PRACTICING THE ART OF GOOD MEDICINE pg 13 HFAS’s 10th Annual Salute to health professionals skilled in the art of healing.

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John Roberts

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CHIEF FINANCIAL OFFICER

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SALES AND MARKETING

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Porcia Gardner

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EXECUTIVE ASSISTANT TO THE PUBLISHER

THE HARLEM FINE ARTS SHOW CELEBRATES SWEET 16 pg 7 How a small Black Art show grew into a huge cultural event. By P. Andrews Keenan

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PUBLISHER

Dion E. Clarke

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HFASM

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COMMUNITY PARTNERING FOR ART AND PROFIT pg 43 How Black organizations are employing the HFAS for their own fundraising efforts.

By George Kevin Jordan

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COVER ART PORTRAIT OF JAMES BALDWIN done by Emmanuel Gillespie of the Pencil on Paper Gallery. Gillespie is a distinguished Dallas visual artist with experience spanning the mediums of painting and sculpture.

His work is created to illuminate the untold stories, struggles and triumphs of Black people.

Harlem Fine Arts Show | 3

PUBLISHER’S PAGE

THE HIPPEST TRIP IN AMERICA l Soul Train’s moniker, “The hippest trip in America,”

–Harlem News

Photo by Matthew Murphy

MJTHEMUSICAL.COM 4 | Harlem Fine Arts Show

CAST ALBUM AVAILABLE ON SONY MUSIC ENTERTAINMENT

perfectly captures the spirit and spectacle that is the longest running African Diasporic fine art show in the country. The Harlem Fine Art Show (HFAS), now in its 16th year, champions Black art, artists, and galleries; generates millions in sales, and supports a host of educational and non-profit partners.

This year, HFAS16, running from February 23 – 25, 2024, will showcase an electric mix of paintings, sculptures, photography, and mixed media pieces, all celebrating the rich history and contributions of the Black community at a new venue, the Glasshouse. The move to this prestigious event space located between the vibrant neighborhoods of New York City’s Hell’s Kitchen and Hudson Yards, reflects the growth and development of the show that has become the largest of its kind. This move, while important for HFAS’s maturation, in no way negates the continuing commitment to our roots as a product of Harlem, influenced by the Harlem Renaissance.

We are also debuting this, our latest issue of HFAS Magazine, in which we look back at the evolution of HFAS and meet some of the over 80 artists who are exhibiting in this year’s show. Our feature, “Practicing the Art of Good Medicine,” salutes excellence in the medical field and marks the 10th year HFAS is honoring Black doctors and other professionals in the health care field. In the story, “Collecting Through the Generations,” we put a spotlight on the next generation of art collectors who are acquiring art for the first time. And in the twin profiles, “Banking on International Black Art,” HFAS recognizes two African American women from the business and finance worlds who are investing in Black Art at an international level.

Our work with fraternal and service organizations has created a model for giving that is explored in the piece, “HFAS Partnering with the Community.” At HFAS, communi-

ty and youth development are ingrained in our DNA, which is why we teamed up with MBA students at Clark Atlanta University and the AU Center to launch an innovative class project that gives students an opportunity to apply business skills to the marketing of art. You can read about this pioneering program in the story, “A New Generation of MBA Students Bridge Art and Business,” and meet the first two students to be selected to be HFAS Marketing Associates.

HFAS16 promises to be a spectacular showcase for attendees who will be immersed in the vibrant, enriching experience of viewing wonderful Black Art; meeting with artists and gallery owners, and buying art that has exploded in value in the last 20 years. From our exclusive “White Glove Concierge” event offering a private showing for art patrons; to our grand opening night – HFAS16 RED DOT; to the HFAS16 New York Literary Pavilion, the weekend promises to offer a vibrant atmosphere creating what I call a cultural feast--nutrition for our souls.

I would like to thank the team that produced this issue of HFAS16 Magazine, led by our editor-in-chief Audrey Edwards and the ONYXART team. They, along with the writers, proofreaders, and advertising team, have produced a quality publication that we are immensely proud of and hope you will enjoy as much as we enjoyed creating it for you. I’d also like to thank the HFAS executive team, led by our new project manager Richard E. Pelzer II, and an extraordinary events team led by Pia Winslow. Big thanks to CFO John Roberts and executive assistant Porcia Gardner.

Best Always,

Dion E. Clarke Founder, Harlem Fine Arts Show

Harlem Fine Arts Show | 5

HFAS OVERVIEW

HFAS guests mingle with beautiful art and talented artists in the fine setting of The Glasshouse, located in Manhattan’s Hudson Yards.

THE HARLEM FINE ARTS SHOW

CELEBRATES SWEET 16 The longest-running Black Arts show in the country goes into its 16th year still serving a cultural feast that showcases the work of our most talented Black artists. By P. Andrews-Keenan

$1 PER OLD FASHIONED WILL BE DONATED BY UNCLE NEAREST TO PROVIDE ONE FULL TUITION SCHOLARSHIP AT ALL ACCREDITED HBCUS, UP TO $1.4 MILLION

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l After exhibiting thousands of artists in settings both national and global, the Harlem Fine Arts Show (HFAS) enters its 16th year at a new location primed for the future, The Glasshouse, a prestigious venue between the vibrant neighborhoods of New York City’s Hell’s Kitchen and Hudson Yards. This cultural extravaganza, founded by Dion Clarke of JWD Enterprises, has evolved into the premier platform for Black artists, showcasing their talent and contributions to the rich tapestry of American art.

From its inception to today, HFAS has not only celebrated the diversity of artistic Black culture and heritage but provided a showcase for thousands of Black artists across its history. The three-day event takes place this year February 23-25.

“HFAS16 is more than just an art show. It’s a ‘cultural feast’, says Clarke. “It feeds the soul, providing a vivid and diverse tapestry of the artistic accomplishments of the African diaspora. Our mission, our vision, our invitation, our movement—everything centers around celebrating the rich heritage and creative prowess of Black artists. It’s a testament to the enduring influence of Black culture on the world stage.”

The roots of the Harlem Fine Art Show can be traced back to 2009, when Clarke, an entrepreneur with a passion for the arts, sought to create a space that would provide a platform for artists who were often underrepresented in the mainstream art world. He, along with John ‘Chris’ Roberts (CFO),

Harlem Fine Arts Show | 7

HFAS OVERVIEW

HFAS founder Dion Clarke with Saundra Heath of the Heath Gallery and Dodji Gbedemah of the Kente Royal Gallery.

Harlem Arts Alliance enhances the exposure of artists through collaborative programming, bridges gaps between artists and major arts institutions; and expands the conversations surrounding their work.

THE NEXT GENERATION

We are training the next generation of teen artists and innovators with the tools they’ll need to succeed as visionary creatives in the rapidly changing arts and entertainment industries.

IZA AN TI

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& ARTISTS

MEMBERSHIP BENEFITS: Artist Advocacy Fiscal Sponsorship Audience Development Cross-Marketing Production & Performance Opportunities Town Hall Meetings Creative Development Workshops Exhibits & Vendor Tables STAR YOUNIVERSITY for teens JOIN NOW

212-926-0104

https://harlemaa.org VOZA RIVERS, CHAIRMAN

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ABOUT US:

had formed JWD, a diversity marketing and strategic planning company that had worked with a diverse group of strategic business units and the parent company of HFAS five years prior. They were then joined by artist Andrew Nichols in the creation of the HFAS. They envisioned a show that would not only showcase the artistic excellence of the African diaspora but also serve as a bridge between artists and art enthusiasts from diverse backgrounds.

The inaugural HFAS was held at the 144th Street Armory in Harlem, and its success laid the foundation for an annual event that would grow in size, scope, and significance.

Later moving to Harlem’s historic Riverside Church, the show flourished there for 10 years before size restraints necessitated the move to the Glasshouse. Over the years, the show has traveled across the tri-state New York area and to Philadelphia, Washington, D.C., Atlanta and Chicago.

One of the unique aspects of the HFAS, which Clarke refers to as “cultural nutrition,” is its commitment to showcasing a wide range of artistic styles and mediums.

From traditional paintings and sculptures to photography and contemporary digital art, the show has embraced the diversity of artistic expression within the African American community. This inclusivity has been a driving force behind the HFAS’s ability to attract a broad audience and foster a sense

of community among artists, gallerists, and art lovers alike.

In the process, shows have garnered sales in the millions of dollars, showing that creating art professionally that can command high prices is a viable career option. Many of the artists who have participated in the show comprise a virtual who’s who in Black art, including Woodrow Nash, Kevin Williams, Frank Frazier, Synthia Saint James, Leroy Campbell, Diane Shannon Young, Brenda Joy Smith and Michael Escoffery. Also included in the shows are some of the country’s preeminent Black galleries, such as E&S Gallery in Louisville, the Essie Green Galleries in New York, and Waterkolours Fine Art Gallery in Memphis.

Another defining feature of the HFAS is its dedication to education and community engagement. Throughout its history the HFAS has created a platform for dialogue and exchange about the cultural narratives embedded in Black art. The show has organized panel discussions, workshops, and educational programs aimed at promoting a deeper understanding of Black art and culture. By fostering conversations between artists, scholars, students, and the general public, the HFAS has become a hub for intellectual exchange and a catalyst for new ideas and perspectives. It has supported numerous Black charities, including fraternal and social organizations; created educational programs for schools and provided both funding and culture enrichment opportunities. This philanthropic focus underscores the HFAS’s belief in the power of art to inspire positive change and contribute to the betterment of society.

For the past ten years, HFAS has given recognition to physicians who represent the “art” of excellence in their profession. Similar recognition over the years has been given to African Americans representing excellence in the fields of technology and finance. HFAS believes there are many ways to express art—creative energy—and will be honoring the African Americans in Medicine selected this year as well as in previous years with a tribute dinner. This year HFAS has chosen to showcase two African American women from the field of finance to who exemplify excellence in the art of investing in art.

During the pandemic the HFAS went virtual with its 3D online platform, expanding its reach to a global audience that offered Black art lovers and collectors as far away as China and the West Indies a way to view and purchase art online 24/7, 365 days a week. Utilizing technology to

Harlem Fine Arts Show | 9

HFAS OVERVIEW

bring the show to the world is something Richard E. Peltzer II currently project manager for the show, sees as vital to the growth of HFAS. “We’re prepared for our three-day show in February,” he said, “but our ultimate goal is to engage and communicate with our audience 365 days of the year.” Peltzer further envisions expanding the educational components of the show in a way that engages even the youngest of collectors.

These are young people whose parents and grandparents are purchasing their first pieces of original work for them. His working title for this educational component to the show is “Rudy’s Room,” a nod to the character of Rudy Huxtable on the “Cosby Show” where many African Americans got their first glimpse of Black art in a home. The show would offer workshops teaching young people the value of

Black art and the potential for appreciation of the works.

Looking to the future, the Harlem Fine Art Show remains dedicated to its mission of celebrating and promoting African American art. In an era marked by increased awareness of diversity and inclusion, the show’s role in amplifying marginalized voices and fostering cultural understanding is more critical than ever. As the HFAS enters its 16th year, it does so with a sense of optimism and a commitment to building on its legacy of showcasing the best in African American artistic talent.

Patricia Andrews-Keenan is the founder of Pigment International ®, Black woman founded and led multi-media platform reporting on the art, people, issues, trends, and events shaping Black contemporary art. Follow Pigment International on FB and IG. At Pigment International we tell stories!

GROWTH OF THE HARLEM FINE ARTS SHOW 2009 The story begins. HFAS opens at the 144th Street Armory in Harlem, running for three days during the second week in February with 50 to 100 people in attendance. The show will be held annually during the month of February, Black History Month.

2010 The second year HFAS has 1000 people in attendance, including Gayle King of CBS Morning News, one of many celebrities who have purchased art at HFAS. 2011 HFAS opens at the historic Riverside Church in Upper Manhattan, drawing an attendance of 5,000. The show expands to Martha’s Vineyard.

2012 HFAS attendance surpasses 8,000 at Riverside Church. This was the year HFAS inserted 200,000 copies of HFAS Magazine in the New York Times and the Wall Street Journal to promote the show two

10 | Harlem Fine Arts Show

weeks prior to its opening. The show expands to Philadelphia.

what will become an annual salute to

2013 HFAS breaks the 10,000 mark in attendance, and HFAS Magazine is exclusively inserted in the New York Times. The show expands to

2018 HFAS celebrates its 9th anniversary with a special salute in HFAS Magazine to African Americans in Technology.

the Hamptons.

2014 Over 12,000 attend HFAS at Riverside Church during the Super Bowl weekend, and the NFL becomes a sponsor of the show. The show expands to Atlanta and Chicago.

2015: Attendance at the HFAS hits 13,000 during the NBA All-Star weekend, and the NBA becomes a sponsor of the show. HFAS expands to Washington, DC, and Chicago.

2016 Nearly 15,000 attend HFAS, and the show expands to White Plains, NY. 2017 HFAS hits 15,000 in attendance. HFAS Magazine launches

African Americans in Medicine.

2019: HFAS celebrates its 10th anniversary at Riverside Church.

2020/2021: During the covid epidemic HFAS suspends its live show and creates the first African virtual diasporic art show online in a 3D platform that provides continuous viewing of Black Art 24/7, 365 days a year.

2022: HFAS celebrates the first anniversary and continuous run of its virtual 3-D art show.

2023: HFAS celebrates its 15th anniversary and moves to the Glasshouse in Midtown Manhattan with its larger exhibit space and convenient location.

AFRICAN AMERICANS IN MEDICINE

PRACTICING THE ART OF GOOD MEDICINE The best medicine combines the research of science with the art of healing. l The best healthcare professionals have always been artists in their own way, for healing is the most profound of the arts. If we think of the human body as a wondrous canvas, physicians are the craft scientists who first tend to the mechanics of the body through diagnosis and prescriptions, then as artists who bring instinct, creativity, and often sheer talent to finding solutions to complex health problems. It was a 37-year-old immunologist and talented African American woman, Dr. Kizzmekia Corbett, who led the team of scientists in 2021 that developed Moderna COVID-19 mRNA, the breakthrough, life-saving vaccine that protects against the deadly covid virus. Good health providers, be they surgeons of the brain or midwives delivering birth, are ultimately skilled in the art of saving life. HFAS is pleased to present the 2024 list of doctors and other healthcare providers who are practicing good medicine through the art of their medical specialties and talent.

Harlem Fine Arts Show | 13

PRACTICING THE ART OF GOOD MEDICINE MARLENE TAYLOR, PCP. Montefiore Medical Center, Bronx, New York

Marlene Taylor is a primary care provider (PCP) for more than three hundred patients in the Infectious Disease Clinic at Montefiore, treating patients primarily for HIV and hepatitis C. She also addresses the multiple conditions accompanying these illnesses, including hypertension, diabetes, and substance abuse. Dr. Taylor has been inspired by her mother, who faced her own health challenges.

14 | Harlem Fine Arts Show

AFRICAN AMERICANS IN MEDICINE

CAROLYN BARLEY BRITTON, MD, MS.

Professor of Neurology at Vagelos College of Physicians and Surgeons and Columbia University Irving Medical Center; Attending Physician at New York Presbyterian Medical Center

Dr. Britton practices internal medicine and neurology and is widely recognized for her groundbreaking work in researching the neurological complications of HIV. She has spent over 30 years advocating for more inclusive AIDS clinical trials for minorities and women.

VANESSA JENKINSYOUNG, P.T. MA, MPH.

Senior Associate Director of Medicine, Neurology and Rehabilitation; Bellevue Medical Center

A physical therapist who has spent 32 years specializing in rehabilitation, Vanessa Jenkins-Young is a passionate advocate for people with disabilities. She has served as a consultant in bioethics for 18 years. Born in Belize, she is a founding member of the Belize Diabetes Association of New York.

GARFIELD CLUNIE, MD.

Associate Professor and Vice Chair for Diversity, Equity, and Inclusion, Department of Obstetrics and Gynecology, New York University Grossman School of Medicine/New York University Langone Health

Dr. Clunie is considered a leading expert in the field of women’s health and equity.

He is double certified to practice obstetrics and gynecology and maternalfetal medicine and is a past president of the National Medical Association.

PATRICIA N. WHITLEYWILLIAMS, MD.

Professor of Pediatrics and Chief of the Division of Pediatric Allergy, Immunology, and Infectious Diseases; Rutgers Robert Wood Johnson Medical School

A specialist in infectious diseases, Dr. Whitley-Williams received her medical degree from Johns Hopkins University School of Medicine, and has had prolific career in academia, contributing significantly to research in HIV/AIDS.

RACHEL VILLANUEVA, MD, FACOG.

Clinical Assistant Professor; New York University Grossman School of Medicine

Dr. Villaneuva graduated cum laude from the Yale School of Medicine with a specialty in obstetrics and gynecology, and is an advocate for maternal health care and reproductive justice. She is a member of the American Congress of Obstetricians and Gynecologists (FACOG).

DON A. DAYSON, MD.

Private Practice, affiliated with Mount Sinai Beth Israel

Dr. Dayson brings over 40 years of experience to the field of internal medicine, with an emphasis on hypertension and diabetes.

He is Clinical Assistant Professor Emeritus with the Columbia University College of Physicians and Surgeons.

ASHIRA D. BLAZER, MD.

BERNARD A. RAWLINS, MD.

Assistant Professor of Medicine, Rheumatology, Weill Cornell, Hospital for Special Surgery, Division of Rheumatology, New York University School of Medicine

Professor of Clinical Surgery at Weill Medical College, and attending spine surgeon at the Hospital for Special Surgery

VIVIAN JOLLEY BEA,MD, FACS. Section Chief of

UCHÉ BLACKSTOCK, MD.

As a rheumatologist, Dr. Blazer has done research on lupus and the impact of this autoimmune condition on patents of African ancestry. Her work extends to educating autoimmune patients about covid. She has collaborated with rheumatology programs in West Africa, specifically examining how gene mutations affect lupus.

Breast Surgical Oncology; New York Presbyterian Brooklyn Methodist Hospital

Dr. Bea is a breast surgeon dedicated to breast cancer care research and addressing inequities in such care. She holds a master’s degree in biology from Drexel University and a medical degree from the Morehouse School of Medicine. She is additionally a member of the American College of Surgeons.

Dr. Rawlins’s has a comprehensive practice that spans the spectrum of spinal disorders from the neck (cervical) to scoliosis (curvature of the spine) and treats both adult and pediatric patients. He regularly consults with spinal surgeons in West Africa and is the spine consultant for the New York Knicks basketball team and the New York Mets baseball team.

Former Associate Professor, Department of Emergency Medicine; New York University School of Medicine

Dr. Blackstock, twin sister of Dr. Oni Blackstock, has long been a medical activist, speaking out with her sister and late mother, also a doctor, against the racism and bias in American healthcare. Her book, Legacy: A Black Physician Reckons with Racism in Medicine (Viking), is due for release in January 2024.

LINNIE M. GOLIGHTLY, MD.

MONA RIGUAD, MD, MPH, FIDSA. Chief of Pediatrics,

Associate Dean of Faculty Diversity, and Associate Professor in Medicine, Microbiology & Immunology, Weill Cornell Medicine

New York University Langone Hospital, Brooklyn

ONI BLACKSTOCK, MD, MHS. Founder and Executive

YVES DUROSEAU, MD, MPH. Western Regional Vice

Dr. Golightly is an infectious disease expert whose research focuses on infectious diseases endemic to low- and middle-income countries, with an emphasis on malaria.

She was recently elected president of the American Society of Tropical Medicine & Hygiene, an organization advancing global health.

Director of Health Justice

Dr. Blackstock is a leader in advocating for equity in health care through her consulting firm, Health Justice, and specializes in HIV/AIDS research and treatment. She and her twin sister, Dr. Uché Blackstock, and their late mother, Dr. Dale Blackstock, all received medical degrees from Harvard University’s Medical School.

As a pediatrician, Dr. Riguad’s focus is on developing high-quality programs and delivering equitable care to underserved children. She is recognized for her expertise in HIV and tuberculosis. A native of Haiti, Dr. Riguad holds a Master of Public Health (MPH) and is a Fellow of the Infectious Diseases Society of America (FIDSA).

President of Emergency Medicine at Northwell Health; Chair of the Department of Emergency Medicine at Lenox Hill Hospital

Dr. Duroseau is a leader in strategic planning, operations, and research in the field of emergency medicine.

He is actively involved in mentoring programs that support minority students in medicine.

Harlem Fine Arts Show | 15

COLLECTING THROUGH THE GENERATIONS

How You Move Makes A Difference

How To Start and Build an Art Collection At Any Age. By George Kevin Jordan l Jean-Michael Basquait. Kerry James

Congratulations

Bernard Rawlins, MD and

Ashira Blazer, MD HSS Alumni

#1 in the U.S. for Orthopedics

PHOTO: COURTESY OF THE SUBJECT

on being recognized by the Harlem Fine Arts Show honoring African Americans in Medicine

Marshall. Faith Ringgold, Kihinde Wiley. Anyone who took a chance on any of these Black American Artists at the beginning of their careers by purchasing and holding on to their work now possess a virtual fortune in art. That’s because the market for Black Art by these and other African American artists has exploded by nearly 400 percent since 2008. Kerry James Marshall‘s painting, Vignettes, for instance, which sold for $541,000 in 2007, was worth over a million by 2014. Increasingly, Black Art collecting reflects not just personal passion, but a smart financial investment But unless you’re an Oprah or a Lebron, acquiring the work of a Black “superstar” artist is out of the reach of most Black collectors, especially those new to the field. Yet the growing popularity of Black Art showcased in museums, as evidenced by major exhibitions such as figurative painter Henry Taylor’s B Side exhibition at the Whitney Museum last year, and Simone Leigh’s sculptures exhibited at the Hirshhorn Museum in Washington, DC, speaks to Black Art’s popularity at the “institutional” level of art in America, further enhancing its investment potential.

Critical to Black Art buying and Black Art investing is understanding how to collect Black Art, for without the art collector there is no art market. A quick look on Instagram “Hidden/Proud” by Charly Palmer, from the collection of Roy Broderick, Jr. shows art collectors now come from every But first, just who is a Black Art collector? “It’s someone generation, representing people who are investing in art who is curious about storytelling,” says Rodney LoveJones, for both pleasure and possible profits. While the idea of art founder and creative director of Graphite House, an artist collecting may seem daunting, following one’s instincts boutique representation firm dedicated to showing new and doing a little research are the first moves to make in and emerging contemporary Black artists. building a Black Art collection with confidence.

Harlem Fine Arts Show | 17

Leadership in action

A Collector’s Advice

“Slam Dunk,” by William Tolliver, is the first piece of art Roy Broderick owned, given to him by his mother.

Roy Broderick, Jr. 34, is a young collector who has loved Black Art ever since his mother gave him a William Tolliver “Slam Dunk” print when he was 13. Broderick, founder and CEO of Authentique, an integrated marketing agency, still vividly remembers going with his mother to the National Black Arts Festival in Atlanta and watching her purchase the works of such Black artists as Thomas Blackshear and Kenneth Gatewood. “To see my mom pull out her checkbook to buy a piece of art that reminded her of me, or reminded her of my grandmother, or my sister, made me think there’s something about art that has a storytelling quality,” he said. “It can capture memories.”

After Broderick’s mother gave him the “Slam Dunk” print, he noticed the print run number on the back of the piece, learning that this is how collectors know what number in the print run their work is. Years later Broderick purchased a Prince memoir art piece from one of his mother’s art heroes, Kenneth Gatewood. But it wasn’t until Broderick bought an original painting by Charly Palmer, titled “Proud,” that he felt legit.

It was through that process he learned about the business

At Weill Cornell Medicine, the future of medicine starts here.

“Make sure that first piece art you buy is gonna take the air out of your wall, meaning if you put nothing else on that wall, you’re gonna feel amazing whenever you look that one piece.”— Roy Broderick, Jr.

18 | Harlem Fine Arts Show

of buying art (tip, you don’t always have to pay full price for a piece up front), and officially began his journey towards art collecting. Broderick now owns about 35 pieces done by artists from around the world. He has often enlisted the services of artist rep Rodney LoveJones to help him negotiate with the artist for his or her work.

There are practical tips Broderick lives by when collecting

Vivian Bea, M.D., FACS

Linnie Golightly, M.D.

Assistant Professor of Surgery, Weill Cornell Medical College Section Chief of Breast Surgical Oncology, NewYork-Presbyterian Brooklyn Methodist Hospital

Associate Dean of Diversity Associate Professor of Clinical Medicine Associate Professor of Medicine in Microbiology and Immunology, Weill Cornell Medical College

art: doing his own research, getting to know artists, and

Congratulations to our physicians on being recognized by the Harlem Fine Arts Show honoring African Americans in Medicine for their many accomplishments.

understanding his budget. But this one piece of advice Broderick believes is crucial for any collector starting out:“ Make sure that first piece of art you buy is gonna suck the air out of your wall, meaning if you put nothing else on that wall, you’re gonna feel amazing about that one piece.

That is what ‘Proud’ did for me. It was so visually arresting that I didn’t buy another piece of art for 10 years.”

Geroge Kevin Jordan is an author, artist and illustrator based in Washington, DC.

PHOTO: COURTESY OF THE SUBJECT

“They are buying a piece of history--a piece of life’s time capsule--or an expression of who we are as a people.”

Black Art collecting is an extremely personal process; one that is also tied to wealth building, and relationship building with artists. LoveJones first advises collectors to “Buy things that you like. Buy things that resonate with you. Does a piece make you dream? Or make you smile?

Your collection is an extension of you.”

When deciding which artists’ works to purchase, LoveJones cautions against going with the work of the latest artist deemed hot. “Nine times out of 10 when you do that, you’re purchasing work that may not appreciate all that quickly because you’re purchasing where an artist’s work is at the moment without knowing what the value of the work may be later.” LoveJones recommends that collectors follow their own instincts by looking for emerging artists whose work they like, then start following them on social media or at art fairs to see how their careers are progressing.

weill.cornell.edu Harlem Fine Arts Show | 19

PHOTO T.K.

AFRICAN AMERICAN WOMEN IN FINANCE

BANKING ON INTERNATIONAL BLACK ART IN A MAJOR WAY HFAS is pleased to honor Dr. Denise Murrell and Ugo Arinzeh, two art

Dr. Murrell made French art history in Paris in 2019 when she co-curated The Black Model from Gericault to Matisse exhibit, one of the most successful exhibits mounted in the 10-year history of Paris’s esteemed Museum d’Orsay. The show drew about 400,000 viewers in three months and was considered nothing less than revolutionary, for it showcased the extent to which French Impressionist and earlier painters had enlisted Black women as models to pose for their work. Yet in the years that French Impressionism dominated art, the presence and significance of the Black models was never mentioned in any discussions; their names were not even disclosed.

That glaring omission of history was walked back with the Museum d’Orsay show, inspired by Dr. Murrell’s 2014 Columbia University Ph.D. dissertation in Dr. Denise Murrell with the 1863 oil painting, “Olympia,” art history. She exhaustively researched considered a masterpiece the names of the models for the dissertaby French painter Edward tion, then included the names on the art Manet. The Black maid in pieces in the show. Without understanding the work is named Laure, whose name was not listed the role Black models played in posing in the original work. for French painters for two centuries—or understanding the extent to which these painters drew upon a Black esthetic in creating their work-The Curator: DR. DENISE MURRELL Dr. Murrell argues there can be no accurate representation “Representation matters.” of French art when critiquing the subject.

In her current capacity as Merryl H. and James Tisch curaDr. Denise Murrell’s own personal passion and love for art is tor at large for the Metropolitan Museum of Art, Dr. Murrell what led the Harvard MBA graduate to switch careers in finance and banking, leaving her position as Managing Director, is curating the “Harlem Renaissance” exhibition opening Institutional Investor Research Group, Euromoney Institutional at the Met in February 2024. Be it institutions consulting with savvy curators like Dr. Murrell that invest in Black Art by in 2005 to pursue a Ph.D. in art history. She brought considermounting successful international exhibits; or individuals able skills from the financial and consulting world, becoming buying art done by artists throughout the Diaspora, Black renowned as a curator specializing in Black Art exhibits at the Art has become a global phenomenon at the highest levels. highest levels—internationally acclaimed museums.

investors who have taken Black Art to the global arena. By Audrey Edwards

Ugo Arinzeh shown with the art piece done by her favorite artist, Ndidi Emefiele, who is Nigerian.

l International Collector: UGO ARINZEH ”Diversify the portfolio.”

20 | Harlem Fine Arts Show

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PHOTO: THOMAS PADILLA

l

London-based real estate owner/broker, Ugo Arinzeh, formerly an investment banker with Bank of America in its Washington, D.C., and Charlotte, N.C. offices, believes Black Art is in its own asset class like real estate or stocks and bonds. What financial investors call “tangible assets.”

Arinzeh says the London international art scene is where Black Art investors should be looking for great investment opportunities, since the city is virtually exploding with works by brilliant emerging Black artists who could become “the next Kerry James Marshall.”

Arinzeh is personally most excited about the work of Nigerian artist, Ndidi Emefiele, and started investing in her pieces ten years ago. Emefiele’s whimsical, almost irreverent take on girls and women done on huge canvases

resonates with Arinzeh, who finds the images empowering.

“Ndidi’s work always depicts these girls in eyeglasses,” she explained. “I wear glasses, so I love her work. I feel represented.”

Ugo Arinzeh grew up Nigerian American in Somerset, N.J., earning a degree in finance from Rutgers University and an MBA from New York University’s Stern School of Business.

Since moving to London 13 years ago, she switched from banking to real estate brokering, and now heads her own eponymous real estate firm, Onyx Property Team, specializing in representing buyers of a property.

Arinzeh advises Black Art investors to first buy what they like. And then to diversify and to think beyond investing in typically better known Black American artists. “I’ve come to appreciate diversity in Black Art from all over the world,” she says. “This is where the future value is.”

Audrey Edwards is a writer and the author of American Runaway: Black and Free in Paris in the Trump years.

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MBA STUDENTS BRIDGE ART AND BUSINESS In a pioneering partnership, the Harlem Fine Arts Show is working with Clark Atlanta University’s MBA students to help them connect the dots between art, business, and community. By George Kevin Jordan

l

The Faculty, Staff and Students of Rutgers Robert Wood Johnson Medical School

Congratulate

PATRICIA WHITLEY-WILLIAMS,MD,FAAP Professor of Pediatrics, Department of Pediatrics Chief, Division of Allergy, Immunology and Infectious Diseases Senior Associate Dean for Inclusion and Diversity

This is a well-deserved honor, recognizing her outstanding contributions and dedication to the field.

Dr. Whitley-Williams, we are proud of the extraordinary work you do with our students and for the patients and families in New Jersey.

Best wishes to all of this year's honorees!

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for being named a 2024 African American in Medicine Honoree from Harlem Fine Arts

As the Harlem Fine Arts Show, the largest touring African American diaspora art show in the country, continues to expand its annual exhibition, the organization reached back last year to an Historically Black College and University with the intention of training the next leaders in art and business. Through an innovative collaboration with Clark Atlanta University, HFAS launched a summer marketing program in 2023 that gave MBA students an opportunity to apply business principles to the marketing of art.

The program took the form of a class project in which students were assigned to design innovative campaigns that would promote HFAS’s live events, boost audience engagement, and enhance HFAS’s overall brand presence.

Two standout students in the class, Tayara Rhynes and Damien Jenkins, applied for and were selected as HFAS Marketing Associates, a distinction for which they will receive an all-expense paid trip to New York City to attend HFAS’s 16th anniversary exhibit, as well as other events scheduled during Black History Month. The program concludes in the spring semester 2024 with the presentation of the CAU MBA students’ marketing proposals.

Dr. Edward Davis, a Christine M. Smith Endowed Professor at Clark Atlanta University, and former interim Dean of the school, hopes the program will build a bridge between art appreciation and business. “Working with the Harlem Fine Arts Show will give [students] exposure,” said Dr. David, “and a broader understanding of how to view art as a business for wealth building and community engagement.”

Dion Clarke, founder and CEO of HFAS, and a CAU MBA graduate, is excited about the collaboration between the two institutions. He hopes the program will instill in Black business students the importance of art in their lives. The program is also a way for HFAS to build relationships with HBCUs. “We are honored to have two associates join us

THE HFAS MARKETING ASSOCIATES TAYARA NICOLE RHYNES, 22, is a first year MBA student at Clark Atlanta University focusing on Sports and Entertainment Management. She hopes her HFAS Marketing Associate experience will help “advance my career and personal development, while giving me the chance to actively participate in and support the dynamic field of art and entertainment.”

DAMIEN JENKINS, 24, is a first year MBA student at Clark Atlanta University, with a concentration in Marketing. As a HFAS Marketing Associate, he hopes to increase his network of art professionals as he learns “more about the culture of Black Art.” He is also interested in seeing how HFAS’s existing marketing strategies have contributed to its longevity as an artists’ showcase.

at this year’s show who will learn how vital the arts are in providing cultural nutrition to our community,” Clarke said. “HBCU students and alumni are our future. This is an opportunity for them to see how art, business, and wealth building are all connected.”

George Kevin Jordan is a writer based in Washington, DC. For more information on HFAS’s collaboration with HBCU students and alumni email info@jwdenterprisesinc.com.

Rutgers, The State University of New Jersey 22 | Harlem Fine Arts Show

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100 Otis Williams

J 101 Michael Escoffery Gallery J 102 Golden Gallery J 103 Mahogany Gallery J 103A Stuart Mcclean Gallery

Aisle 900

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J GALLERY LISTINGS

Multimedia Area Approx. 40’ x 70’

900

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THE GLASSHOUSE, NYC

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104 Don O’Bannon

J 105 Nkosi Imports Gallery J 106 Watson & Watson Gallery 200 Dova

201 Modupe Odusote &

Sydni Peeler

300 Amanda C. Pereira

La’Jasha Champion J 301 Myrah Brown Green Gallery J 302 Frank Frazier Gallery J 303 Michael Bradley Gallery 304 Cole Douglas

314 Donna Ladson J 406 Buchi UpJohn Gallery 315 Jalen Law Ledgend407 Ayisha Diop 316 Sherwin Cadore 408 Jozimar Matimano 317 Shantel Mickens 409 Anthony Lewis Structural 318 Nai Turner Building410 10’ x 20’ 17’ xLouella 30’ JonesJo Lo Columns Darla Ebanks 13’ x 30’ 400 J 411 Carl Crawford Gallery x 10’ Faustin 310 4’ Guerda 401 Carol Folds J 412 Damien Mathis Gallery 311 Alise 4’ Loebelshon & 402 Youveline Joseph x 20’ Judith Eloise Hooper Display Wall J 413 Damien Mathis Gallery 403 414 J 312 Paul Conliffe Gallery 404 Justin Ellis J 415 LaShun Beal Gallery J 313 Sanusi Olatunji Gallery 405 David Dixon 20’ x 50’ J 416 LaShun Beal Gallery 305 J’han Brady 306 Jason Roberts 10’ x 10’ 307 Duane Corey 308 Taleya Jet Johnson 309 Larry Weekes

Booth Sizes 30’ x 30’

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Gallery Booths

Harlem Fine Art Show 2024 417 Andre Johnson 418 Shantel Greene J 419 Harlem Art Crawl J 420 Harlem Art Crawl J 421 Van Putten Gallery J 422 Van Putten Gallery J 500 E & S Gallery 600 Lakeem Wilson Revised 2/10/24 601 &Thomas Lockhart JC Art Design, Inc. 602 Emmanuel Gillespie J 603 WaterKolours Fine Art

700 Eunice LaFate 701 Christopher Crenshaw 800 J 801 Graphite House Gallery J 802 Graphite House Gallery J 803 Graphite House Gallery J 804 Fulton Art Fair, Inc J 805 Kente Royal Gallery 806 Dontae Muse 807 900 Bernard Donaldson

The Glasshouse, NYC

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PAUL CONLIFFE paulconliffe@yahoo.com

HARLEM FINE ARTS SHOW ARTIST & GALLERY LISTING

SANUSI OLATUNJI tjaxvision@yahoo.com COLE DOUGLAS coletherenaissance@gmail.com 26 | Harlem Fine Arts Show

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YOUVELINE’S CREATIONS jyouveline@gmail.com

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Congratulations To TheHarlem Fine Arts Show for a wonderful opportuity

HFAS ARTIST & GALLERY LISTING DR. MYRAH BROWN GREEN drmyrah@gmail.com

With Love, Khairi, Anisa & Omar 203.223.0549

https://linktr.ee/kaodistribution

DARLA EBANKS darla@mygallerynyc.com

GALLERY/ ART BY GOLDEN keithagolden@yahoo.com DAMIEN MATHIS dmathisphere@gmail.com

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MICHAEL BRADLEY FINE ART michaelbradleyfineart@gmail.com CAROL FOLDS foldscarol@gmail.com OTIS WILLIAMS/ TRIBAL ART otiswilliams@me.com

JOZIMAR MATIMANO jozy.mathy@gmail.com

BAYAAL NYC info@bayaal.com Harlem Fine Arts Show | 29

HFAS ARTIST & GALLERY LISTING

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CARL M. CRAWFORD carlcrawford29@yahoo.com

SCAN THE QR TO BUY

GRAPHITE HOUSE Contact@GraphiteHouse.co

EUNICE LAFATE arteun@aol.com

JMR DESIGNS jmrdesigns14@gmail.com

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HFAS ARTIST & GALLERY LISTING

GALLERY/ E&S GALLERY staff@eandsgallery.com GUERDA FAUSTIN guerdafaustin@gmail.com KAI WATSON kamanax@gmail.com

CONGRATULATIONS, YVES DUROSEAU, MD

SEMENTE ap120@wellesley.edu LA’JASHA CHAMPION lajashachampion@gmail.com LOUELLA JONES louellajones61@yahoo.com

Dr. Baker and Lenox Hill Hospital would like to thank

FRANK FRAZIER visions@swbell.net

the Harlem Fine Arts Show for their continued contribution to the community by bringing people of diverse backgrounds together by showcasing African American fine arts.

Chair of Emergency Medicine, Lenox Hill Hospital, for receiving the prestigious accolade of African Americans in Medicine.

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We are very proud of our own, Yves Duroseau, MD, DONNA LADSON dartistdonna@gmail.com

ANTHONY LEWIS alewisproject14@gmail.com Harlem Fine Arts Show | 33

HFAS ARTIST & GALLERY LISTING

NKOSI IMPORTED CRAFTS, LLC j--byrd80@msn.com

THE VENUE Our accommodating approach, versatile design, and unmatched infrastructure, allow for elevated planning creativity, guest service, and contemporary experiences.

The Glasshouse offers a unique ability to host imaginative, impactful, and engaging next level events, tailored to your needs.

The Glasshouse is the preeminent private event space of NYC. Newly completed in 2021, the acclaimed venue is operated by a team of experienced and agile professionals that apply leading service standards to deliver remarkable experiences.

THE LOCATION ADDRESS

660 12th Avenue (West Side Highway) between 48th and 49th Streets New York, NY 10019.

JALEN A. LAW info@thejalenlawcollection.com 53

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JAVITS CENTER

TIMES SQUARE

GALLERY/ Waterkolours Fine Art Gallery waterkolours@icloud.com

HUDSON YARDS

THE SPECIFICATIONS LIGHTING

AUDIO

Bays and coffers: 14’ - 18’ theatrical pop-up: 30’acoustic fabric wrapped ceiling panels.

DMX controlled house and theatrical lighting system ETC Gio and Paradigm control consoles 49 dynamic chandeliers - RGBW and audio sync capable motorized sun and blackout shades.

Dante enabled Martin sound system (concert ready) Yamaha mixing consoles comprehensive sound absorbing and blocking materials.

VIDEO

RIGGING

POWER

Broadcast truck cabling provisions (conduit to street) video control room in inconspicuous BOH location ports located in all areas, enabling multiple stage setups.

1 and 2 ton strong points installed in all event areas motorized battens, truss hoists, and rigging beams in pop-up.

800 amps (3 phase, 120/208v) available (net of other uses) neat distribution into space from company switches.

SERVICE-ENHANCING INFRASTRUCTURE Large commercial kitchen with two full service lines dedicated locker rooms for vendors oversized freight elevator (loading dock on 49th street).

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CEILINGS

LARRY WEEKES weekeslarry@gmail.com

GALLERY/ Mohogany Gallery scott.terry@mahoganygallery.com EMMANUEL GILLESPIE pencilonpapergallery@gmail.com

JUDITH ELOISE HOOPER jeloisehooper@gmail.com

www.theGH.com

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HFAS ARTIST & GALLERY LISTING

BASIL WATSON basil.sculpture@gmail.com

NAI TURNER sidelineimagesart@gmail.com

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LAKEEM WILSON & CO. lakeemwilson@gmail.com

TOLU AYORINDE tdstockltd@gmail.com

ALISE LOEBELSHON aliseloebelsohn@gmail.com 36 | Harlem Fine Arts Show

Harlem Fine Arts Show | 37

HFAS ARTIST & GALLERY LISTING

DAMIEN MATHIS dmathisphere@gmail.com

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J’HAN BRADY jhan.brady@gmail.com

SHANTELLE MICKENS

DUANE COREY duane.corey@gmail.com

info@dorayunltd.com

JALEN A. LAW info@jelanlawcollection.com 38 | Harlem Fine Arts Show

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HFAS ARTIST & GALLERY LISTING

NEW YORK CIT Y CENTER MODUPE ODUSOTE modupeoo@gmail.com DR. THOMAS E. LOCKHART III thomasel3@hotmail.com O’BANNON STUDIOS don@obannonstudios.com

FEB 21 – MAR 3

BUCHI UPJOHN buchiupjohn@gmail.com

“Dazzling... this Jam jams with infectious style.”

Walk Tall ad JOAQUINA KALUKANGO

BILLY PORTER

with code

Join George C. Wolfe and Susan Birkenhead in a post-show conversation moderated by Robert O’Hara

on select seats for any performance JELLY’S LAST JAM

BOOK BY GEORGE C. WOLFE MUSIC BY JELLY ROLL MORTON LYRICS BY SUSAN BIRKENHEAD MUSICAL ADAPTATION AND ADDITIONAL MUSIC COMPOSED BY LUTHER HENDERSON TAP CHOREOGRAPHER DORMESHIA CHOREOGRAPHER EDGAR GODINEAUX FEATURING THE ENCORES! ORCHESTRA GUEST MUSIC DIRECTOR JASON MICHAEL WEBB DIRECTOR ROBERT O’HARA Casting subject to change

NYCITYCENTER.ORG 131 W 55TH ST | 212.581.1212 leadership support for encores!

major support for encores!

encores! season sponsors

support for the ann reinking encores! choreography fellowship

The Shubert Foundation Stephanie and Fred Shuman Fund for Encores!

Peter Talbert in honor of Ann Reinking

additional support for encores!

The Kaplen Brothers Fund The Blanche and Irving Laurie Foundation The Frederick Loewe Foundation Daryl and Steven Roth

TICKETS FROM $45

The Fan Fox and Leslie R. Samuels Foundation, Inc. The SHS Foundation The Ted Snowdon Foundation Marta Heflin Foundation

JELLY’S LAST JAM is presented by arrangement with Concord Theatricals. www.concordtheatricals.com

(FEES INCLUDED)

community nights at new york city center are made possible by asl-interpreted performances at new york city center are made possible by

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Fri Mar 1

MKTJELLY

40 | Harlem Fine Arts Show

TALEYA JET JOHNSON taleyajohnson@gmail.com

CELEBRATE BLACK THEATER LEGACY

SAVE 20%

Stacey and Eric Mindich Fund for Musical Theater

SHERWIN CADORE socadoreart@gmail.com

LESLIE UGGAMS

Show Art by Ben Wiseman

NICHOLAS CHRISTOPHER

CHRISTOPHER CRENSHAW cqcrenshaw@aol.com

DAVID DIXON dkdesigns2021@gmail.com FULTON ART FAIR info@fultonartfair.net

Harlem Fine Arts Show | 41

COMMUNITY PARTNERING FOR ART AND PROFIT The Harlem Fine Arts Show’s “Beneficiaries Partnership” has become a perfect way to blend art and community fundraising. By George Kevin Jordan

l Every year the Harlem Fine Arts Show partners with organizations that benefit from utilizing the show as a fundraising opportunity. These organizations, working with HFAS in its “Beneficiaries Partnership,” market tickets for the show, with a percentage of the proceeds going back to the organizations for their own community work. As Dion Clarke, HFAS producer said, “Art can be such a valuable funding resource for community organizations.”

This year’s 2024 HFAS Beneficiaries are Greater Bronx (NY) Chapter of The Links, Inc.; Share for Life, Inc.; NAACP Mid-Manhattan Branch; Touch, Black Breast Cancer Alliance, and the Alpha Kappa Alpha Sorority, Inc. We asked the leaders of each organization to share why being a HFAS Beneficiary has been enriching for both their fundraising efforts and their overall love of Black art.

MARILYN ROSS-MOODY:

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President of Greater Bronx (NY) Chapter of The Links, Inc. Why did your organization want to use this event as its fundraiser?

“The Fundraising Committee selected the HFAS as our fundraiser because HFAS exemplifies our founders’ Margaret Rose Hawkins’ and Sarah Strickland Scott’s vision of having an impact on our civic, educational, and cultural empowerment. HFAS is the perfect vehicle to provide exposure to the arts, and hopefully impress upon the youth and community the love of art and art appreciation. This fundraiser is an event in which artists of color produce, display and talk about their work. The vision of our founders.”

JANINE SAULSBURY: Founder and Executive Director of Share for Life Foundation, Inc., a nonprofit organization whose mission is to strengthen urban communities by offering various high-quality and engaging programs, services, and initiatives for New York City families of all ages.

How is HFAS uniquely suited to your organization’s own goals and mission?

“Partnering with the Harlem Fine Arts Show is a perfect pairing. The genesis of Share for Life Foundation started in Harlem, as did HFAS. One of the pillars that we focus on with our youth is Arts. Arts education in underserved communities offers a range of benefits that go beyond artistic skill development. It nurtures creativity, builds confidence, enhances cognitive abilities, fosters cultural pride, and contributes to overall personal and social well-being. Sharing space at the show with artwork that represents us is powerful.

HFAS is the only art show that provides this platform.”

KYNDELL A. REID: President of the NAACP Mid-Manhattan Branch, one of the country’s longest-serving civil rights organizations.

How has partnering with HFAS benefited your fundraising goals?

“Partnering with the HFAS helps us in our fundraising effort because it helps support the HFAS, as well as

Harlem Fine Arts Show | 43

COMMUNITY PARTNERING FOR ART AND PROFIT

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Given that Black women are dying at a 41% higher rate than White women, and Black women under 35 die at twice the rate, every dollar towards this mission counts.

Being able to partner with HFAS allows us to access our community to share very important information that empowers Black women to be the CEO of their own health. — Ricki Fairley

Balance L

ife with Le

helps raise money for the Branch. This is the 16th Annual HFAS, and people come from near and far to attend. The Mid-Manhattan Branch services the community from 34th street to 110th street, from river to river, and our purpose is to improve the political, educational, social, and economic status of African Americans and other racial and ethnic minorities. Partnering with the HFAS opens new areas and brings visibility to the work that we do in the community. Our goal is to increase membership and to inform the community of laws and policies that may adversely affect them. And the show itself is a wonderful platform for artists and people from the community to come together in a beautiful setting.”

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RICKI FAIRLEY: CEO, Touch, Black Breast Cancer Alliance, an advocacy organization working to eradicate breast cancer among Black women.

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Enjoy the luxurious Carnival Venezia as she sails from NYC where art meets fun.

What has been the best thing about being a HFAS “beneficiary?”

“Of course we want to fundraise, but the Harlem Fine Arts Show gives us the opportunity to bring more Black breast health/cancer awareness to the public at the show. Given that Black women are dying at a 41% higher rate than white women, and Black women under 35 die at twice the rate, every

dollar towards this mission counts. Being able to partner with HFAS allows us to access our community to share very important information that empowers Black women to be the CEO of their own health. This is the organization’s second year working with HFAS. I can’t imagine not being a part of such an amazing night of art and healing.”

ELICIA PEGUES SPEARMAN: Alpha Kappa Sorority, Inc., North Atlantic Regional Director.

This is your second year partnering with HFAS as a beneficiary. What do the arts mean to your organization and to fundraising?

“Lois Mailou Jones, a renowned artist from the early 20th century, was an AKA member who contributed to the extensive legacy of African American art. Our partnering with HFAS supports the importance of the various initiatives we champion.

It is crucial to support artists, empower families, and foster economic prosperity to prevent the erasure of our history and emphasize the significance of diversity and inclusion. The impact of our contributions to the arts is invaluable, and HFAS ensures our efforts remain part of a global conversation.”

George Kevin Jordan is a Washington, DC writer.

Harlem Fine Arts Show | 45

1000 Richmond Terrace, Bldg A Staten Island, New York 10301 StatenIslandMuseum.org

Image Credit: Virginia Greene, RN, on duty with Ms. Sarah Smith and Ms. Mary Taylor, 1938 - 1942.

Gift of Richard T. Greene, Jr., in memory of Virginia (Lea) Greene Collection of Historic Richmond Town | 21.012.0001

Taking Care: The Black Angels of Sea View Hospital A major exhibition exploring the legacy of the Black nursing staff at Sea View Hospital, pivotal to breakthroughs in tuberculosis treatment.

Featuring a meditative film installation by Elissa Blount Moorhead and Bradford Young, connecting this significant history to the broader contributions of Black healthcare workers.

Curated by Rylee Eterginoso and Gabriella Leone On view starting January 26, 2024 Taking Care is made possible by: Presenting Sponsor

Lead sponsorship provided by

Major support provided by

Programming is made possible by public funds from the NYC Department of Cultural Affairs in partnership with the City Council. Funding is provided by the Staten Island Borough President’s Office, and by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

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