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HomeMy WebLinkAboutCRA-R-17-0049 BackupGRANT APPLICATION SUBMISSION FOR A THEMATIC ART & CULTURAL EXHIBITION Southeast Overtown Park West Community Redevelopment Agency 30 May 2017 Submitted by art afr1ca mlcnl arts fair 7017 Producer's Statement TheUrbanCollective (TUC) is an urban gallery featuring fine authentic artisan artwork from Africa and the Diaspora. We place emphasis on using our retail gallery to promote emerging local African, African -American and Caribbean artists from the South Florida Community. Founded in 2004 by Neil Hall, AIA, over the course of thirteen years, we have sponsored and hosted numerous events, salons and shows in support of the local art scene. In doing so, TheUrbanCollective has fashioned itself as a cultural and artistic reference point within the local Black arts community and the ever -evolving Wynwood Arts District. As the sole proprietor and purveyor of African Art in the district, we have emerged as the source and champion of local artists of African descent. We are dedicated to running an ethically and socially conscious business that supports the fair trade of crafts produced by artisans from developing countries through the establishment of guilds and collectives throughout Africa and the developing world. On a local level, we partner with non-profit organizations to produce creative events in support of institutions that sustain communities with their charitable work. The Urban Collective is comprised of a group of seasoned professionals who possess artistic, administrative, creative and event planning and management skills necessary to plan and execute a project from conception through completion. Enclosed please find the requested proposal to produce an Art & Cultural Exhibition. As you many determine in review of this submittal, TUC is qualified in every aspect to perform the desired services and execute an inspired, successful production for the community's enjoyment and enrichment. Sincerely, Ih Urbii(oIIectire NEIL HALL, AIA NOMAC President/CEO Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 Letter of Intent May 30, 2017 Mr. Clarence Woods Southeast Overtown/ Park West CRA 1490 NW 3rd Ave, #105 Miami, FL 33136 RE: Proposal to Provide Complete Production & Management Services for the 7thAnnual Art Africa Miami Arts Fair & Soul Basel in Historic Overtown Dear Mr. Woods: THE ART AFRICA MIAMI 2017 — LOCATED IN MIAMI'S URBAN HEARTBEAT, OVERTOWN, IS THE PREMIERE SHOW EXHIBITING THE BEST OF CUTTING -EDGE CONTEMPORARY VISUAL ART FROM THE AFRICAN DIASPORA. TheUrbanCollective is pleased to present this proposal for your review and consideration to produce Art Africa Miami 2017. We look forward to partnering with the Southeast Overtown Park West CRA once again to provide Historic Overtown with exciting cultural programming that will serve to elevate Overtown's brand in our local community as a cultural hub, as well as, enhance the rebirth of Overtown's history as the epicenter of Black Art and Culture in Miami. The Art Africa Miami Arts Fair is the premiere showcase of contemporary visual artists from the African Diaspora during the Art Basel Miami exhibition, located every year since its inception in the epicenter of Miami's Historic Overtown. Established in 2011, Art Africa Miami - with the support of artists, galleries, museums, and the SEOPW CRA - is comprised of a group of seasoned professionals who possess the creative planning, event planning and management skills necessary to produce a first class art and cultural exhibition. We operate as an urban gallery featuring fine artwork from Africa and the Diaspora. We place emphasis on using our brand exposure to promote emerging local African, African -American and Caribbean artists from the South Florida community. Over the course of 13 years, TheUrbanCollective has sponsored and hosted numerous events, including the renowned Art Africa Miami Arts Fair 2011-2016, including salons, community youth art events and shows in support of the local art scene. In doing so, TheUrbanCollective has fashioned itself as a cultural reference point within the local Black arts community. As the Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 sole proprietor and purveyor of African art in the district, we have emerged as the source and champion of local artists of African descent. We look forward to further discussing this proposal with you in the near future. Should you have any questions or require additional clarification, please let us know. We are here to work with you as your partners in this effort. Sincerely, i �fhde(o I diY Neil Hall, AIA President / CEO Enclosures Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 Exhibition Concept It is our intention to produce the 7th Annual Art Africa Miami Arts Fair during Art Basel Miami 2017 / Miami Art Week. We want to pay homage to the centrality of Africa's artistic contribution to the modern world and to brand art from the Miami Black art community as a significant attraction during Art Basel Miami annually. TheUrbanCollective will house a number of galleries building an entire theme around the art and culture of Africa and its Diaspora, providing a centralized space to house the art of this region during Art Basel. Art Africa Miami Arts Fair will be hosted in the historic Clyde Killins Pool Hall that will give our fair goers and exhibitors an opportunity to experience an unparalleled body of work curated by art professionals whose contributions to the art world are extensive and of critical importance to both seasoned and emerging artists and galleries alike. This will be our second consecutive year in this significant location in the hub of Historic Overtown. As in 2016, we will utilize the entire 8,000 square feet, both first and second floors, with an impressive program featuring visual artists, salon talks, film screenings, youth engagement and much more. We are expanding the 2017 showcase from four to seven days to accommodate interest and outreach from not only throughout North America but also the Caribbean, Africa, South America and Europe. Each year Art Basel Miami attracts a multitude art buyers, collectors, curators and gallery owners to our fair city. It draws over 75,000 visitors, offers more than 5,000 gallery venues and creates over $2.5 billion in sales revenue over the seven day event. The number of museums, galleries, and studios that proffer this wealth of visual art continue to increase exponentially each year and in response, the visitors and the revenues they bring to the community at large also continue to increase. In short, Art Basel Miami is the world's pre-eminent contemporary art fair whose cultural significance and revenue generating ability cannot be under estimated. For 2017, it is our intent as well to program the greenspace directly north of the Clyde Killins building. This space will accommodate a series of outdoor large scale totems and pop-up containers with a curated selection of art -related vendors. As South Florida temporarily transforms into the international Mecca for art during Art Basel Miami, the local Black art community continues its efforts to establish a significant presence in the expo. Since the launch of the Art Africa Miami Arts Fair in 2011, a few others have followed suit and created other venues that exhibit art from the African Diaspora, and these venues tend to be placed within the heritage communities, scattered in various smaller artspaces throughout the city. The Art Africa Miami Arts Fair is the first art fair during Art Basel Miami to showcase solely art work from the Diaspora and we have received widespread recognition for it. The paucity of venues in Basel week that support and/or promote African art does a disservice to the fair itself and the city which hosts it. Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 It is our belief that Historic Overtown, as the bygone epicenter of Black Arts and Culture, must continue to be the destination for this yearly celebration of the very best cultural capital emanating from the African Diaspora; a first class event bridging Historic Overtown's swinging past with its elegant future. Fair goers will have the opportunity to Shop, Dine and Explore the best of Overtown's commercial businesses as we venture to engage local vendors by offering Art Africa Specials during the run of the event. This will prove a mutually beneficial business model for both our local small businesses, Miami CRA, and Art Africa Miami alike. By advancing both local and global African, African -American and Afro -Caribbean artists, Art Africa Miami has created a wider audience and broadened the scope of opportunities available to the artists, galleries and local small businesses that participate in the successful fruition of Art Africa Miami Arts fair. We seek each year to transform, educate and enlighten the international community to the depth and breadth of art emanating from our local Black community, providing artists from the Diaspora a chance to leave their distinct mark on Art Basel and the international art clientele which it attracts. For 2017, we have extended invitations to an esteemed list of renowned artists, curators and gallerists to exhibit in this landmark effort and as you are a member of this revered group, we look forward to your participation. Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 **KICK-OFF OF THE 2017 SOUTH FLORIDA ART & CULTURAL SEASON** September ART AFRICA ANNUAL SYMPOSIUM "Changing Perspectives on a Changing Art World: The Work of African Diaspora Arts" " (Panel Discussion) October "Black Diaspora Art and BLING Aesthetics" (Book Discussion) November "All the World's A Stage: Miami Artists and Re -Making Worlds through Their Images" (Panel Discussion) December Exhibition Schedule (Extended to One Week) The support of the Art Africa Miami Arts Fair has grown substantially each year by locals and visitors from abroad. We are extending the fair schedule to match the week-long festivities of Miami Art Week, as promoted worldwide by the Greater Miami Visitors and Convention Bureau. This brings huge value and greater awareness of the cultural legacy native to the Historic Overtown neighborhood. Attachment "A" is our 2016 Program Catalog which demonstrates the high caliber of programming being executed with measurable growth on an annual basis. Monday, December 4th Tuesday, December 5th Wednesday, December 6th Thursday, December 7th Friday, December 8th Saturday, December 9th Sunday, December 10th 6:OOpm - 9:OOpm (Opening Night Reception) NOON — 7:OOpm (General Admission) NOON - 7:OOpm (General Admission) NOON - 7:OOpm (General Admission) NOON - 7:OOpm (General Admission) NOON - 7:OOpm (General Admission) NOON - 1:OOpm (Final Day/Media Exclusive Access) The supporting budget for the art season calendar (September through December 2017) listed above can be found in Attachment "B". Art Africa Marketing Strategy It is our intent to enter into formal agreements with several of our partners assisting us in our efforts to create this exciting event — 7th Annual Art Africa Miami Arts Fair - during Art Basel Miami. The partnership arrangement seeks to link the three areas of importance that would make the event meaningful, attractive, successful, and add another flavor to the ambience of Art Basel Miami. This includes institutions such as museums, academic institutions, artists, curators, galleries, fashion designers, interior designers, etc. Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 Museum We are working with nationally renowned museums that continue to lend their expertise in areas such as curatorship, art discussion panels, multi -media interactive installations, and general advisement to this important artistic cultural event. Academia We are actively in discussions with interested local academic institutions that have art and art history departments including Nova Southeastern University and Florida International University, FLAASC, University of Miami and Florida Memorial University. This is to engage local participants from local student bodies and professors to be engaged with this important event. Media Our media outreach efforts include our partnership with Legacy Magazine/ Miami Herald, Sugarcane Magazine, Sun Sentinel, and Palm Beach Post, local radio distribution through Cox Media Group as well as National Public Radio. Social Media Art Africa Miami has begun its efforts to garner the public's awareness of our efforts through various social media platforms, such TheUrbanCollective.co website, ArtAfricaMiamiFair.com, Facebook, Twitter, Instagram and other affiliate partner(s) social media distribution accounts. Local and International Art Fairs It is our desire to associate the Art Africa Miami Arts Fair with established national and international fairs such as Art Basel Miami, International Black Fine Arts Fair and Caribbean Fine Arts (CAFA) Fair. In closing, we cannot thank enough the City of Miami Board of Commissioners & the Southeast Overtown Park West CRA, its Director and staff members for the continued support and partnership throughout the years. It is because of you we have been a success. It is because of you, the artists we feature from throughout the African Diaspora have grown in notoriety. It is because if you, Overtown's cultural currency has grown in the eyes of the international art and culture tourism audience. Please view our highlights throughout the years at ArtAfricaMiamiFair.com and our Facebook page. ATTACHMENTS Attachment A — 2016 Program Catalog Attachment B — 2017 Budget Taj Hunter Waite • CONTACT • Yvette Harris 954.283.7195 786.897.8854 art africa niani crts Pcir 2016 TR°T°P" African Diaspora & The Politics of Representation Established in 2011, Art Africa Miami's inaugural exhibition in Historic Overtown was the first of many exhibitions during the Art Basel Miami festivities. The inaugural Art Africa Miami opening set a precedent as the largest showcase of contempo- rary artists from the African Di- aspora during Art Basel Miami and continues to grow with this year's showcase planned for November 30th — December 4th, 2016 at 920 NW 2nd Ave- nue in Miami. "Art has always been a tool to claim space, build power and to question the injustices that have shaped our social experiences," Neil Hall, Founder. In the world of art and culture, artists are responsible for offering the viewer a chance to challenge society by bringing new mean- ing to the way we perceive the world. Culture is space where we can introduce ideas, attack emo- tions, change values and find inspiration. Art is where we can imagine what change looks and feels like. Thank you for joining us as we seek to do our part in transforming our world to be more just and beautiful in all we do. Each year, we continue our transformation of the historic community of Overtown. We welcome your to participation. Art Africa Miami Arts Fair is a multidisciplinary exhibition of fine contemporary art from the global African Diaspora. The central idea of Art Africa Miami is to present an array of visual works that pay homage to the centrality of Africa and its descendants contribution to the modern art world. Our aim is to continue advanc- ing artists from the African Dias- pora, including artists from Afri- ca, North America, South Ameri- ca, the Caribbean, and Eu- rope. Art Africa Miami brings a vital and essential cultural ser- vice to the South Florida com- munity, lending the Magic City with true international flair. MILES REGIS art Ts africa miami arts Fair 2016 Now with a prominent voice in the Downtown Miami / Overtown area, the Art Africa Miami Art Fair was the first art fair to solely feature artists from the African Diaspora during the winter art fair season. As a result, we have been a cata- lyst to attract the elite collectors, art professionals and the art -engaged public that have traveled to Miami from all cor- ners of the globe into the fastest growing art region in the country. It is our mission to create an event that puts this historic area on the art-world's map, aid in the revitalization of the Overtown neighborhood and its public greenways by creating a landmark cultural event during a time when Mi- ami is at the center of the global art scene. At the cusp of both the Downtown Miami and the Wynwood Arts District, the Overtown neighborhood is the ideal location to host this international art fair. It is a large exhibition space worthy of a museum -level showcase. Between the spectacular installa- tions, sculptures, and panel discussions, through this pio- neering effort, we get to experience the Cultural Epicenter of artists from the Caribbean and Diaspora. Thank you for your support of the sixth edition of the Art Africa Miami Arts Fair. The Urban Collective is a sustainable lifestyle design brand driven by our passion for innovative design, art and cultural exchange with skilled artisans in developing countries who design beautifully hand crafted products and artifacts. Our brand is a new urban lifestyle concept that supports the work of artisans through our collaboration with non-profit organizations. We support artisans who design, fabricate and offer our patrons a collection of beautiful products that marries the raw authenticity of African craftsmanship with the sleekness of modernity. City of liana, KEON HnraDZMoN fX7NM i5&OriF A - DSTRlCr 6 Greetings Urban Collective: h rii a Cain' I- ll 3500 Po... um AN OWIVL flAMi, FLOMOA 3]l]3 13051250.536O FRlf L3OO1310-631/6 it is with great pride that I welcome you to The City of Miami for the 6th installment of the Art Africa Music Arts Fair. Thanks to organizations such as yours, art continue to play a vital role In the development of this historic community. The Art Africa Music Arts Fair attracts visitors from around the globe to view a multidisciplinary exhibition of fine contemporary art, The Urban Collective has helped to provide an amazing platform for artist throughout the African Diaspora during the Art Basel season. Through innovation and creativity, you continue to push boundaries, while achieving greater levels of excellence with each exhibition. This year's event is being held at the recently renovated Clyde Killen's Pool Hall, which provides us the opportunity to celebrate our past and showcase the progress of our community, Events like this, remind its participants of the rich history of Blacks in Miami. I trust that you will create an unforgettable experience and I wish you success in the years to come. Sincerely, Kean Hardcrnon Chairman Miami City Commission art africa arts Fair 2016 OUR SUPPORTERS TheUrbin(ollediye OHISTORIC SOUL BASEL all things 101(4 `With YOU1p P, e,o FLASC FLORIDA AFRICANA STUDIES CONSORTIUM // GREATER MIAMI CONVENTION & VISITORS BUREAU HARRIS PUBLIC RELATIONS Art of Black /Vll A/VII. Organized by the Greater Miami Convention & Visitors Bureau Cultivating & Maintaining Relationships °TR°T°P'° AFRICAN DIASPORA AND THE POLITICS OF REPRESENTATION Working on the premise that Art making is culture mak- ing, the 2016 Art Africa Miami titled Afrotopia: African Diaspora and the Politics of Representation assigns it- self the unearthing and fecundating of the vast spaces of the possible in African Diaspora reality. Afrotopia explores emerging epistemic shifts, articulates a neces- sity for new metaphors of the future and renewal of practices and discourses on African Diaspora imagina- tion. The atopos (Overtown) is the site artists, intellectuals and various leaders strive to hasten the advent. Found- ing a utopia is not to let one glide into self -dreaming but rather to think spaces of the real; another site. These are created through thought and action. Thinking representation of African Diaspora arts in this frame becomes a daunting task as critical cliches and pseudo certainties, like a halo of mist, blur our realities. For most of the contemporary era, a pseudo universal artistic language articulates an afro -pessimism, pre- senting without a blink, African Diaspora arts as adrift, with potential but immature, always in a post -stage (Post black, Postcolonial). This speaks of the symbolic violence with which vis- ual expressions of the African Diaspora were (still are) considered, treated, represented, in- scribed in the collective imagination on the mode of immaturity, failure, mimicry, peripher- ized, handicapped and deficient. This propensity by others to make African Diaspora arts a space for projection of their phantasms is old. These dreams produced by others, through a night of sleep saw only partially African Diaspo- ra arts. While aesthetic production is inherent to any culture, it is less sure though that all share the same relationships to the universalism of a mechanistic and reductionist art order that submits the world and its cultural productions to a unicentric frame of legitimization for the profit of a few. African Diaspora arts are the future (Afrofuturism, Afropolitanism) and will be the shallow rhetoric says. What this implies is that we are not now, that our coincidence to the present is still not here. The terms of articulation in which we are presented, in a time to come, indicate the actual lack. The delocalization of our presence in the future perpetuates the handicap- ping judgment which we are the object. AFROTOPIA articulates the failures of these formulations in accounting for current dynamics in the African Diaspora, thinking of the deep mutations operating in them, so tied are they to a unicentric discourse which conditions the reading of the African Diaspora real. By inscribing the march of African and African Diaspora societies in a teleology of universal phantasms, these hegemonic categories, by their pretension at being qualifiers and describers of all so- cial dynamics, have denied the creativity proper to African Diaspora societies as well as our capacity to produce the metaphors of our possible futures. By adopting these categories with footprints in a rhetoric of universalism and globalization, some seem to have adhered to that inverted perspective of the human which consecrates the primacy of quantity over quality, of having over being; our presence in the world being evaluated only from the gaze of others and our own fragmented view of ourselves in relation to other selves. In these conditions, why then articulate a thought bearing on the present and becoming of African Diaspora arts? Because societies first institute themselves in their imaginaries. These are the forges from which forms appear to feed and deepen life; and hoist aloft emerging social and human adventures. AFROTOPIA is an articulation of our evolution because we project ourselves into a future of our choosing, thinking the conditions of our sustainability, transmitting an intellectual and symbolic capital to following generations, carrying out a project of society, constructing a vi- sion of the human and defining the finality of our social life. AFROTOPIA is then about extracting ourselves from the dialectics of pessimism and despair; to undertake an effort of critical thinking about ourselves, our own realities and our situation in the world; to think ourselves, to self -represent and self -project. This fecund thought on African Diaspora aesthetics carries the exigency for an absolute intel- lectual, political and artistic sovereignty. Through it, we arrive at thinking an African Diaspora in movement; out of formulaic concepts. We think anew and resist the myths on the trajec- tories of African Diaspora communities. Afrotopia is "Self -apprehension"— an apprehension of self by oneself, determined by the possibility of a proper thought. An intimate knowledge of a culture cannot be done from the outside. AFROTOPIA seeks to interrogate African Diaspora cultures through their own cate- gories. artists SOLOMON ADUFAH As a self-taught artist, Adufah made it his mission "to empower, promote and celebrate the African culture through his portrait paintings." Since moving to Chicago as a late teen, Adufah has been baffled by the negative perceptions of Africa, tainted by its history and the media, and found it even more troubling that blacks in America shared these limited views. He combats these initial judgements and reflects on the diversity lost in the decep- tive mainstream representation of Africa, exploring a self -referential perspective of what it means to be Ghanaian. His practice involves creating large portraits of subjects he meets during his mission trips to Africa. There are two aspects of his art that are endear- ing; first, how he builds genuine relationships with his subjects and second, his purpose for creating and selling his works. While these aspects drive his practice, the urgency be- hind what makes his work necessary within a contemporary art context is supported by a different characteristic. His portraits are aesthetically pleasing and his purpose is backed by the need to do something for the greater good. ADEDOBA AFOLABI Adedoba worked as a graphic artist with the British overseas development of the UN and taught at Yaba College of technology in Lagos Nigeria prior to his coming to New York. His success at several exhibition and the academics propelled his momentum. He is proud of his first Solo exhibition tagged 'Buffalo Soldier' in 1999 at the art district of North East Mi- ami in Florida and several other shows curated by Asmar b art gallery which launched his fame among the scholars thereby initiating him as a relevant force at the annual Black His- tory Month art shows at the Florida International University. He is well known at various art galleries after working briefly at the Metropolitan Museum of Art in New York and the City and has featured alongside the art biggies most especially at the great Dorsey Gallery which produced the likes of Romare Bearden, Otto Neal, and Dr Ojo who connected him with Emmit Wigglesworth. TURGO BASTIEN In trying to grasp the art of Turgo Bastien, one first must understand the cosmogonies and cosmologies at work in his coming to being. Turgo is Haitian born with what they call Konesans. For Haitians, there is a strong belief that some individuals are gifted by the Lwa (deities) with unique powers — Konesans which beneficiaries have the power to render beautiful anything they touch. This unique propensity can manifest itself in leadership qualities, spiritual insight or crea- tivity. Thus, a "work of art" that has Konesans transcends ordinary questions about its makeup and confinement to become divine force incarnate. The above concept of crea- tivity institutes a key difference between notions of "beauty" and "Langaj" as aesthetic responses to issues of form. The language of beauty inheres in formal qualities of physical objects while Langaj expresses as a notion of re-membering and defines the embodiment of historical realities in temporal, formal or conceptual structures. As actual and imagined places, the works of Turgo Bastien are topoi--place and topic simultaneously. ANTHONY BURKS Anthony Burks is one of the most unique conceptual artists in America. His paintings mix colored pencils, watercolor, pen, and ink, and are characterized by his unusual choice of colors. Whether depicting birds, animals, or people, Anthony is able to convey the inter- twining of their beauty and their strength. He chooses his subjects because of what they mean to him, and he tells their stories through his combination of realistic forms, bright colors, and abstract images. A graduate of the Art Institute of Fort Lauderdale, Anthony has exhibited at galleries, museums, and events for over twenty years, including: the En- dangered Species of Florida Exhibition at the Paul Fisher Gallery; Collaboration: African Diaspora at the Armory Art Center. His painting "Freedom 2001" can be found in the Cor- nell Museum Permanent Collection. He is presently working on a coffee table book of his paintings and drawings. MAXIMO CAMINERO Born in the Dominican Republic in 1962. Maximo Caminero's work is rooted in ancient Taino (first inhabitants of the Antilles) forms resonate in the present with a modern optic. The versatility of his paintings adorning the Caribbean horizon, touching without hiding, the African legacy. His work has not supported or religious ritual other renowned artists such as Wilfredo Lam been studied. The only captures the physical essence of these de- sires away. His work as he himself defines it: \"It \'s a reflection of thought\" where we wander in a world more real, beyond what man-made, everything is philosophy, he says and adds, nothing is found, man creates his dreams and unreal and is based on fictional worlds. I will not escape it and create my own world, my language. Although my story is recreated in the day by day, in the human struggle in his defects and effects plasmo the subconscious and this is manifested, sovereign and incognito. Backed by a number of prestigious critics, his works have been auctioned at prestigious houses in America and some acquired by American museums. CARL CRAIG "My aspiration is to expose the mystery, humility, intrigue, and exoticism of the Haitian Culture through my art. The ultimate joy is to share my works with an international audi- ence". Born in Haiti, moved to New York with his family at the age of 15. He pursued a Bachelor of Science Degree in Finance and International Business at Florida International University. Carl participated in the conception and implementation of the Programme de Deconcentration de Port-au-Prince introduced by the "Ministere de 1' Interieur & des Col- lectivites Territoriales". During that period, he learned more about Haiti and its culture while he covered the whole territory. Despite his successes in the financial markets and as an international consultant, Carl has chosen to walk away from all the power and struc- ture to satisfy his thirst for creativity by unleashing his talent in the arts: painting, photog- raphy and music. As a self-taught artist, he brilliantly and skillfully captures the beauty that is embedded in Haitian culture. PHILIPPE DODARD Born in Port-au-Prince, Haiti, in 1954, Philippe Dodard is a leading contemporary artist of the Caribbean and the African Diaspora. His artistic evolution was a series of steps, lead- ing to major solo and international exhibitions including, Arte Americas (2008), the Venice Biennale (1999), Biennale of Latin American Drawings, Santo Domingo (1997), and the Bi- ennale of Caribbean and Central America Art, Dominican Republic (1996). Dodard attained international prominence by rejecting the 'primitive', 'na'ive' classification that dogged Haitian art. Dodard superbly blended Haitian, Caribbean and African iconographical ele- ments to create deep complex forms. His recent choice of themes, Initiation, Consterna- tion and Baron-Samedi reflects his transformation into "a human Poto-Mitan," the chan- neling pole at the center of the Vodun temple through which the spiritual forces descend to the oumphor (temple). NAJEE DORSEY As an artist, Najee Dorsey has developed much in his craft over the years, and has be- come known for his mixed media collage, digital media collage images of little known and unsung historical figures, as well as nostalgic scenes from African American life in the southern United States. In his work, as Najee chronicles moments in Black life through- out history, he maintains that, "stories untold are stories forgotten". Far from the days after dropping out of arts college, and becoming uncertain about his future in the arts, Dorsey has forged a successful career as an artist, being featured in numerous solo and group museum shows, television broadcasts and print publications -- a major feat for any artist. As well as these accomplishments, he has skillfully combined his creative edge, and business acumen to develop a steadily growing online community that documents, preserves and promotes the contributions of the African American arts communi- ty. Najee now lives in Columbus, GA with his wife, Seteria. IVANA GROSS Ivana Blanco Gross is a conceptual artist born in Buenos Aires, Argentina in 1965. Studied at the University of Buenos Aires (UBA) and the Royal Academy of Art in The Hague, NL (KABK), her work explores her perceptions of different geographical locations and trans- lates into color her connections to the land. The notion of location is emphasized trough the interaction and intersection of line, color and geography. Blanco Gross is the initiator of the Un-Send project. She splits her time between her studios in NY, Miami and s'Herto- genbosch (NL). NAKAZZI HUTCHINSON One of Jamaica's most talented artists, Nakazzi Hutchinson graduated from the Sculpture department at the Jamaica School of Art at the top of her year, returning to live in Jamai- ca after spending many of her early years in Barbados, London, and New York. She was awarded the Mutual Life Artist of the year award, carrying away both prizes, the public award as well as the juried prize. She has exhibited extensively in museums and galleries across the Caribbean and internationally in places such as Miami, New York and Berlin, where she captured the imagination and awe of a wide and varied audience. Her large scale sculpture based installation work utilizes a variety of organic materials, sus- pended floating life-sized figures. The Jamaican National Gallery has represented her in- stallations and carries her work in their permanent collection. Her African Name "Nakazzi" means woman of Substance" and through her work she continues to strive to embody this ideal. ttas li am oil Ai solo Pi Vrt, 0 �• s�ley 1N ��r lan'tir� r 1►'.4! 'i] ‘114-4,)"%dm, pios4s ;41 F.4 WIPP- 144 4010.44°AtrintiiireAriiiiiiiivinggi Nib VAL. 4wilbe i. iiir. 1 ., ir pi ..a-ta %ell • ' 4.4A Ir . ef0 ip, pitigroostoP410,.. ...V. zwa- cialt.., ...,auukois. . di.esas.,m, Ali ir- +fitoti. ;±e`�`. 4:�*..�'/�� ►1#P1 ,-,..rir. .,,A, .... i.oli ... w iligs it II it VW Fai0V4elf. I 11/P14 4:1111 Os•4•?-41MT Vag airjam &I! VI / OM VA:4 0111 SHURI JACKSON Born September, 1986. Multimedia Visual Artist, Curator of Culture, Educator, and Multimedia Artist From the Jamaican Diaspora, Jackson immigrated to the United States at the age of 15 and attended the Jericho High School, in Long Island New York. Excelling in the arts, she went on to further develop her skills and received her Bachelors of Fine Arts, in Arts Education at the C.W. Post campus of the Long Island University in Greenvale New York. Since graduating she has been practicing between New York and Miami. For Jackson, art is refuge, art is healing, art is the facilitator of experiments and the way through which she advances through life. She uses Art to challenge, channel, educate, up- lift and renew energies. She was the 2013 artist in residence at the Multitudes Art Gallery curated by Dr. Babacar M'Bow former director and chief curator at M.O.C.A in Miami. He work is Collected by the Old Dillard Museum. An encounter with Jackson Shuri's work will excite and enliven your contemporary state. Every opportunity is used to impart culture. RUDOLF KOHN Rudolf Kohn was born in Bogota, Colombia in 1971. He began his first drawings at age 3 and his first apprenticeship at age 13 with David Manzur. Then went on to completing his degree in Art at Universidad de los Andes (1992), simultaneously, apprenticing with Au - gusto Ardila. Raised during political turmoil, Rudolf's artwork is undeniably influenced by politics of the country. Rudolf arrived in Miami, Florida in 1992 starting his work as an artist resident at the Bakehouse Art Complex (BAC). From 1992-2015 Rudolf has been widely recognized and exhibited in Florida, New Jersey, New York, New Mexico, San Fran- cisco (McLoughlin Gallery), Mexico, Puerto Rico, and Colombia (La Pared Gallery). Rudolf featured a solo exhibition with the 'City of Love' at Miami Art Space in 2009. The Red Bull, Art of Can Exhibition 2010. His sculpture was exhibited at the Frost Art Museum, Sculp- ture Garden (2014). Art Basel 2014 Rudolf was in a group exhibit showing paintings and sculptures at Praxis Architecture Space and is currently preparing for a group exhibition at MOCA for Art Basel 2015. PETER WAYNE LEWIS World renown artist, Peter Wayne Lewis, is a Professor of Painting Massachusetts College of Art and Design, Boston, Ma and former Chairman of FA2D. Born in Kingston, Jamaica West Indies and immigrated to the USA in 1962 and resided in Sacramento, California, Peter became a US Naturalized Citizen in 1983 and received his Masters of Arts Degree in painting in 1979 from San Jose State University California. He currently resides in South Orange, New Jersey, Boston, Massachusetts, and Beijing, China. His exhibitions are worldwide throughout the Americas, Caribbean and Asia. To name a small few, Seeing Jazz at the Smithsonian Museum Washington DC; Art Document at Hokkaido Museum of Modern Art Sapporo, Japan; Miami Art Museum; & New Orleans Museum of Art. Some of his lectures include American Center Beijing, China, American Center Sapporo, Japan, University of California Berkley, Syracuse University, & San Francisco Art Institute. His curatorial project run the globe as well, such as Ramona Gallery New York Boston High Tea #1, Two Lines Gallery 798- Beijing, China, Renee Cox -Queen Nanny of the Maroons; In conjunction with the Embassy of Jamaica; Han Chang Liang -Perfume Painting, Boston High Tea #2 Master Print+ In conjunction with Massachusetts College of Art Foundation; & Marathon-Yi Ling Laurens Tan Li Xiao Feng. PAPALOKO The reduction of contemporary African Diaspora art to the confines of naivety reflect Euro -America's pasts and are antithetical to an understanding of a human psychology in which an individual is capable of multiple affirmations of self —Papa Loko, the artist, poet, musi- cian, voudou spiritualist. Viewed from an African epistemological framework, we perceive Papa Loko as a specific manifestation of a greater awareness that can be understood through a different cosmogony. Here, reality encompasses the physical body of the living and the luminescence of the soul. Papa Loko creates in this complex system with its tradition rooted in the chants of the "Iakou", the production of an art that speaks "langaj" operating within dynamic heritages in which visual representations incorporate both secular and sacred characteristics. View- ing Papa Loko's work from this perspective then call for specific notions of creativity to define the artist as, among others, a creator of memory in reference to its triggering ca- pacities inherent in making and viewing of the art. TESSA MARS Tessa Mars is a Haitian visual artist living and working in Port-au-Prince. She completed a bachelor in Visual Arts in France, at Rennes 2 University in 2006 and upon her return to Haiti the same year she started working as a Cultural projects coordinator at Fondation AfricAmericA. She had her first exhibit in 2009 at the Georges Liautaud Museum in Port- au-Prince and since then her work as been shown in Canada, France, Italy and the United - States. Since 2013 Tessa Mars has been solely focused on developing her artistic career. Her on -going body of work explores identity through the lens of language and gender and more recently by questioning Haitian history, geography and customs. EMILIO MARTINEZ The artistic legacy of Jean Michel Basquiat lives as well in other artists such as Emilio Mar- tinez who works in similar genres, combining social and political commentary with artistic creations; using a variety of surfaces to capture what would remain as escalating and cas- cading thoughts and ideas. Generated from one of the fundamentals of hip hop, these are forms which are not just attributable to Basquiat but to a way of engaging both ideas and art in unmistakable overlap. With his origins in street graffiti writing and art, his more constructed studio pieces, in- cluding those unmistakable textual inscriptions which must be deciphered force the view- er to stop and contemplate what they are saying in relation to the art on which they ap- pear. This layering of writing on artistic creations came from what we now know was a generous soul caught in a body which could not contain all its powerful motivations and like a firework explodes once it has produced its brilliance. J a 0 2 Urban Installation artist, M.O.A.L, currently creates globalnoise in the backstreets and surrounding areas of South Florida, domestically and internationally. Influenced by the German Expressionists and African cultural Roots, M.O.A.L investigates various African tribal symbols, such as the Nsibidi, out of West Africa. Using free flow form of Uli art, for example, along to the rhythm of Afro Tribal House and Reggae, creates an intimate eco- system musing found objects. Atmospheric rhythmic trance and traditional linear Af- rocentric characters transform into layered complex conversations displacing and over- stepping material, time and space. M.O.A.L's pieces juxtaposed and exhibited in modern environments allude and educate the viewer to obscure, and often unknown, Western and South African visual ideologies. Raw use of materials and meditative colorful paintings of primal patterns expressancient humanintrospection. These elements, along with M.O.A.L's supplementary musings, dia- log with contemporary spaces and audiences resulting in expanded understanding of Afri- can and visual language. JON MOODY As an Artist and Athlete Moody uses his abilities to provoke thought while aiming to break the myth that one is either an athlete or artist. Through artistic expression he brings awareness to social, economical and worldly issues. Jon Moody's goal is to inspire not only other athletes, but everyone to become global ambassadors for change. Recently, he was one of 10 visual artists who partnered with The White House to engage and mobilize the arts community and build broad public awareness around key adminis- trative priorities. The collaboration allowed Jon to showcase his work for 30 days in The White House as preparation for the announcement that October is National Youth Justice Awareness month. Some of Jon's large scale paintings were regularly featured in Season 2 of the hit show Empire. He has completed projects for Sean "biddy' Combs, Tre Songz and others. CHRISTINA NICOLA Christina Nicola is a mixed media artist from Miami who focuses on highlighting the sig- nificance of black men and women through her work. In 2015, Christina Nicola graduated from the University of Central Florida with a Bachelors degree in studio art, specializing in drawing and painting. In the time following graduation, the artist has participated in sev- eral shows and is currently showing in two other exhibitions. Christina Nicola uses unconventional and emphatic styles of mark making in her work, as well as rich pigments and unconventional methods of drawing and painting. Nicola em- ploys the use of oil pastels, paint, charcoal and many other mediums as she believes, "the greatest aspect of art making is creating the form by whatever means necessary". DR. LORENZO PACE Born September 29, 1943 in Birmingham, Alabama, Pace wanted to explore, and the city he chose was Paris, France. There, the world of art opened up to him. He attended the Art Institute in Chicago and received both a BFA and MFA, then a doctorate in art education from Illinois State Univ. in 1978. In 1993, his work rose to national attention when he was commissioned to build a monument at NYC's Foley Square paying homage to the African slaves originally buried on that site. In 1991, the remains of over 400 African slaves were excavated during the construction of a federal building in the city's financial district. The City of New York wanted to create a memorial and Pace was chosen. His work resulted in a beautiful 300-ton granite sculpture named "Triumph of the Human Spirit." His sculp- tures, installations and performance art have received international acclaim and he has exhibited in galleries and museums all over the world. He served as Director of the Montclair State University Art Gallery and presently maintains a studio in Brooklyn. ADONIS PARKER Art to me is a form of extreme communion with God. Respectfully and with pride, I am a student of creativity and expression. My life is simply an open book to the inner world of our urban fabrics but the key to the underworld of self -truth, through the eyes of Ad- donis. I am a master of expressing the depths of emotion and the plight of a people, shunned, feared and disdained. I am a captain of the community of man through a visual port of my surroundings. Being self-taught, I will violate the art code to convey any mes- sage necessary to meet such an objective to save lives or strengthen a community. I am a witness to the hardship as well as the high levels of success of the men and women who dared to chase this venture alone; even before me, if none should come after. My work is the eternal flame of voices which society chooses to ignore. I use symbolic rendering and spiritual undertones to convey my message as I have received it. I feel that I must be a gatekeeper of my current time and experience. My work is in fact intense, prophetic, thought provoking, spiritual, emotional, and maybe controversial. I have accepted this crown of distinction and all the disciplines it may provide. The absence of the opportuni- ty of art is the absence of civilization. MILES REGIS Based in Los Angeles, Miles Regis is a Trinidadian -born artist whose work taps into the emotion and experiences of exotic cultures around the world and presents them in ways that are relevant to today's modernized societies. With a style reminiscent of many of his- tory's great master painters, Miles' imagination is saturated with notions, ideas, and imag- es reflective of a world filled with conflicting interests. Miles' work consists mainly of oversized canvases, often stretching up to twelve feet in length and/or height. With broad enthusiast appeal, his work is in the permanent collec- tion of Intel Corporation, California African American Museum, Senegal's La Musee Borin- dar and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, NextAid World's Day, CCH Pounder (Avatar, The Shield), Million Dollar Listing, American Rag Cie, Manifest Justice, Adobe, Fashion mogul Tonny Sorenson and several art communities around the country and throughout the world. S1 wh0FalIo Li1hti 1II S;+iNSIdE T of P'EE -COPE K4 ihrwil4 rIwE. Foh ALL TIME I FEI I Ft on tkE houwtA IN AbovE AN LEANED To FLY Oo Ti,€ WAY DOWN a u ts. T ¶RSL is CDNsciousNess so bEkAviOI' MA it 1' Y PPAY to tlhc mast Hi3 BUT I CAME Af'f ord A BLESSING MWAMBA-SALIM WILSON For Mwamba, Art is the Rawest form of expressionism, all the images and quotes, phrases and poetry you see in the artwork comes from his recollection of being in a dream state and recalling that information. All the lines and patterns you see in the back- ground of his paintings represent the evolution of sound transferred into color and shape. Most of the writing symbols on the art are Mayan, Native American, Egyptian, Su- merian and his own Mwamba-Salim Wilson coded language. The art is Living Dreams. His art is primitive, colorful, and abstract. He began as a graffiti artist in Houston, TX, in the late 1990's and evolved into an ac- claimed Primitive Abstract and Primitivism painter by the 2000's. Throughout his career he focuses on the primitivism abstract movement such as wealth versus poverty, integra- tion versus segregation, and inner versus outer experience; poetry, drawing and painting, which married text and image; abstraction and figuration; and historical information mixed with contemporary critique. He also attacks power structures and systems of rac- ism. While his poetics are not acutely political and direct in their criticism of colonialism, he is a supporter for class of struggle in America and for other countries to live free in a democratic society. CARLOS SALAS Carlos Salas studied architecture at the Universidad de los Andes (University of the An- des) in Bogota, Colombia, and painting at the Ecole des Beaux-Arts in Paris, France. His work is firmly anchored in the Latin American abstract tradition with long lines recalling scarifications, large rectangles filled with polygonal figures with symmetry. He often fills the seemingly abstract designs which in reality represent spaces, pathways, fields and sites of memory. In the work, long horizontal and vertical lines as long musical notes of an antiphon mostly presented in well-defined squares remind us of the essential lesson of cubism he has assimilated. Salas' geometry is correct. It is animated by the spirit of liber- ty. So too are his colors; discreet to express the serious joy of the sacred song, but not sad; they are luminous in the twilight from blue to violet, to the almost white yellow. The light of the Bogota sky, by blurring the tones and accentuating the contrasts high- lights the rhythm without suppressing the nuances. Salas has exhibited extensively in Latin America; in European capitals including Geneva, Madrid and Paris; and in New York City. He received multiple accolades in France and his native Colombia for his contribu- tions to abstract art. At the age of 42, he was the youngest artist to ever present a retro- spective at the Bogota Museum of Modern Art. GENE TINNIE Dinizulu Gene Tinnie is a New York born, Miami -based visual artist, semi -retired educator, writer, independent researcher, and community activist in historic preservation and cul- tural affairs, whose formal academic background (including a Fulbright scholarship) is in foreign languages, literature, and linguistics. As a visual artist, he specializes in original drawings, paintings, sculpture, graphic design, and, most recently, in monument design, as well as in museum and gallery exhibition de- sign and installation, with several public art commissions. An avid believer, based on ex- perience, in the transformative power of art as a force in our communities, Mr. Tinnie is a founding member of the Kuumba Artists Collective, and a longstanding member of the venerable National Conference of Artists (NCA), and is the recipient of numerous local awards and honors. He is often called upon as a lecturer and panelist in discussions of historic preservation, cultural arts, and African World Heritage. NOELLE THEARD Browsing the Portfolio of Theard is a peregrination into a practice of Diaspora in which an African Diaspora paradigm frames the lenses for an approach to re -presentation. Navi- gating this Diaspora with a "Marasa Consciousness"; the series Hip Hop, Haiti, Malitogether with Fotokonbit, One Drop and Galeria del Barrio express the re- lationship amongst diaspora cultures; a call and response type; a constant process of con- testation, collaboration, rejection and appropriation; of resistance and acceptation --a dia- logue in which we dot cease to be related simply because separated by oceans. The fracturing of lenses cancels the politics of tabula rasa of the humanity of the African Diaspora. Theard's work re -centers African Diaspora humanity —our laughs and dreams; a ceaseless claim to a humanity in which one is not prisoner of the image but rather is in it, participates to its vitality and contributes to its dynamism. Re -appropriating the gaze, Theard fixes the African Diaspora center stage. Thus, her work is not a cog but a knot, a link, the center of a humanity in an ontological network of the Middle Passage. ANYA WALLACE I am not a photographer. I am the narrator obsessed with the telling of a story-- the pow- erful, life-giving, life- taking historically marginalized culture of between the lines exist- ence. As a member of this hyper -visible, invisible, objectified, and still -objectifying; it is more than instinct to not just "read the lines", but in between the lines in every facet of life. I have come to learn that if there was to be anything of our [black] spirit, our way of being; it needed to be hidden from the oppressor. My aesthetics, as an artist, are rooted in this coding and decoding of messages within my own history and the "us" I come from. At the core of my scholarship, I find that I consistently seek to critically assess where and how people of color fit into the photographic narrative of this country. It is within a larger goal, for me, to study elements that contribute to the self image of women and girls of color. This exploration serves to illuminate the experience of finding value in woman- hood, whether tarnished or praised. While doing so, I simultaneously find myself explor- ing my own access and usage as a black- woman- artist. As a black- woman- artist, my purpose and struggle is to represent the black -woman subject in a non -objectifying, non - exploitative manner. In the end, it remains a battle to insure that my work stand in soli- darity- an image that provokes reaction, connection, and interaction. ANTHONY BURKS 111111111111"_____PORMIM1 i ' `� ifijG I t %i: h' , i if t ` i i' i 71Nh' 1!t9J VitruY!°f 44 ��namuaMnuldlllNlblwglMlWp tiYaN'r , 1s1d1l�1/��IMNIIgC�IUI N!91�1�111GflP1�?�'i�'�'�I�fGYIFd�lft` *b� ���IN11IN!+VlupNtt(Id;:)IN�11!ti#�h�j�';� (I�;�ti�i�fgNi�'F iusilighaglaWIDSPreOPMInMilinimmaimairtilliaignitatTO speakers N EI L HALL, FOUNDER Architect 1 Urban Planner 1 Producer TOPIC: "Disruption or Preservation of Historic Overtown's Cultural Landscape " Thursday, December lst, 5:30pm Neil Hall, AIA is a licensed architect with a graduate degree from the University of Florida in Archi- tecture and Design. Over the past27 years, his architectural practice, The Hall Group, has devel- oped an extensive resume in Urban Development Consulting, Urban Planning, Interior Design, and Architecture. Out of his passion for good design, Mr. Hall created The Urban Collective, an urban lifestyle boutique and design studio highlighting the rich aesthetics of African art, as well as, other unique handmade treasures from around the globe. In 2010, alarmed by the lack of diversity of artists and galleries featured in the country's largest and most prestigious art fair "Art Basel Miami", The Urban Collective produced "Art Africa Miami Arts Fair", the first large scale art fair solely featuring artists from the African diaspora in an eight thousand (8,000) square foot tent located in Miami's historic Overtown neighborhood. From its inaugural year in 2010, the Art of Black initiative was born, with now over a dozen additional fairs, art exhibitions, art talks and panel discussions in neighborhoods throughout South Florida, high- lighting the contributions of artists from the diaspora. FELECIA HATCHER Entrepreneur TOPIC: Youth Art Initiative, "Virtual Reality" Powered by Code Fever Miami Friday, December 2nd, 4pm Felecia Hatcher is a White House Award winning entrepreneur, badass business rainmaker, best- selling author, globally sought-after speaker, media darling, mother, and Founder of Code Fever and BlackTechWeek. Breathe. She is also the rather awesome former Chief Popsicle at Feverish Pops, a gourmet ice pop boutique and manufacturing brand with a Fortune 500 client roster that would make your head spin. For the past decade, Felecia has dedicated her life to inspiring a new generation of leaders to do epic shit, through her conversational talks on Entrepreneurship, Tech Innovation, Funding and Per- sonal Branding. As the founder of Code Fever and Black Tech Week, Felecia Hatcher is on a mis- sion to rid our communities of innovation deserts by working with community leaders and govern- ment to create inclusive and diverse startup ecosystems. Felecia has spearheaded the inclusive innovation and startup movement within the Miami Startup ecosystem focused on getting margin- alized groups to become major players in the innovation economy. BABACAR MBOW Curator TOPIC: "AFROTOPIA Curatorial Lecture" Saturday, December 3rd, 11:30am Babacar MBow is the Executive Director of the Florida Africana Studies Consortium (FLASC) and Managing Editor of the Encyclopedia of African Diaspora: Origins, Experiences and Culture Vol. I, II, III. His research focuses on Africa and African Diaspora, and the philosophy of interpretation and culture (PIC). Grounded on decoloniality his publications include: Philippe Dodard: The Idea of Modernity in Contemporary Haitian Art (2008), Plugging: Identity in Contemporary Haitian Art (2011). His new book The End of the African Postcolonial State is forthcoming with Ediciones Jaime Vargas, Bogota Colombia. JACK TRAVIS, FAIA NOMAC Architect I Interior Designer I Adjunct Professor TOPIC: "Intersections - Aesthetic Collisions between BLACK Culture + Environmental DESIGN" Saturday, December 3rd, 1:30pm Jack Travis established his namesake design studio in June, 1985. Since that time Jack Travis, FAIA NOMAC has been involved in over 100 projects of varying scope and size. To date the firm has completed several residential interiors projects for such notable clients as Spike Lee, Wesley Snipes and John Saunders of ABC sports. Commercial and/or retail interiors clients have included: Giorgio Armani SPA, Cashmere Cashmere of New York as well as the Sbarro family of the famed pizza parlors. Mr. Travis encourages investigation into Black history where appropriate and includes forms, mo- tifs, materials and colors that reflect this heritage in his work. Travel throughout the United States, Europe, the Caribbean to West and South African countries has given Mr. Travis a most unique focus. Through his work, he continues to make a distinctive and definitive enrichment to the ex- isting American design vocabulary. Mr. Travis' interests have broadened in recent years to include design issues not only concerning cultural content but sustainability in environmental design as well as alternative educational practices that seek to insure the entrance of more students of color into the profession. BAHIA RAMOS, DIRECTOR Arts Program, Knight Foundation TOPIC: "Art Collecting 101—Who, How, Where do We Start?" Saturday, December 3rd, 3pm Knight Foundation works to preserve the best aspects of journalism and use innovation to expand the impact of information in the digital age. As program director for arts, Bahia manages Knight's $35 million annual investment in the Arts and develops strategy for the Knight Arts Challenge and Community Arts Grantmaking initiative. A native of Brooklyn, New York, Ramos lived in London for two years, consulting with Man Group PLC in its corporate responsibility department. She has also worked as director of government and community affairs for both the Brooklyn Botanic Garden and the Brooklyn Children's Museum. Her work with Brooklyn Children's Museum helped to double the size of the museum, raising its profile as a world -class institution and improving engagement with the community. Working with Brooklyn Botanic Garden, Ramos garnered government support for a new visitor center, helping the garden reach out into the city to attract more guests, and connecting it with anchor institu- tions in the neighborhood. PATRICIA J. SAUNDERS Art Collector 1 Associate Professor 1 University of Miami TOPIC: "Art Collecting 101—Who, How, Where do We Start?" Saturday, December 3rd, 3pm Patricia J. Saunders is an Associate Professor of English at the University of Miami, Coral Gables where she is the Co -Editor of Anthurium: A Caribbean Studies Journal. She is the author of Alien - Nation and Repatriation: Translating Identity in Anglophone Caribbean Literature (2007) and co- editor of Music. Memory. Resistance: Calypso and the Caribbean Literary Imagination (2007). Her work has appeared in journals such as: Plantation Society in the Americas, Calabash, Small Axe, Transforming Anthropology, The Journal of West Indian Literature and recently, Feminist Studies. Her second book, Buyers Beware: Epistemologies of Consumption in Caribbean Popular Culture, examines a range of contemporary Caribbean popular cultural modes of expression to argue that the bonds between consumption and citizenship in the region is stronger now than ev- er before despite higher rates of unemployment and social and economic inequity. Buyers Beware is forthcoming with Rutgers University Press. ART AFRICA MIAMI ARTS FAIR presents AFROTOPIA Historic Overtown, December 2016 Curator: Babacar MBow, Florida Africana Studies Consortium Producer: Neil Hall, The Urban Collective Team: Yvette Harris, PR Specialist, Harris Public Relations Taj Hunter Waite, Creative Consultant, All Things Taj Conroy Anderson, Onsite Construction Tiffany Waite, Coordinator Special Thanks: City of Miami, District 5, Commissioner Keon Hardemon Clarence Woods, Director, SEOPW CRA The Entire Staff of the SEOPW CRA Tim Barber, Director, Black Archives Dr. Carole Boyce Davies Miami Broward Carnival Jack Travis, FAIA, NOMA Felecia Hatcher Bahia Ramos Patricia Saunders art CD arica nicni arts Fcir 2016 t_Wtoieio Otte/ietotmeb & The Legacy of Clyde Killens Overtown's hallmark is its unique character and resilience of the people who live in it. The Urban Collective continues to spotlight the distinctive cultural heritage of this community with its commitment to hosting the Art Africa Miami Arts Fair yearly in Overtown and cre- ating a burgeoning art and creative scene. Each year we will continue to bring alive venues that were once gems to the community in the 1950's and 60's. During the Fifties and early Sixties, the nightlife of Overtown made today's South Beach seem tame. Count Basie, Duke Ellington, Sam Cooke, Aretha Franklin, and many more super- stars played the Knight Beat, the Harlem Square, and other clubs for appreciative locals and visiting celebrities. cer victim still lived at NW Second Avenue and Eleventh The main man on the scene -- running clubs and promoting shows -- was a dapper chap with curly hair and charm to spare. He was Clyde "Glass" Killens, famous for carrying around a mystery mug -- til this day contents un- known. At his death on February 2, 2004, the 95-year-old can - Street, in the heart of 0-Town. The 6th Annual Art Africa Miami Arts Fair is proud to debut the recently renovated Historic Clyde Killens Hall located at 920 NW 2nd Avenue in Overtown. o TOP JAll SINGER IN AMERICA 77yy�Q��a T PA LYN N —RNo— THE EARL MAY TRIO OPENS TONIGHT! fri: Saf. Sufi. lune 21.22.23 MIMS TWO NITELY 9:30 & 12:30 Fa Irurnircni F a•ani • SL • vr A. • xr.. •• Ali KIIMPTs , 41140•• NOM IMT MIMEI This Weekend FRI.•SAT.•SIIN.—Nov. 22 23.24 THE KINGPINS "Darting, It Want Be This Way Always" PIu3—Hanncc S.m.-3 to 6 COM1615 DEC. 7 & COUNT BASIE ii.W.6 5F. Pt lid a i. •. FR 3.3381 Partygoers during Overtown's heyday. [Source: Miami Herald] Exterior of the SirJohn Hotel in Overtown, shot sometime in the 1960s. [Source: Miami Herald] Singer/actress Josephine Baker and boxer Joe Louis with friends at the Knightbeat club, inside the Sir John Hotel. With note to Clyde Killens, promoter, from J. Baker. [Source: Miami Herald] RTROTOPIO AFRICAN DIASPORA AND THE POLITICS OF REPRESENTATION ART AFRICA MIAMI - PROJECT BUDGET 2017 (EXHIBIT A) A. MARKETING CORPORATE CRA GRANT 1. Creation and printing of marketing brochures - multiple events (digital and print distribution channels) 2. Event signage for onsite display - multiple events, step & repeat, exterior and interior signage 3. Event flyers and posters -special events and ads (digital and print distribution channels) 4. Design fee for artwork for marketing material(s) - artists, speakers, talks, receptions, etc. 5. Production expenses related to community outreach, promotion, and public relations/marketing services GRANT ALLOCATION 42,000 B. INSTALLATION / SET-UP Equipment and materials purchased to aid with the display of artwork (including, but not limited to, lighting, plywood, 1. brackets, wall hooks, wiring, etc.) Equipment and furniture rental (including, but not limited to, rental of standard seating accomodations, easels for artwork 2. display, projector for visual display of artwork, etc) 3. Construction of Art Panels - labor and purchase of building materials 4. Electricians and other handyman 5. Painters and other laborers 6. Carpenter / Longshoreman GRANT ALLOCATION 50,000 C. EVENT OPERATIONAL COSTS 1. Monthly insurance premium for the 920 Building 2. Security (multiple events) 3. Curators (up to 3) 4. Producers 5. Catering (multiple events) 6. Entertainers GRANT ALLOCATION 72,000 D. MISCELLANEOUS ITEMS THAT MAY BE REQUIRED 1. Travel 2. Reception Catering 3. DJ 4. Outdoor Lighting / Spotlights 5. Landscaping 6. Shipping 7. Framing GRANT ALLOCATION TOTAL(S) 11,000 175,000 E. TOTAL EVENT BUDGET $ 200,000