Page 337 - index
P. 337
G Galleries, Dealers and Museums
We took a giant step forward in 1999 to create a I sought to fnd art that refects positive images of
contemporary fne art gallery representing artists of color African-Americans. I proudly committed to a movement
from across the globe. Having come from backgrounds that contributes to the visual and cultural enrichment of
in corporate America, we knew that using acquired our communities. In this efort, I began collecting these
sales and management skills coupled with an enormous images, learned custom framing, opened my gallery in
passion for art would be successful when combined 1983 and promoted the premise that the African-American
with the ability to represent exceptional emerging and artist is an important entity in our culture.
mid-career artists. The formula is a good one and is a
continuing work in progress. We continue to believe that For the past quarter century, we have experienced
there should be no limits, no labels and no boundaries an era that provided more accessibility to anyone who
placed on African-American artists and artists of African desired to purchase Black art, exceeding even that of the
descent. Why? Because we believe that their talent is famed Harlem Renaissance period of the early 1900s. In
unsurpassed in every aspect of visual art. As gallery fact, I have chosen to dub this era the “New Renaissance”
owners, we also believe that the new challenge is to period in African-American art. In truth, this movement
identify, support and solicit the collection of the “new has been broader in scope, as it has enabled those of
masters among us.” The rich visual art culture passed every economic, social and educational level to be able to
down as the Harlem Renaissance, Work Projects aford and purchase works, as they are more available and
Administration (WPA) and beyond continues to reasonably priced.
imbue artists of today.
Samuel Fredericks
Pamela Brown and Beverly Dawson Samuel’s Gallery
Owners, ArtJaz Gallery Oakland, CA
Philadelphia, PA
Hiroshima No. 7 by Jacob Lawrence
337
336 337
We took a giant step forward in 1999 to create a I sought to fnd art that refects positive images of
contemporary fne art gallery representing artists of color African-Americans. I proudly committed to a movement
from across the globe. Having come from backgrounds that contributes to the visual and cultural enrichment of
in corporate America, we knew that using acquired our communities. In this efort, I began collecting these
sales and management skills coupled with an enormous images, learned custom framing, opened my gallery in
passion for art would be successful when combined 1983 and promoted the premise that the African-American
with the ability to represent exceptional emerging and artist is an important entity in our culture.
mid-career artists. The formula is a good one and is a
continuing work in progress. We continue to believe that For the past quarter century, we have experienced
there should be no limits, no labels and no boundaries an era that provided more accessibility to anyone who
placed on African-American artists and artists of African desired to purchase Black art, exceeding even that of the
descent. Why? Because we believe that their talent is famed Harlem Renaissance period of the early 1900s. In
unsurpassed in every aspect of visual art. As gallery fact, I have chosen to dub this era the “New Renaissance”
owners, we also believe that the new challenge is to period in African-American art. In truth, this movement
identify, support and solicit the collection of the “new has been broader in scope, as it has enabled those of
masters among us.” The rich visual art culture passed every economic, social and educational level to be able to
down as the Harlem Renaissance, Work Projects aford and purchase works, as they are more available and
Administration (WPA) and beyond continues to reasonably priced.
imbue artists of today.
Samuel Fredericks
Pamela Brown and Beverly Dawson Samuel’s Gallery
Owners, ArtJaz Gallery Oakland, CA
Philadelphia, PA
Hiroshima No. 7 by Jacob Lawrence
337
336 337
