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P Patron Profle
I love our visual images, just as most of us love and be either formally trained or self-taught and can be
collect one or more types of our Diasporal music. And unknown or un-shown. I believe the more important
subsequently, I collect visual images with that same “artist” question in evaluating an artwork for purchase
intensity. Within the realm of consideration for inclusion is: “Did the artist, through the utilization of the materials
in my collection are images created by Diasporal artists and techniques available, impart quality and/or cultural
of things seen, experienced, expressed or imagined and innovation in the presentation of the visual message?”
of concepts explored. In regards to the act of collecting, that question puts
an obligation on more of the Diasporal community to
Over the past 30 years I have collected over 400 passionately seek out the creative images in the same
paintings, drawings, sculptures, collages, assemblages, manner as we seek out new and quality music. Our
etc., and have displayed them in a fve-room space. passion and critical ear for our own music has made its
Each of these pieces of art has spoken a message of its forms globally recognized and appreciated. We can do
importance to me personally and has also revealed its the same for our visual images with our collective critical
importance to our culture here and now. eye.
Cultural importance addresses that which should When I listen to the current master collectors of
be honored, contemplated, promoted and enjoyed, African-American art speak on collecting, I hear a
but also those concepts and behaviors that should common message. They say to collect the artists
be thrown away and avoided. When asked, I counsel producing quality work right around you. And if you
those debating the purchase of an artwork that they do, they project, you will end up with an important
should, above all other considerations, acquire work collection. I, and many others in Chicago, have taken
that they like; get the work that they can live with as heed of that advice. We are giving special attention to
a companion, instructor, inspiration or confdant; and the Chicago artists. We attend their shows, we invite
have the work that speaks to them now and has the them to our homes, we work together on common
ability to say, much later on, “But do you see the other projects, we introduce them to other collectors and
messages that I contain?” galleries, we write about them and we collect their
original works. As a result, the atmosphere in the
There are many standards (academic, economic, African-American art community in Chicago is now
technical, etc.) that have been established in Western electric. Many more people have developed critical
society for evaluating art and its quality. I do not eyes and a passion for collecting contemporary art.
reject them, nor do I slavishly subscribe to all of those We believe that will also occur in other African
standards when making a purchase. As an example, Diasporal communities across the globe when those
I accept that very good African Diasporal artists can communities are the frst to claim the visual images
created by their artists.
Patric McCoy
I am an African-American who collects contemporary African Diasporal visual art images as fne art. I, and Environmental Scientist
others in Chicago, maintain that it is important for the people of African descent in the Americas, the Caribbean, Chicago, IL
Europe and Africa to be in the forefront of acquiring and validating the creative images produced by the artists
in their communities. And, by those collecting and promoting activities, be the frst in naming those high-quality
productions as fne art. This position does not preclude anyone from liking or acquiring anything that they choose.
Art appreciation is for everyone, but art as a culturally defning concept belongs to a people, in a place, at a specifc
point in time. The more involved a people are in promoting their artists in creating images–in all of their manifold
subject matters, concepts, and techniques–the clearer the direction will be as to where those people are going and a
clearer description will arise of who they were. Visual images are important––important on the grand scale of culture
and history and simultaneously important on the very personal level of contemplation, inner peace and sanity.
88 89
I love our visual images, just as most of us love and be either formally trained or self-taught and can be
collect one or more types of our Diasporal music. And unknown or un-shown. I believe the more important
subsequently, I collect visual images with that same “artist” question in evaluating an artwork for purchase
intensity. Within the realm of consideration for inclusion is: “Did the artist, through the utilization of the materials
in my collection are images created by Diasporal artists and techniques available, impart quality and/or cultural
of things seen, experienced, expressed or imagined and innovation in the presentation of the visual message?”
of concepts explored. In regards to the act of collecting, that question puts
an obligation on more of the Diasporal community to
Over the past 30 years I have collected over 400 passionately seek out the creative images in the same
paintings, drawings, sculptures, collages, assemblages, manner as we seek out new and quality music. Our
etc., and have displayed them in a fve-room space. passion and critical ear for our own music has made its
Each of these pieces of art has spoken a message of its forms globally recognized and appreciated. We can do
importance to me personally and has also revealed its the same for our visual images with our collective critical
importance to our culture here and now. eye.
Cultural importance addresses that which should When I listen to the current master collectors of
be honored, contemplated, promoted and enjoyed, African-American art speak on collecting, I hear a
but also those concepts and behaviors that should common message. They say to collect the artists
be thrown away and avoided. When asked, I counsel producing quality work right around you. And if you
those debating the purchase of an artwork that they do, they project, you will end up with an important
should, above all other considerations, acquire work collection. I, and many others in Chicago, have taken
that they like; get the work that they can live with as heed of that advice. We are giving special attention to
a companion, instructor, inspiration or confdant; and the Chicago artists. We attend their shows, we invite
have the work that speaks to them now and has the them to our homes, we work together on common
ability to say, much later on, “But do you see the other projects, we introduce them to other collectors and
messages that I contain?” galleries, we write about them and we collect their
original works. As a result, the atmosphere in the
There are many standards (academic, economic, African-American art community in Chicago is now
technical, etc.) that have been established in Western electric. Many more people have developed critical
society for evaluating art and its quality. I do not eyes and a passion for collecting contemporary art.
reject them, nor do I slavishly subscribe to all of those We believe that will also occur in other African
standards when making a purchase. As an example, Diasporal communities across the globe when those
I accept that very good African Diasporal artists can communities are the frst to claim the visual images
created by their artists.
Patric McCoy
I am an African-American who collects contemporary African Diasporal visual art images as fne art. I, and Environmental Scientist
others in Chicago, maintain that it is important for the people of African descent in the Americas, the Caribbean, Chicago, IL
Europe and Africa to be in the forefront of acquiring and validating the creative images produced by the artists
in their communities. And, by those collecting and promoting activities, be the frst in naming those high-quality
productions as fne art. This position does not preclude anyone from liking or acquiring anything that they choose.
Art appreciation is for everyone, but art as a culturally defning concept belongs to a people, in a place, at a specifc
point in time. The more involved a people are in promoting their artists in creating images–in all of their manifold
subject matters, concepts, and techniques–the clearer the direction will be as to where those people are going and a
clearer description will arise of who they were. Visual images are important––important on the grand scale of culture
and history and simultaneously important on the very personal level of contemplation, inner peace and sanity.
88 89
