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Alumni Spotlight: Lina Alfonso, Lower Manhattan Cultural Council

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We had an opportunity to chat with Lina Alfonso (ARAD ’15) and hear how the ARAD program shaped her career journey and the wonderful work she does at the Lower Manhattan Cultural Council. Lina shared what she has learned about working closely with communities, emphasizing the importance of relationship-building, empathy, and communication.

Lina Alfonso (ARAD ’15)

Could you share a bit about your background? What was your undergraduate degree?

I started the ARAD program in 2013 and graduated in 2015. Before I came to New York to complete my Masters in Arts Administration, I lived in Colombia. I lived in Bogotá for many years. In Colombia, I studied visual arts and economics. So, my background really comes from two different places. The ARAD master’s program was great because it helped me unify my two academic interests.

I was studying visual arts and was so excited and thrilled to be able to express myself through art and experience the work of my fellow classmates. I really enjoyed being a practicing artist. But then I saw this kind of unique field within a city’s dynamics and economics and arts as a profession that needs support beyond the academic world. I see myself as being a logical thinker as well as being creative. I studied economics because I was interested in the different pieces of the socio-economic side of a city or nation moving forward. I started making the connection of how cultural workers and arts workers at the time in Colombia were lacking support and weren’t seen as contributors to the local economy and the social dynamics of the city.

I finished my programs and I knew that I didn’t want to be an artist full-time and I knew I didn’t want to go into economics because I felt that the arts were so important and so relevant. So that’s what led me to come to New York and pursue this program. I felt that there is more to do, that there are more strategies and ways to offer support to artists after they finish their studies so they can grow more in their practice and have a sustained livelihood from being an artist. Many people I went to school with ended up stalling their artistic practice or moving to completely different fields because they just couldn’t sustain themselves as artists. So, I came from a place where I saw the potential of learning something I couldn’t in Colombia and that’s why I came to New York to pursue this program.

Could you speak a bit more about what attracted you to the ARAD program?

There are many programs in the U.S. and in Europe for Arts Administration. When I was looking, I felt really strongly about this program mostly because it was very well aligned with where I was coming from and the type of support that I was seeking.

I wanted to join a program that had that connection of arts with a little bit of business and infrastructure, and more of that organizational side of the arts. Not just curatorial work or arts as an independent practice, which I had already experienced. I was seeking something that was a marriage of the two backgrounds I was bringing. I felt that Teachers College offers a strong academic program and so much context and background to things that were very new to me. I didn’t know anything about fundraising, I didn’t know anything about the non-profit structure and marketing in the arts. All of these things were very new to me and I saw that the program offered flexibility in terms of seeking which path you wanted to pursue within arts administration.

It also offered access to other arts classes and more arts-driven courses within Teachers College and even a little bit with the greater Columbia University network. It was nice to still have a connection of the two of those and lean towards a stronger arts admin background and knowledge. Also, the program is in New York, which is an iconic city for arts and culture in the world. So it was a perfect triangle of elements that really made it an easy decision for me to come to Columbia.

Where do you currently work and what is your role?

Right now, I am the Program Manager of Grants and Services at Lower Manhattan Cultural Council, also known as LMCC. I have been here for just a little bit over four years now.

After graduating, I followed the non-profit path. Right before joining LMCC, I worked at another non-profit organization called Art in General, which was an organization focused on providing financial resources as well as space for artists to create works. It was commission-based work and we would present it in the organization’s gallery space – first in Manhattan, and then in Brooklyn. I was at this organization for about three years including my internship time, which I did while finishing the ARAD program.

In my second year in the program, I became really interested in fundraising in non-profits, which led me to join Art in General, where I was a Development Associate. I was supporting the fundraising efforts of the organization. From grantwriting for government and federal grants, private foundations, to supporting other efforts around private donors, such as the gala and membership events, annual campaigns. All of the different components of non-profit work. I was able to gain a lot of experience because this organization was very tiny – only five staff members. It was great – it gave me a sense of the structure of a nonprofit and also an idea of what it takes to fundraise.

After that, I ended up landing at LMCC, where I do the opposite. Instead of asking for grants, I give out grants, which is the amazing thing about my work. At LMCC, we have three re-granting programs that are funded by city and state agencies, which are the New York City Department of Cultural Affairs, The New York State Council on the Arts, and the Upper Manhattan Empowerment Zone. These agencies give block funds to LMCC and we regrant them to artists, collectives, and organizations based in Manhattan, which are presenting programs to the public in Manhattan. In a way, we are making these public funds accessible to individuals and entities that otherwise would not have the opportunity to go to these funding agencies directly. LMCC has been in this role for over 30 years. So I am just a small part of this history and legacy. My role is to manage those three regrant programs.

We also offer professional development opportunities for artists, primarily in the form of workshops for artists to develop skills, such as financial skills. That includes opportunities to learn about budgeting and the steps of grantwriting for individuals who are new to that process. I also support part of that work.

The last piece of what I do at LMCC is serving as the primary contact for people who prefer to communicate in Spanish. As a Colombian and as an immigrant that is something very important to me. I hold my language very close and dear to myself. I love walking around the city hearing Spanish being spoken. The reality is that many people cannot access resources available to them because they do not speak English and really prefer to communicate in their native language. I am really proud and thrilled to serve as that contact and offer support and assistance with information throughout the application process in Spanish. So that’s a little bit about all the different hats I wear at LMCC.

Are there any courses at TC that you feel were particularly helpful for your career journey?

I remember, it all started with some of the core classes – understanding the different income structures that a non-profit organization can explore. It was an introduction to fundraising, and I remember that in that class we would see the different ways of supporting an institution. So this idea of earned income as well as contributed income and in-kind contributions. I remember asking during that class about in-kind contributions because I had no idea what that was!

That class, I believe, was in the second semester of the first year. It gave me a baseline of how the non-profits work and how they structure their financial plans. This idea that you not only have your expenses but you need to map out your income and there are many different avenues for fundraising. Then it comes down to what is best aligned with you, the capacity, what is available, all of these different things. This class was a good first snippet of that.

I also took classes at the school of continuing education (Columbia School of Professional Studies). They have great classes in fundraising – I remember taking two or three classes there. This allowed me to continue developing my fundraising skills. We would take a case study of an organization and prepare a fundraising plan and a financial projection, so I think that really gave me a lot of preparation and skills that I applied when I went to work in my first position at Art in General. These skills allowed me to help the organization with financial planning, even going beyond just applying for grants. Having those classes not only gave me the basics but this idea of putting skills to practice in a theoretical way, which was really helpful once I started working.

Could you speak a bit more about the history of LMCC?

LMCC was founded in 1973 with the opening of the World Trade Center with the idea of bringing arts programming and activities to the Financial District. Throughout the years, LMCC has grown into the cultural council of Manhattan. There are five borough arts councils in New York City and LMCC is the arts council for the borough of Manhattan.

Today, LMCC has a mission of serving, connecting, and making space for artists and communities in Manhattan. We do that through a wide range of offerings. We have grant programs, which is very much what I do. We also have artist residencies in the Arts Center at Governors Island as well as other satellite spaces in the Financial District, which are for artists across stages of their careers to develop work or immerse themselves in their creative practice.

Those are the primary services for artists but then the organization also offers a lot of programming for the public. We have our annual festival “River to River,” which has site-specific performances in Lower Manhattan and Governors Island, as well as exhibitions at our gallery in the Arts Center at Governors Island. So we provide a wide range of activities and programs both for the public as well as for artists directly. That is roughly the scope of LMCC.

What are some of the challenges you face in your role?

It comes down to the idea that this grant program is the first grant that many artists receive. We see people who are very new to grant writing or have tried to figure it out on their own and have lost interest because they weren’t funded in a particular year. There is a lot of skepticism around preparing an application and how this process works at funding institutions.

One of the most interesting challenges I face in my work is trying to expand the reach of our programs every year. They are annual programs, which open in June and applications are due in September with projects happening in the next calendar year. Because this is public funding, contributed by taxpayers, it should be going back to people in Manhattan.

And with that idea, we really try to ensure that our programs represent the makeup of Manhattan and the rich diversity of the city. Not only in terms of geographical locations, which means that we want to fund people from Inwood all the way to Battery, but also a wide range of artistic disciplines – music, theatre, dance, visual arts, media, literary projects, interdisciplinary projects. From more traditional art forms to contemporary, from small events to big events. We also place a lot of emphasis on racial and ethnic diversity. Although the city is very diverse, it is known in the fundraising world that the largest percentage of available money goes to white-identifying individuals and white-led organizations. This is something that happens and is a criticism of this field. A big challenge and something we strive for from year to year is to make sure that those who have been underrepresented by the programs know about them. Every year we are trying to increase access to our programs and reach out to those who haven’t heard about them or are skeptical. 

It involves a lot of relationship building and going to the communities we want to reach, and establishing partnerships with key local stakeholders or with artists who have come to us to understand how the process works. We want to demystify this notion that it’s difficult to get a grant or that there are many hoops that you have to jump through.

Ultimately, the programs are competitive. We do get over 500 applications a year and get to award around 50-60% of that. Every year we change the people who make decisions. It isn’t staff that makes decisions, those are other artists and professionals in the field who make decisions. 

We really try to ensure people that they can still come back year after year, even if they don’t get a grant on their first try. We are here to help people to strengthen their applications, answer questions about the process and help people put their best foot forward, but doing that takes a lot of time and a lot of effort. Being on the ground, being on the phone, and meeting people where they are and their comfort level in terms of writing a grant. Language, of course, is a big part of it. To me, these are some of the biggest challenges but also rewards of my work. Being able to meet new people every year and see that the makeup of our applicants and grantees continues to become more and more diverse.

How is LMCC funded?

We receive money from all sides. We receive money from city agencies, state agencies, federal agencies as well as private foundations, and individual donors. That is to support the whole organization. When it comes to the grant money that we give out, those grants really come just from NYSCA, DCLA, and UMEZ, which is an economic empowerment corporation in Upper Manhattan.

What is the most exciting part about your role?

There are so many things! I enjoy my job at LMCC quite a lot. One of them is that every year I try to push the needle more and more to ensure that we connect with more people and have more diversity in our programs.

Through my work, I have come to appreciate and know many neighborhoods of the city that I previously didn’t know. The pandemic has made us shift our practices but before the pandemic, we were always on the ground doing information sessions during the summer in different neighborhoods in the borough. We were also going to grantee events to experience the work that we were funding. That helped me expand my awareness of artistic disciplines because I come from a visual arts background, a very narrow view of the art world. Through LMCC, I have been experiencing music events, theatre, dance, projects in many different disciplines, and people approaching the artforms in different ways. This work at LMCC has really helped me to expand my own vision of the art world and also of Manhattan – getting to explore new areas that I otherwise would not have explored, perhaps. Also having a pulse on community arts in the city, which previously I didn’t have so much access to.

The other part is that component of language. It is very special to me to have a job, where my language is a key part of my work. It helps me reinforce my identity. Being able to speak Spanish in my work is something I so appreciate and getting to see more people who come to us seeking Spanish language communications is something that I feel so proud and excited about. When I get an email or a call in Spanish- that’s a joy for me.

Finally, I would say that LMCC as an organization has such a strong legacy and it is so remarkable to be able to be part of that history in a small way.

How did the pandemic affect your work?

The pandemic has been a hard situation for many of us. When it comes to our work, it definitely made us shift a lot of our practices. It made us adapt a lot. Before the pandemic, we were always on the ground. That is how we built trust and relationships. By showing up. Even if people were not expecting us. Just showing up or hosting events in different neighborhoods in the city and inviting people so that they know about us. That has been a very key component of our work – being on the ground or welcoming people to our offices for consultations and encouraging them to call us at any time.

With the pandemic, we lost that ability to go to events and meet people face to face to build relationships. Connecting with other people and showing people that we were still there. Also getting to meet new people. That was a big challenge for us. We are now doing some hybrid events but most have remained virtual. Last summer, we tried doing some smaller events in Upper Manhattan and in Chinatown, but still trying to limit them in terms of capacity. Last summer we noticed there was still a lot of anxiety in the air in terms of doing in-person events. It was very hard to want to be out there but still not being able to. That was one of the biggest challenges for our team.

We are funding over 200 projects every year. The pandemic was very impactful for all of our grantees, both in 2020 and 2021. Still, we are helping people navigate through ways to do their projects. The first year was the hardest because no one knew what to do, no one knew how long this was going to go. We had people calling us and emailing us asking what they could do with the money. So, we were really able to adapt and offer support in any way we could. Assuring people that it was okay, that projects can be postponed and we can figure out ways for projects to happen and minimize that anxiety. A lot of it was trying to navigate and help people manage their own stress around these projects. That was a big challenge for us and also mostly for our grantees. Finally, trying to find ways to help people envision new ideas for their projects, new ways to still engage the public in a way that is safe for them and for the public.

Artists are incredible. Artists and organizations were very quickly coming up with ideas about how to do things virtually, how to do things remotely via phone if they were working with older adults or sending packets to participants because we also have an arts education grant program. It was interesting to see them developing ideas and adapting quickly but then experiencing and seeing all of the struggles that they were having – how can we support them in the best way we can, given what is going on?

Last year we saw that people were excited about the city opening up in the summer. We saw some grantees move to presenting projects in person in parks or smaller capacity venues. We saw excitement around everything opening up. But then, everything started shutting down again. So, once again, we were in a place of helping people navigate different situations in the best way possible.

Do you have any suggestions for current students who are looking to go into fundraising, grantmaking, or working with communities?

Something that really helped me was staying curious and open. I didn’t know that this was the path I wanted to pursue. Never would I have imagined that I would be working as a grantmaker. But it all started from a place of curiosity. Thinking about this thing that I wanted to know more about. How can I explore this regardless of whether it will lead to a job? Leaning into that curiosity is a big piece.

Explore all the different paths and options available at TC and at Columbia! That is something rich about the school, that it has such a rich diversity in course offerings and perspectives. There is so much knowledge you can get out of this program. Having that curiosity and exploring what gets you closer to answering the question that you have in your head and then going towards that.

Going into fundraising, if you have never done grants, try exploring that process. I remember that was one of the exercises in this first class that I mentioned. We were given one application that we had to write. I thought this exercise was so helpful for understanding what it takes to prepare a grant proposal. What are the elements of it? How can you come up with successful narratives? Either writing a grant for your personal practice or some artist or other purposes, or maybe just as a fictional exercise. A lot of that work was very helpful for me as I was starting to work in the fundraising world.

When it comes to working with the community, one of the biggest pieces that I have learned through my work at LMCC is that it is important to meet the community where they are. To show up, to be there, to build relationships and trust. And that it is something that only happens with time. It is something that you have to show up year after year for. You have to be present and listen to what people are interested in and if there are any needs, and what they are. If you are a person or an organization that can offer this support or fulfill that need or perhaps you just have to make space for other people to step in and provide that support. That idea of being at the same level and building relationships.

I have been able to build a lot of connections through my work. However, the most meaningful has been connecting with people, speaking with them year after year, hearing about how they are doing and the challenges they are having. As people get comfortable and they feel that they trust you and that you are really there to support them in a genuine way, they open up. Sometimes they have shared with me: “This is something that is very difficult right now.” It comes from a very friendly conversation. And then I’m like: “Oh, okay! Let me look into that and do something about it.” Some of the great feedback I have received from grantees and applicants has come from that open conversation that has only been possible after many years of building trust and relationships. I think that’s key when it comes to working with communities.

Links:
Lower Manhattan Cultural Council: lmcc.net

Meet Alise Pundure, ARAD’s new Social Media Coordinator

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ARAD is delighted to welcome Alise Pundure as our new Social Media Coordinator. Learn more about Alise, her goals for her new role, and what she does outside of TC.

Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

I grew up in Riga, Latvia, where my parents exposed me to arts and culture from a very young age. I moved to the U.S. in 2017 to begin my studies at Drexel University in Philadelphia. In 2021, I graduated with a Bachelor of Science in Entertainment and Arts Management and a Minor in Business Administration. 

What previous experiences have led you to your current role?

In the past, I have had internships and work experiences in communications, marketing, and project management. In 2019, I interned at the Barnes Foundation in Philadelphia, which houses one of the largest collections of impressionist, post-impressionist, and modern paintings in America and is one of my favorite places in the world! The next summer, I returned home to Latvia, where I was the communications intern at the Museum of Decorative Arts and Design. Most recently, I had the opportunity to manage the projects of a Latvian VR technology startup working with different cultural organizations. 

How have those experiences informed your current professional path?

During my undergraduate studies, I took courses in marketing, graphic design, and photography, which shaped my interest in digital marketing and communications. At the Barnes Foundation, I gained experience in writing copy and developing marketing materials. At the Museum of Decorative Arts and Design in Riga, I created a successful Instagram campaign for an art exhibition. During my time at Drexel University, I oversaw a team of writers for the Her Campus online publication. Last year, I independently organized a virtual art exhibition and created content for its Instagram and Facebook accounts to reach a wide international audience. All these experiences have helped me develop a passion for digital content creation. After graduating from the ARAD program, I hope to manage marketing and communications at an art museum.

What are you looking forward to in taking on this role?

Now, when so much of our time is spent online and we see an overabundance of digital content every day, I aim to create social media content that is meaningful and engaging. I hope to bring ARAD’s community closer together and highlight the accomplishments of our students and alumni. My goal is to show how supportive and inspiring this community is because this is how I have experienced it during my first semester as an ARAD student!

What do you do outside of your time at TC?

In my free time, you can find me exploring the city and taking pictures. I love street photography, and New York is one of the best cities in the world for capturing fascinating shots. I also love exploring the city’s many museums and going to Broadway shows. Finally, I enjoy going jogging in the beautiful Riverside park right next to campus.

Alise Katrina Pundure is currently pursuing her M.A. in Arts Administration at Teachers College, Columbia University. She graduated Summa Cum Laude, Honors with Distinction from Drexel University with a B.S. in Entertainment and Arts Management in 2021. She has interned in art museums in the U.S. and Latvia, and most recently she worked for a Latvian immersive technology startup. Her professional interests include marketing, fundraising, and digital technology in arts organizations.

ARAD Holiday Service Project 2021

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Since 2015, the Arts Administration Program (ARAD) at Teachers College, Columbia University has organized an annual Holiday Service Project for its faculty, students, staff, and alumni to contribute time, goods, and cheer to those in need during the winter holidays. This year, we had the pleasure of continuing our partnership with local arts organization, Art Start, providing 50 toy packages and holiday cards to over 170 children in NYC.

Aside from ARAD’s long-standing and continued support of Art Start, a non-profit organization that brings arts programming to at-risk youth living in city shelters, on the streets, or surviving with parents in crisis, we are excited to announce our efforts will also benefit the People’s Theatre Project.

Rooted in Washington Heights, People’s Theatre Project (PTP) creates ensemble-based theatre with Latinx, Black, and immigrant communities to strengthen the movement for social justice. Core programming includes: the PTP Academy, a multi-year theatre and social justice leadership program dedicated to the holistic development of immigrant youth (grades K-12); the PTP Partnerships, in-school theatre residencies focused on celebrating culture and identity; and the PTP Company, a touring company composed entirely of immigrant artists of color. Through these programs, PTP participants, artists, and audiences deepen their sense of power and strengthen their connection to community, reimagining a more equitable world.

This winter, PTP is raising full scholarships for the young artists in the PTP Academy.

  • Your gift of $25 sponsors the cost of a K-5 young artist’s tuition for one day.
  • Your gift of $50 sponsors the cost of admission for a family to see their young artist perform.
  • Your gift of $100 sponsors the cost of art supplies for a whole ensemble.
  • Your gift of $500 sponsors half the cost of a K-5 child’s tuition for a semester.
  • Your gift of $1000 sponsors the cost of a middle school/high school young artist’s tuition for a semester.

All contributions are tax-deductible to the full extent of the law, and will be accepted through Monday, January 3, 2022. You can donate using the form on this page. Sign up for the People’s Theater Project mailing list by texting PTPSIGNUP to 41444!

Donations made by check should be mailed to Teachers College, Columbia University, Attention: ARAD Alumni Programming Fund, Box 306, 525 West 120th Street, New York, NY 10027-9988. Checks should be made payable to Teachers College, Columbia University, and in the memo field, please include “Alumni programming: ARAD.”

Thank you for helping us make the holidays brighter by providing the tools and access to creative self-expression through the arts! Please contact Grace J. Choi at artsadmin@tc.columbia.edu with any questions.

Alumni Spotlight: Carolina Cambronero-Varela, Co-Producer of “Artivism: The Power of Art for Social Transformation”

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What is your role in working with Artivism: The Power of Art for Social Transformation? How did Artivism begin and how did it become a multi-institutional collaboration?

Thank you for this opportunity ARAD family, such an honor to be back home!

My motto goes: Trust engenders opportunities; opportunities: a dignified life. This motto describes what is happening with this ongoing endeavor, the cumulative labor of love of many.

The initiative Artivism: The Power of Art for Social Transformation emerged from the book Illuminations of Social Imagination, which flourished from the event Liberating Imagination Through Artistic Activism, and the exhibition Brave Spaces: Where You, Me and We Meet. This event and exhibition were made possible via Columbia University’s Student Advocates for the Arts (SAA) in collaboration with New York University’s Advocates for Cultural Engagement (ACE). Thank you SAA then fellow board members Lauren Williams and Ulrike Figueroa Vilchis and ACE president Briana Zimmerman. Much gratitude also to Ms. Katarina Wong, Dr. Gemma Mangione, Dr. Jennifer Lena, all SAA sponsors, and collaborators.

As a note to current ARAD students, SAA has enormous potential. In my previous interview, I mentioned that teamwork, dedication and discipline, with a little sacrifice, are all you need as the infrastructure for your dreams. Go get them!!

Thank you God and all that have made this evolution possible. As you can imagine, collaboration is the key in building this robust network of what is now Artivism. Immense gratitude to you all for your trust!

Because of this book’s collaborative spirit, featuring 15 authors and three co-editors, it felt only natural to create a program with the authors, their thought-provoking chapters, and the socially engaged projects they’re involved in. This is how the idea came about with the Gottesman Libraries: How about a year-long Program (Spring-Fall 2021) emphasizing the topic of our recently published book regarding Social Imagination and the arts for social change?

It was thanks to Artivism’s fairy godmother, Ms. Jennifer Govan, Senior Librarian and Director of the Gottesman Libraries, that doors were opened and Artivism grew into what it is today. With her trustful “yes”, we contacted Dr. Christine Riordan, President of Adelphi University, who then connected us with her team, Dr. Stephanie Lake, Professor Argiro Agelarakis, and Sarah Avery from the Criminal Justice Program. In addition, we were also joined by Dr. Inés Archer from Adelphi’s Department of Languages, Literatures and Cultures. Soon thereafter, Sing for Hope co-founders, Camille Zamora and Monica Yunus, saw potential in the idea and became Artivism’s co-collaborators and co-sponsors.

Can you explain what “artivism” is and what it means to you?

Artivism looks to ignite the passion within each of us to be the change agents of our moribund society: with our current resources, where we are. Artivism builds networks of content creation, collaborations, and new ways of thinking as tools to transform systemic societal disjunctives. 

Artivism brings to light how the arts can redress inequities, reflect all voices, and push society forward. This interdisciplinary, multi-institutional collaboration aims to engage people in transforming society through the power of art. The initiative’s vision is to generate a movement where committed social ‘artivists’ are responding to historical global unrest and creating community through multidisciplinary teamwork toward a more dignified and meaningful coexistence.  Artivism hosts presenters and their initiatives from all over the world, encouraging teamwork, working for the common good, and exchanging ideas. Artivism is currently also building its European chapter.

Artivism is the result of dedication, teamwork and reciprocity. Artivism is an example of selfless collaboration for the greater good. To me, this is the objective-solidarity, sharing and being one; one family that cares for each other worldwide in hopes of transforming societal systemic disjunctives.

What initiatives is Artivism currently working on?

Our current season started this past September and will feature an amazing line-up of international presenters, spanning from locations such as Ecuador, Greece, Costa Rica, Russia, the Philippines, Iran, and France. In addition, we are also collaborating with Adelphi University’s “Fall Arts Festival” on October 6th, 2021, with a live roundtable discussion, held in the Olmsted Theater at Adelphi University’s Performing Arts Center. Adelphi students are also currently working on creating an official Artivism Club on campus. Our ongoing Student Ambassador Program continues to provide a platform for students to share their voices while also connecting directly with other artivists. This upcoming Spring 2022 season is all lined up and ready to ignite our audiences.

Artivism shows what dedication, teamwork and solidarity can do. It shows how each individual has the means, not in the future but NOW to be the change agent in their current context. By being mindful, attentive, present, and receptive in your everyday activities and taking selfless action, you are everything needed to inspire and transform the status quo, one person at the time- starting with YOU. Now, how are you inspiring others?

Artivism: Nurturing change for a more dignified and meaningful coexistence

Get involved

For more information on Artivism: The Power of Art for Social Transformation, check out the links below.

Carolina Cambronero Varela, M.A. is engaged in community endeavors that promote a better environment and future through the arts and peace education. She believes these are human rights that will guide all, primarily children, to a deeper understanding of the power of transformation that each person has within. Carolina envisions the creation of these opportunities as integral components for a dignified life (please refer to The International Covenant on Economic, Social, and Cultural Rights, 1966).

While at Columbia University, Carolina was president of Student Advocates for the Arts, co-chair of the Peace Education Network, and program representative in the Arts and Humanities Department Student Council. She also became a member of Kappa Chapter of Kappa Delta Pi International Honor Society in Education, Global Citizens Club, and Columbia’s University Life Events Council.

Currently, Carolina co-produces the initiative Artivism: The Power of Art for Social Transformation, an ongoing, multimodal collaboration sponsored by Sing for Hope, Adelphi University and Gottesman Libraries, Teachers College, Columbia University. Artivism aims to generate community through multi-disciplinary teamwork for a more dignified and meaningful coexistence, however you define these terms. The initiative aims to nurture confidence in taking continuous action from wherever you are by means of reciprocity.

Links:

Interview

National Arts Action Summit

From Negative to Positive Event

Artivism: The Power of Art for Social Transformation

Alumni Spotlight: Kimberly Theodore Sidey(ARAD ’11), Music Education Grants Program Officer at Chorus America

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Kimberly Theodore Sidey (ARAD ’11) is currently the Music Education Grants Program Officer at Chorus America in Washington, DC. Program Associate, Nigel Finley, had the chance catch up with Kimberly via Zoom, where they spoke about the ARAD program and her life after Teachers College.

Tell us a bit about yourself? Where are you from? What was your undergraduate degree?

I grew up in a small town outside of Minneapolis, St. Paul, which in itself has a robust arts community. It was there, I was able to really dive into my interest in music, theatre, and dance. Then in the late ’90s, my family moved to Austin, Texas, which also has a really rich art and cultural community. I then studied Choral Music Education at the University of Texas at Austin. After undergrad, I taught choir and voice lessons in Austin and Houston before moving to New York City, which is where I completed my master’s degree and graduated from TC in 2011. 

What attracted you to the program specifically at TC?

At the time, the majority of my professional experience had been in the classroom. But, in addition to being a certified music educator, I was also an assistant conductor for a small non-profit children’s choir – which is where I had the opportunity to learn about arts administration and the kind of skills needed for effective non-profit management. So, knowing that there was a real breadth and depth of programming is what attracted me to TC. I felt confident that this was the place where I could develop these necessary skills while also gaining a holistic understanding of the arts ecosystem.  

Where do you currently work and what is your role?

As of May 2021, I work for Chorus America, the professional development, research, and advocacy organizations for the choral field. My position as the Music Education Grants Program Officer is actually a newly created position. Earlier this year, Chorus America, was very fortunate to receive a substantial grant from a private funder to create a regranting program. In my role, I will be very focused on building this new grant program. It’s specifically the Music Education Partnerships Grants program which is designed to support collaborations between non-profit organizations and schools during the 2022-23 academic year. Our goal in our inaugural year will be focused on increasing access to singing for K- 9th graders and to promote learning through cross-cultural exchange, while upholding the principles of access, diversity, and inclusion. This program is going to be making grants in four different regions: British Columbia, the Northwest, Central Appalachian, Southwest, and also the Upper Midwest.

This being a newly created grant program, how does this differ or not from your other grant programs?

This program is actually very aligned and similar to the other programs here at Chorus America. Music education specifically is a big part of our strategic plan and our mission. We support over 6,000 conductors, educators, board members, and non-profit professionals in the field. We know that access to earlier learning experiences in music and singing is really important in building a lifelong love for singing. So, this is really aligned with what we’re doing and a wonderful opportunity for Chorus America to increase our impact within the field.

Where is your organization located?

Washington, DC however we support organizations across North America.

How would you say ARAD helped prepare you for this role or your career? Were there any courses, experiences, or skillsets that you feel were most valuable?

I think ARAD was so valuable in that it provided me this rich learning opportunity to develop the fundamentals but also the critical thinking skills required for this field. I left the program with an understanding of what makes a healthy, vibrant, arts organization. I think the other thing ARAD helped me understand was the funder and grantee relationship and how to effectively build those relationships and make a case for funding. That was particularly helpful in the beginning of my career when I focused on fundraising. I found that my experience as a fundraiser has really informed my work as a grant-maker.

How would you describe the difference between a grantmaker and a fundraiser?

A fundraiser is soliciting and building financial support for a nonprofit organization, whereas a grant-maker or funder is distributing grants to organizations to support their work.

How did the pandemic affect your work as a grantmaker?

Although I am still fairly new at Chorus America I understand we had a robust response to the pandemic. As you know, singing is one way that this virus can be transmitted. There was a lot of focus on aspiration and the droplets that are produced when you’re singing or speaking. Chorus America stepped up by providing a wealth of resources, articles, and guidelines on how to respond to the pandemic.

I think speaking broadly the pandemic had a major impact on the field of philanthropy. In 2021, we saw a lot of increased investment in terms of dollars. I think the pandemic also in tandem with the Black Lives Matter movement has had a profound impact on how grants are distributed. There’s been much more conversation in this field to ensure that equity is centered in the work. And at the foundation I worked at a few months ago, I was really fortunate to be part of the substantial process to center our woman’s issues grants in equity. I believe organizations are asking themselves – How can we widen the circle of influence in our grant-making? How do we streamline the application process and increase transparency? How do we incorporate a community voice in the process in a way that before the pandemic we had not done? We have also been addressing implicit bias and providing training for grant reviewers – changes like removing identifying information or other tactics to help curb implicit bias. I think another thing we saw philanthropy do in general was respond by offering more flexible multi-year funding.

Chorus America has an incredible opportunity because we are not revising, we are able to build our grant-making program from the ground up. We’ve been working with a fantastic group of community advisors from across North America who are helping us co-create our grant guidelines. It’s been a huge joy to work with them! They’re a very talented group of musicians, touring artists, grant-makers, educators, researchers, arts non-profit professionals, and many other relevant fields. They bring a wealth of knowledge, expertise, and diverse lived experience to help inform our review process, which will ultimately decide how we distribute funding. To be involved in this type of community building has very meaningful and rewarding.

What are you most excited about in the next year?

I think the thing I’m most excited about will be the launch of this program. The guidelines will be released in October. Applications will open in November and due next January 2022. We’re granting out just over $900,000 in this next grant cycle across four regions in the US and Canada.

What advice would you give other arts administrators interested in pursuing fundraising or development in the arts?

If you are interested in pursuing development within the arts I would advise you to pursue an internship where you will get some hands-on experience.  I think also listening is a very important skill. You have to understand your donor base and you won’t know what folks need unless you listen. Then, I would say you need the courage to not be afraid of making mistakes. Especially in philanthropy. We can spend a lot of time reviewing reports and planning and I think that just takes courage to just start doing the work.

Bio:

Kim is delighted to combine her experience in grant-making and choral music education as program officer for Chorus America’s inaugural Music Education Collaborative Grants. Most recently, she served as program manager at the Austin Community Foundation, where Kim oversaw the RFP process and distribution of grants for the Women’s Fund, a signature program of the Foundation.

Her earliest professional experiences were teaching middle school choirs in Austin and Houston, TX, and since then, Kim has held arts management positions for ZACH Theatre (Austin, TX), Roundabout Theatre Company (New York, NY), and Opera New Jersey (Princeton, NJ).

She holds a Masters Degree in Arts Administration from Columbia University and a Bachelor of Music degree in Choral Music Studies from The University of Texas at Austin.

(taken from Chorus America’s website)

Alumni Spotlight: Ty Cooperman(ARAD ’20), Director and Registrar at TW Fine Art

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Ty Cooperman (ARAD ‘20) is currently the Director & Registrar at TW Fine Art in Brooklyn, NY. We had the opportunity to speak with Ty virtually, where he shared his experiences in the ARAD program and his life after Teachers College, Columbia.

Tyler (Ty) Cooperman at TW Fine Art’s Brooklyn Outpost

Can you tell us a bit about yourself? What is your current position, and how did you step into your role?

Ty: I am a born and raised New Yorker, and in the ARAD Class of 2020. I entered Columbia just having received my BA with Honors in Art History from NYU knowing I wanted to do the business of art and work with artists, but I didn’t quite know exactly what that was going to look like. While at Columbia, I was super fortunate in that I found an amazing internship with a major collector named Mike De Paola, for whom I first became his personal registrar, I then became the registrar for his business, and have now become gallery director for TW Fine Art. It’s been crazy growth.

What attracted you most to the ARAD program at Teachers College?

Ty: I liked the fact that it was a holistic approach to the arts. I was fairly certain that I wanted to be on the for-profit side of the visual arts, but I liked that I regularly interacted with people who were on the opposite end of the fine arts spectrum, that being non-profit and performance. Because it is a small art world, it’s important for us to all understand what each segment does and the particularities of each group. I’m currently working with a movie studio to get commercial work for some of our artists, and I’m finding they don’t know how to speak our language. You can see the way it creates disconnect, so I feel like it really gave me a leg up in that I can speak intelligently about not only the visual arts but performance. Something that is increasingly clear to me but became clearer to me at Columbia is that regardless of whether you take the for-profit or non-profit route, if you’re working in the high end of the arts, you essentially serve all the same people. It’s a very small group that has that control, and understanding how to work with them on either level is a real advantage.

How did the ARAD program help prepare you for this role?

Ty: My last semester at Columbia when we were transitioning to online was quite crazy in that the art world didn’t know what anything was going to look like. Mike and I were just watching all these amazing small and mid-size galleries being forced to close. Learning what I learned at Columbia, I was able to execute a really precise and specific business model to develop a collaborative company where we not only continue to manage collections, but we also represent artists in an agency style. We do your typical gallery style where we show artists’ work and they ask when they need help, but we also do a 360 degree approach where we do everything; we help artists find commercial clients, develop connections with other galleries across the globe, as well as provide long-term career management.

Can you tell us more about TW Fine Art, it’s mission and goals as an organization? Is TW Fine Art a for-profit or non-profit gallery?

Ty: We started with one gallery space in Palm Beach, Florida in December which has now grown into two spaces with a second space in Brooklyn. In the next year or two we’re going to be expanding into a third space. We are a for-profit gallery, and we definitely have more of a moral and ethical bend than most contemporary art galleries. Something I’ve found very interesting and in a perfect world would love to move towards is the B Corporation model which is something I also learned about at Columbia. I’m a big believer in the idea that artists should not have to be beholden to grant writing in order to be financially viable. If we as a society let alone an industry actually value what the people who we claim to support do, we should all be working hard enough that they can live a nice quality of life. I feel like the easiest way I can accomplish that and be useful to artists at large is to help them by building these careers and direct relationships with collectors who not only ensure that you can pay your rent, but they’re the people who when in 5-10 years you want to do a real solo exhibition or a retrospective at a museum, those are the people who make it happen. It’s because you spent that time working with a gallery who really cares about building those relationships that that next step even becomes possible.

I wish it were not that way, but again what I found both at Columbia and since leaving is that the non-profit and for-profit art world are a lot more similar and intertwined than people like to admit, so I think the idea of a bifurcation between the two is no longer accurate. We do work with non-profits; Brian Kenny, one of our artists who we currently have a solo exhibition up for, just worked with the first LGBTQ+ health organization in Providence and did a mural highlighting local members of the community who advocated for those resources. We are believers in that element of giving back, and you can do it without sacrificing your artists’ ability to buy materials and rent a studio. Our artists already possess the cultural capital; they need people to assist them with the social and economic capital, and that’s what we’re able to do. We’re able to manage those so that they can focus on the gifts that they can offer culture at large.

You mentioned how TW Fine Art has two locations. What makes the Brooklyn location unique?

Ty: What we really try to be cognizant of is that each location of TW Fine Art is unique and the audience is different, and we really try to cater our content to that. There are certain considerations you make. In Brooklyn, we’re often showing work which I consider to be more avant-garde, and it’s often artists who are based in Brooklyn because we try to keep that hyperlocal element; that’s something we feel very strongly about. Brian Kenny, whose show is up now, is actually in Brooklyn. One of the artists in our next group exhibition literally lives down the block and walked in and showed us her work, and we were like “this is perfect for one of our shows!”…We try to really engage with the community. We’ve also been talking a lot about showing work from some of the people who live in the housing for chronically homeless individuals in Boerum Hill. We’re trying to deeply engage with the local community, and it makes me really happy. I think that as an arts professional let alone an arts administrator, that’s something we should all really consider. Again, this is why I believe you can be for-profit with a moral compass. Something we always think about when we’re planning an exhibition is the fact that we want it to be approachable to those who are not indoctrinated into the art world yet which means we do sell very expensive things to wealthy people, but we also provide an opportunity for anyone without having to pay anything. It’s a free opportunity to see great art, and we take our mission very seriously in serving that audience. You can wear whatever you want and speak however you’d like; we’re still going to treat you with respect and give you the same tour I would give a museum trustee, and I think that’s really valuable in that we have started developing locals who come back in and bring their children. It’s really rewarding to know that we’re adding something to the cultural fabric of this community. 

What are you most excited about in the coming year?

Ty: We sort of do this pendulum from figurative to abstract. I truly love both, but I’m most intrigued when we end up in those middle spaces where they’re starting to flow together. I think we’re about to see a period of abstraction make its way back into the market which I’m very excited about. I have to say there is a hotbed of talent right now in New York, in Philadelphia, in the UK. There’s so much great art talent that is yet to be given the right spotlight. I’m showing 11 artists in my next exhibition which opens on August 24th. I’m showing all these artists for the first time, and I’m so excited about each and every one of them. I really think we’re seeing this moment where we’ll get to see more dialogue between sculpture and painting and the environment versus the pictorial plain, and I think we’re ready for something that demands intellectually a little more of us. I’m ready to see what the market does next, and I’m quite excited. I think we’ll see a resurgence of performance. I’m working with an artist right now who I’m working to bring to the United States, and their work is very interactive. Now that we have the chance to let people into a physical space, I’m excited to see what it looks like when we do these interactive and immersive exhibitions, like taking the crux of the concept of the Museum of Icecream but turning it into something that’s actually intellectually and artistically engaging as much as it is Instagram-friendly and really taking it to that next level where we’re not dumbing down the art but rather we’re elevating the environment and at the same time making it approachable to people.

What do you enjoy doing in your spare time?

Ty: I live and breathe what I do. I love my job and love all the artists we’ve ever worked with. To be completely honest, I usually spend my days off with our artists in their studios or going to galleries. This is sort of my whole life. I genuinely couldn’t imagine doing anything else.

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Meet Grace J. Choi, ARAD’s new Program Manager

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ARAD is delighted to welcome Grace J. Choi as our new Program Manager. Learn more about Grace, her goals for her new role, and what she does outside of TC.

Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

Bay Area woman here! I grew up mainly in Palo Alto, California but also was partially raised in Sao Paulo, Brazil, where my Korean parents immigrated to as children before moving to the US as adults. After growing as an artist and writer at NYU (I majored in sculpture in the Studio Art program in Steinhardt), my interest in the intersection of the arts and technology developed upon revisiting where I “come from” and how different facets of my experience and upbringing could also be applied to designing learning experiences for others, particularly in cultural institutions.

What previous experiences have led you to your current role? 

Prior to coming to TC as the secretary for the Program in Social Studies at TC, I worked for the Metropolitan Museum of Art for a few years in a specialized team within their Member and Visitor Services Department working closely with VIPs and corporate sponsors, education groups (K-12 and higher ed), and third-party tourism companies as my main three circles of clientele. I then had the pleasure of working with the faculty and staff in the Social Studies program for two and a half years, which really broadened my perspective on higher education settings, the challenges presented to faculty, staff and students alike in an academic structure, and the ongoing question of how to best support students so that they, in turn, can be best equipped to support their own communities.

How have those experiences informed your current professional path?

Leading up to this particular opportunity to work with ARAD as its new Program Manager, I have on multiple occasions revisited what it means to be a part of an ideal academic community. What does a program in that community look, act, and move like? What spaces and opportunities does it provide for students and staff? How are faculty supported in providing their students a robust, challenging and growth-oriented learning experience? In essence, what makes that program unique?

When we consider more community-based aspects of the spaces we inhabit– be they academic, professional, cultural, of any kind– I find that each person brings in such valuable insight because they genuinely care about belonging. Not only as professionals, but also as people and as global citizens. Having worked at a museum and as well as another program at TC beforehand, I find this uplifting– because who are we if we don’t take care of each other and those around us? 

What are you looking forward to in taking on this role?

The people! I consider myself extremely fortunate to join this community of burgeoning interdisciplinary professionals and leaders in the arts. Looking forward to meeting the students and supporting them through their journeys in ARAD and TC!

What do you do outside of your time at TC?

I wish I spent more time painting and drawing (continuing sculpture is just a little hard to do without a studio space), especially in the past year of staying in one place, but in the meantime I’ve also found pockets of peace in fishing in various quiet spots around NYC. I also really enjoy a good book– I’ve been reading Dr. Ruha Benjamin’s Race After Technology after wanting to get my hands on it for a long while, and can’t recommend it enough!

Meet Nigel Finley, ARAD’s new Program Associate

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ARAD is delighted to welcome Nigel Finley as our new Program Associate. Learn more about Nigel, his goals for his new role, and what he does outside of TC.

Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

I am originally from South Orange, New Jersey and graduated from Columbia High School in Maplewood, New Jersey. I earned my undergraduate degree at Rider University in Arts Administration with a theatre emphasis. 

What previous experiences have led you to your current role? 

Prior to Columbia University, I have worked at a multitude of arts and cultural institutions including the Harlem School of the Arts, State Theatre New Jersey, Artworks Trenton, and the New Jersey Performing Arts Center. In my most recent role as the Development Associate of the Harlem School of the Arts, I was a primary administrative support and frontline fundraiser working directly with senior staff to implement institutional fundraising strategy and goals.

How have those experiences informed your current professional path?

I actually originally entered my college career as a musical theatre major, however, after taking an Intro to Arts Administration class my freshman year, I decided I wanted to broaden my focus and learn how to make an impact both on and off the stage. In that class that I realized how entrenched my life had been in arts and cultural nonprofits and their essential influence on my educational growth. If it wasn’t for the many arts advocates, teachers, and particularly fundraisers in my community working to create access and diverse programming, than I would have missed out on a multitude of formative experiences. For that, I have found a passion for the support and advocacy of arts institutions and their programming.

What are you looking forward to in taking on this role?

I am most excited to be back in a collegiate setting! I think there is something special about the campus atmosphere that sparks inspiration, curiosity, and then discovery. I am excited to be a part of stewarding that experience for the current students at TC’s Arts Administration program. 

What do you do outside of your time at TC?

My interests span from walks in nature or reading random psychology articles, to creating an art piece or performing on stage. However, a large labor of love has been my participation as a founding team member of Aurway Repertory Theatre. Aurway is a network of emerging and professional ARTISTs based out of Newark, NJ, dedicated to the pursuit, presentation, and creation of culturally relevant art through the lens of black and brown people. Through community partnerships, educational workshops, and public performances we create a space for artists and viewers alike to engage in a dialogue on pressing social issues while experiencing an unconventional approach to artmaking and theatrical performance. Follow us on Facebook, Instagram, and YouTube!

Nigel Finley is a Harlem-based artist and arts administrator with a background in fundraising and marketing for major NYC and NJ arts and cultural organizations including the Harlem School of the Arts (HSA), State Theatre NJ, Artworks Trenton, and the New Jersey Performing Arts Center (NJPAC). He is also a founding team member at Aurway Inc., a Newark-based repertory theatre company. Nigel graduated from Rider University with a B.A. in Arts Administration with a Theatre emphasis.

Meet Joanna Calhoun, ARAD’s new Social Media Coordinator

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ARAD is delighted to welcome Joanna Calhoun (ARAD ’23) as our new Social Media Manager. Learn more about Joanna, her goals for her new role, and what she does outside of TC.

Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

I am from West Monroe, Louisiana and I earned my undergraduate degree from Tulane University in New Orleans, Louisiana. I graduated with a Bachelor of Fine Arts in Music Composition and a Minor in Business Management.

What previous experiences have led you to your current role?

At Tulane University, I took classes in performing arts, visual arts, and business management, and I desired to pursue a career path that allowed me to combine all of these passions. During my undergraduate career, I worked with several arts organizations in Louisiana such as the Northeast Louisiana Arts Council, Make Music NOLA, the New Orleans Jazz Museum, and the Louisiana Philharmonic Orchestra. Each one of these roles helped me discover my love for arts administration and social media management.

How have those experiences informed your current professional path?

During my internships, I gained experience in writing blog posts and articles, conducting interviews, photographing events, creating digital content, and managing social media. I believe these experiences have properly prepared me for the position of Social Media Coordinator. I look forward to further developing my current skills as I am interested in pursuing a career in management, marketing, and social media at an arts organization when I graduate.

What are you looking forward to in taking on this role?

As an incoming student to the ARAD Program, I am very excited to get to know my cohort and collaborate with faculty, staff, and alumni! I am looking forward to using my experience and knowledge towards promoting and strengthening the ARAD program and community.

What do you do outside of your time at TC?

I have been a musician my entire life, and my primary instrument is the violin. You can most often find me playing the violin whether it be as a soloist, in a band, or in a symphony orchestra. My other hobbies include drawing and painting, thrifting, and photography. I also love exploring the city and going to new restaurants, museums, and concerts!

Joanna Calhoun is currently pursuing her Master of Arts in Arts Administration at Teachers College, Columbia University. She graduated summa cum laude from Tulane University in New Orleans, Louisiana in 2021 with a Bachelor of Fine Arts in Music Composition and a minor in Business Management. At Tulane University, she was a classical violinist in the Tulane Symphony Orchestra throughout all her semesters. Joanna’s professional interests center around marketing, communications, social media management, event programming, and arts education.

Lonnie Woods III on Transitioning to Faculty Position Leading ARAD’s Practicum in Arts Administration and Internship Courses

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ARAD’s beloved Professional Development Coordinator, Lonnie Woods III, is transitioning to a new and exciting faculty position leading the Practicum in Arts Administration and then the Internship course. We spoke to Lonnie about the Practicum class that first-year ARAD students will be taking with him, including his vision for the course and the lessons he’d like students to walk away with. You can also learn more about Lonnie here!

What makes you passionate about professional development? 

Believe it or not, editing resumes for myself and my friends in college sparked my love for professional development. As a trained visual artist, I see constructive critique, creating, editing and formatting as an artform; those same principles apply to professional development. I am passionate about professional development because so much of it is about discovering who you are and making room for new versions of yourself. The professional work that we do is often a reflection of who we are (at least I think it should be that way). Each time we make a career change, we are making a life change, which translates to this exciting opportunity to curate and repackage yourself. I find the repackaging process exhilarating but I realize that it makes many people nervous. I get to be the person who helps students to calm those nerves and put their dreams into a plan.

What can students expect from the 8-session practicum they’ll be taking with you in their first semester of the program?

Students can expect to learn the tools and resources needed to create and execute a personal career plan in the arts. Students can expect to learn about essential career related topics such as professional relationship building, negotiation, job search techniques, personal branding, and career options within the arts field.

How does your class dovetail with the internship component of the ARAD curriculum?

In this course, students apply what they learn in their other ARAD courses to their individual career goals. Practicum in Arts Administration will prepare students for the internship search and hiring process as well as give them the tools and resources needed to equip and empower them to choose the internship and career path that will best align with their goals. 

What are you most looking forward to in starting this position?

I am looking forward to meeting the new students! The main reason that I work in academia is because I genuinely enjoy supporting students. I also look forward to sharing space with the future generation of folks who will go on to impact the arts industry in a powerful way. I look forward to helping students streamline their visions and dreams into a plan that they can execute and update throughout their time in the program and beyond.

What are the biggest lessons you’d like students to take away from your class?

  1. Choose collaboration over competition; network across as well as up. Your success does not always surround your ability to climb the ladder. Your success partner may be sitting right next to you in class.
  2. Your career plan is your own. You have the ability to edit, re-write or completely change your career story at any given time.

BIO

Professor Lonnie Woods III is a student affairs administrator, educator, and professional development practitioner whose research examines the career competencies of college students studying arts related majors. He holds a Bachelor of Science in Fine Art Photography from Towson University and a Master of Arts in Higher Education and Student Affairs from New York University (NYU).  Lonnie serves as an Arts Career Consultant, College Readiness Specialist and Teaching Artist  and has collaborated with world renowned arts organizations such as: The Brooklyn Academy of Music (BAM), Whitney Museum of American Art, The Smithsonian Museum of American History, The Studio Museum of Harlem and Sotheby’s Institute of Art.