He is active in promoting design, creativity and tourism in Hong Kong, serving on a number of government and non-government bodies including Design Trust, Para Site and Art Basel’s Global Patrons Council.  Alan also served on a number of government committees including Hong Kong Arts Development Council, Liquor Licensing Board, Harbourfront Commission, Business Facilitation Advisory Committee, Qualification Framework Catering Industry Advisory Committee, Tourism Strategy Group and Greater Pearl River Delta Business Council. He holds an AB in architecture from Princeton University.

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gallery. Under Essers, Goodman Gallery’s programme has grown to include artists from the Northern and Southern hemispheres in an effort to enrich international dialogue around colonial legacies and contemporary geopolitics. In addition to maintaining gallery locations in Johannesburg and Cape Town, Essers established Goodman Gallery UK in London in 2019. In keeping with an activist position fostered by the gallery during South Africa’s apartheid years, Essers has remained committed to a socially progressive agenda, dedicating a portion of the gallery’s programme to non-commercial projects that broaden audiences for contemporary art.

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Maria is a member of the International Council at Tate. She co-chairs their Middle Eastern Acquisitions Committee (MENAAC) and sits on their Photography Acquisitions Committee (PAC).

Maria is a trustee of the Institute of Contemporary Art (ICA) and is a member of the Contemporary and Modern Middle Eastern Art (CaMMEA) acquisition group of the British Museum and is a Strategic Advisor of the Delfina Foundation. She also sits on the Commissioning Committee at the Hayward Gallery.  She supports the Showroom, the Chisenhale, the Camden Art Centre, the South London Gallery and the Design Museum. Whilst in Lebanon Maria supported the Beirut Art Centre and the Homeworks Space.

 

She sits on the Solomon Guggenheim Directors Circle and on the New Museum International Leadership Council in New York. Maria is on the Photo London Founders Committee as well as their Advisory Board and is a nominator of the Prix Pictet photography prize.

 

She is also a member of the Frederick S. Pardee School of Global Studies Advisory Board at Boston University. Maria is a trustee of the St Jude’s Cancer Centre for Children (Beirut-London) and a vice-chair of the Chain of Hope (London).

Maria is also a trustee of the Showroom and of the Institute of Contemporary Arts. She is involved in the following charities: the Chain of Hope, London and Give a Child a Brighter Future, and is a Trustee of St Jude Children’s Cancer Centre, Lebanon-UK.

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In 2000, along with her son, an 18th century Fort Palace was restored and opened as an hotel called Devigarh, with 30 suites. In autumn of 2011, Jaipur saw the opening of 2 new hotels Devi Ratn, a property with new age design which has been influenced by the Jantar Mantar  ( 18th C Observatory ) and Rasa, and eco friendly property with modern Cube like tents.

 

Together with her son Anupam, Lekha harnessed her passion into the formation of the Devi Art Foundation, which was established in 2008. She is the Chair at the Tate Modern, London of the South Asian Acquisition Committee, since October 2012 and is also a Member of the Tate International Council, since October 2013.

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In 2012, after filing the paperwork to acquire a gallery permit, this space, now devoid of any traces related to engineering practice, became Dastan’s Basement.  Dastan has now become a gallery infrastructure that has facilitated exhibitions not only at the Basement, but also at +2 Gallery, Parallel Circuit, and formerly at Sam Art, V-Gallery, and the Electric Room.

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 In addition to the post-Cultural Revolution pioneer Chen Haiyan, INKstudio has also focused on exhibiting a younger generation of women artists such as Cindy Ng (b. 1966), Bingyi (b. 1975), Jennifer Ma (b. 1973) and Tao Aimin (b. 1974). Mr. Yee has played a central organizational and editorial role in a number of major university and museum research projects on Modern and pre-Modern Chinese painting including New Songs on Ancient Tunes (2007) at the Honolulu Academy of Arts, Selected Masterworks of Modern Chinese Painting (2010) at the Central Academy of Fine Arts in Beijing, and Alternative Dreams (2016) a multi-year research and exhibition program on seventeenth-century Chinese painting at the Los Angeles County Museum of Art. He has co-authored or co-edited monographs in the University of Hawaii Press Modern Ink Series including The Art of Qi Baishi (2015), The Art of Xugu (2015), and The Art of Wu Changshi (2018) and has published monographs in the D.A.P. Contemporary Ink Series including Zheng Chongbin: Impulse Matter Form (2014) and Chen Haiyan: Carving the Unconscious (2016). Mr. Yee’s research interests include the visual semiotics of ink art, neurological entrainment and resonance between complex systems as a basis for inter-subjective experience, and comparative approaches to contemporary philosophy, contemporary science, and pre-modern Chinese thought.

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she returned to join her parents in the year the gallery turned 25. A seamless transition, Shireen’s interests began to veer toward a younger generation of artists making art that transcended painting and the strong tradition handed down from British colonisation. The early ’90s marked a major political shift in India; with artists creating a new language and Shireen’s proclivities in politics and activism drew her to a new kind of gallery programming. In 2007, Gallery Chemould was rechristened Chemould Prescott Road, she moved her gallery from the original space to a large loft-like space in the centre of Bombay where she continues to run a robust programme that includes a large number of artists who have worked with her for the last 25 years or more.

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In parallel, over the last 5 years, I have compiled a large archive of conceptual art, performing arts, experimental music and visual poetry, totalling around 15, 000 items. Plans for the future include the use of the archive by researchers and artists and partnerships with public institutions.

 

I graduated in Chemical Engineering from the University of São Paulo and I spent most of my professional career in finance. Today 100% of my time is dedicated to my art initiatives.

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Simon is Executive Co Chairman and founder of Luminis Partners in affiliation with Evercore. He previously co-founded Caliburn Partnership which was sold to Greenhill in 2010 and prior to that was Head of Corporate Finance at BZW Australia and ABN AMRO.

 

Simon is a passionate collector of contemporary art with a long history of benefaction to the Arts. In 2007 he was appointed Chairman of the Museum of Contemporary Art Foundation which was re-established to raise funds for the $53 million capital campaign for its redevelopment. For 10 years until 2020 Simon was Chairman of the Board of the MCA Australia and was then appointed the Inaugural International Ambassador.

 

Simon chairs the NSW Visual Arts Board, is the Vice Chair of MOMA PS1 in New York, a Trustee of the American Academy in Rome, a member of the International Council of The Museum of Modern Art in New York, a member of the Executive Committee of the Tate International Council, Inaugural International Ambassador for the Gallerie dell’Accademia Museum in Venice, a director of the Garvan Research Foundation, a member of the Advisory Board of Venetian Heritage in Italy, Chair of Lend Lease’s Art Advisory Panel for Barangaroo, a member of The Centre for Independent Studies Board,  a member of The Ethics Centre Board and a Sydney Committee member of Human Rights Watch. He was Australian Commissioner for the 2013 & 2015 Venice Biennale, a director of the Australian Broadcasting Corporation 2012-2017, Deputy President of Takeover Panel 2000-2010 and past board member of Opera Australia, Sydney Theatre Company, Bundanon Trust, Museum of Contemporary Art (MOCA) Los Angeles and Wharton Executive Board for Asia.

 

In 2020, Simon was knighted in Italy and awarded the Order of the Star of Italy (Cavaliere dell’ Ordine della Stella d’Italia) and was awarded an AO being made an Officer in the General Division of the order of Australia for Distinguished service to the visual arts at a national and international level, to emerging artists, and to philanthropy. 

 

Also in 2020, Simon was appointed Enterprise Professor at the University of Melbourne’s Centre of Visual Arts and as an Adjunct Professor at Universita Cattolica in Milan and Rome for their International Program in Cultural Diplomacy and Masters Program in Cultural Diplomacy: Arts and Digital Media for International Relations and Global Communication.

 

In 2012, Simon was awarded an AM being made a Member in the General Division of the Order of Australia for Services to the Arts and to the cultural environment of Australia through philanthropic and executive roles, and to the community. In 2010 Simon and his wife Catriona were awarded the Australia Business Arts Foundation’s Goldman Sachs Philanthropy Leadership Award.

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Through photography, film and installation he provokes the viewer to question our thought process around how we view the world around us. Jaar has explored significant political and social issues throughout his career, including genocide, the displacement of refugees across borders, and the balance of power between the first and third world.

Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002).

Important individual exhibitions include The New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); The Museum of Contemporary Art, Chicago (1995); Moderna Museet, Stockholm (1994);The Museum of Contemporary Art, Rome (2005) and The Nederlands Fotomuseum (2019). Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca, Milan (2008); Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin (2012); Rencontres d’Arles (2013); KIASMA, Helsinki (2014); and Yorkshire Sculpture Park, UK (2017).

The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was awarded the Hiroshima Art Prize in 2018, and has recently received the prestigious Hasselblad award for 2020.

His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York; Art Institute of Chicago and Museum of Contemporary Art, Chicago; MOCA and LACMA, Los Angeles; MASP, Museu de Arte de São Paulo; TATE, London; Centre Georges Pompidou, Paris; Stedelijk Museum, Amsterdam; Centro Reina Sofia, Madrid; Moderna Museet, Stockholm; MAXXI and MACRO, Rome; Louisiana Museum of Modern Art, Humlaebeck; Hiroshima City Museum of Contemporary Art and Tokushima Modern Art Museum, Japan; M+, Hong Kong; and dozens of institutions and private collections worldwide.

The artist lives and works in New York, USA.

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to the gallery, concentrating on women and artists from then-underrecognised regions such as Latin America, Asia, and Australia including Alfredo Jaar, Ficre Ghebreyesus, Lin Tianmiao, the Estate of Ana Mendieta, Yoko Ono, Zilia Sánchez, the Estate of Nancy Spero, amongst others. In addition to fostering the careers and legacies of the gallery’s artists, Sabbatino co-curated Art from Brazil in New York: which presented the first solo exhibitions of the region’s most vital figures – Waltercio Caldas, Cildo Meireles, Hélio Oiticica, Mira Schendel, and Tunga – and curated Juan Downey: Video Installations and Drawings, at the Museo Bellas Artes, Santiago, Chile.

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Her studies in Human and Social Sciences, Museum Studies, training in creative processes, group dynamics, self awareness and multi-sensory approach guide her as she engages with contemporary art professionals that challenge political and socio-economic status quo, stereotypes, privilege, gender roles and aesthetics givens.

 

Born in Argentina, she has lived in Puerto Rico, Mexico and the United States. When she relocated to Singapore 4 years ago her Latin American background was confronted with Middle Eastern, South and Southeast Asia’s art markets. Upon realising the the isolation and lack of direct connection between Latin America and these regions, she pledged to help build narratives and platforms that strengthen human connections in areas of the world that share emerging and vibrant contemporary art ecosystems.

 

Her art practice and collecting as a political exercise evolved into a personal statement that aims to build bridges between Others, celebrate differences and bring up conversations that cannot be ignored.

 

She is a member of the Global Council, Para-Site, Hong Kong; the Solomon R. Guggenheim Museum’s Latin Circle Acquisitions Committee, New York; Collecting as Practice Residency – Delfina Foundation, London; International advisor, AFIELD Council, Paris; International Ambassador, SOUTH SOUTH; Board member and second generation founder of Intuit: The Center for Intuitive and Outsider Art, Chicago.

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Cezar has curated external exhibitions and performances at Hayward Gallery Project Space, SongEun Artspace, and as part of the official public programme of the 58th Venice Art Biennale. He has written for The Art Newspaper, Harper’s Bazaar, and ArtAsiaPacific, among others.

Cezar is Advisor-at-large at Art Jameel and Strategic Advisor at Asymmetry Art Foundation. He has been appointed to numerous boards, committees, and juries including the Jarman Award and the Turner Prize.

Cezar graduated from Princeton University with a first degree in Economics and a certificate in Dance and Theatre. He earned a postgraduate degree in the Creative & Cultural Industries from King’s College London. In June 2017, he was awarded an Honorary Fellowship from the Royal College of Arts, London.

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Seroussi holds a Master in Sociology (Ecole Normale Supérieure and Ecole de Hautes Etudes en Sciences Sociales) and a Master in Cultural Management (Sciences-Po, Paris). He was deputy director at Centro da Cultura Judaica (São Paulo, 2009-2012); associate curator on the 31st Bienal de São Paulo, How To (…) Things That Don’t Exist (2014) with Charles Esche, Galit Eilat, Luiza Proença, Nuria Enguita Mayo, Oren Sagiv and Pablo Lafuente; chief curator of Vila Itororó Canteiro Aberto (São Paulo, 2014-2017), regional coordinator of COINCIDÊNCIA, the exchange programme for South America of the Swiss Art Council (2017-2019), Pro Helvetia and lectures regularly on curating and cultural management.

As editor and curator, Seroussi conceived and developed projects such as the publications Pop’Lab Guillaume-En-Egypte (2009, with Chris Marker, Annick Rivoire and Toffe) and Nossa Voz [Our Voice] (2014-ongoing, with Ana Druwe, Isabella Rjeille, Mariana Lorenzi and Marilia Loureiro); the exhibitions Visões de Guerra: Lasar Segall (2012, with Jorge Schwartz and Marcelo Manzoni) and Cidade, Mark Lewis (2019); and the transdisciplinary research-based project focusing on new religious movements New Jerusalem (2011-2014, with Eyal Danon).

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He holds a Bsc in Electrical-Mechanical engineering (UCT, 2004) and Masters in Fine Art (UCT, 2011). Following his studies, he co-established two collaborative artist studio / projects spaces, Research Art (2011-2012) and Atlantic House (2012-present).

Between 2011 and 2014, he ran courses at Michaelis School of Fine Art (University of Cape Town) in Unstable Media, at Centre for Curating the Archive (University of Cape Town) in Digital Curation and at Stellenbosch University Art School in studio practice and the moving image. His current research interests include Institutional modalities and collecting / patronage practices.

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She has previously served in various senior executive positions, including at Webber Wentzel Attorneys in South Africa where she practiced law as a partner specializing in oil and gas regulatory law. She also represented the firm at Business Leadership South Africa (BLSA), an organization where South African business leaders engage key players in South African society, including government, civil society and labour, to exchange ideas in the national interest and to create effective dialogue. She also worked as a Managing Principal at Absa Capital (Barclays Capital), where she was responsible for the investment bank’s Human Capital, Transformation & Diversity, Marketing & Communications, and Sustainability platforms.

 

Pulane is an active Patron of the Arts, where she is a Global Patron of Art Basel, the leading international art fair which is staged annually in Basel (Switzerland); Miami Beach (Florida) and Hong Kong. She serves on the Advisory Board of the Zeitz Museum of Contemporary African Art in Cape Town (Zeitz Mocaa), South Africa. She is a member of the Africa Acquisitions Committee of the Tate Modern Museum in the United Kingdom. Over the years, she has built an art collection whose mission is to redress the underrepresentation of African visual artists – women in particular – by ensuring that these artists find their place in the full context of a diverse canon of art history. As part of her corporate social responsibility work, Pulane works with various non-profit organizations, including serving as a board member of LALELA, a charitable organisation that provides arts education to at-risk youth to spark creative thinking and awaken the entrepreneurial spirit. She is a Fellow of the African Leadership Institute.

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He is a founding member and current convener of the Contemporary Art Society of Uganda (CASU) and has also been Chairman of a panel of Judges for the Ugandan based MMA Art Prize (2018 and 2020).

 

Stephen currently works as the Director & Global Head of Human Resources for the African Export Import Bank, based at its HQ in Cairo, Egypt. In this role, he is also co-leading the Bank’s Art Programme, which is aimed at building a contemporary art collection for the Bank’s offices as well as building a platform off which the Bank can promote the visual art scene in Africa, to complement its existing Creative Industry Banking products. 

 

Stephen is a keen golfer and lawn tennis player as well as an amateur photographer. He is married to Kathy and they have two children, Tendo (18yrs) and Kirabo (14 yrs).

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 Through examining race, class and the construction of cultural identity, his works comment on the tangled interrelationship between Africa and Europe, and their respective economic and political histories.

 

In 2004, he  was nominated for the Turner Prize and in 2008, his mid-career survey began at Museum of Contemporary Art, Sydney; touring to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institute, Washington D.C. In 2010, his first public art commission Nelson’s Ship in a Bottle was displayed on the Fourth Plinth in Trafalgar Square, London, and was acquired by the National Maritime Museum, Greenwich, London.

 

In 2013, he was elected as a Royal Academician and was awarded the honour of ‘Commander of the Order of the British Empire’ in the 2019 New Year’s Honours List.  His installation ‘The British Library’ was acquired by Tate  in 2019 and is currently on display at Tate Modern, London.

 

His work is included in notable museum collections including Tate, London; the National Museum of African Art, Smithsonian Institute, Washington D.C.; Museum of Modern Art, New York; Guggenheim Abu Dhabi; Moderna Museet, Stockholm and the Museum of Contemporary Art, Chicago.

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He has a Masters of Arts Degree from the National University of Singapore in Southeast Asian Studies. 

 

He’s published and a frequent speaker on contemporary Southeast Asian art. Amberson is a member of the Development Committee of the Singapore Art Museum, Advisory Panel of S.E.A. Focus, Singapore as well as, an Asia-Pacific Patron of the Delfina Foundation and member of the Asia-Pacific Acquisition Committee of the Tate Modern, both based in London.

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He has curated many exhibitions for MOMAT including Architectural Creation: Peter Märkli and Jun Aoki (2008), Emotional Drawing (2008), Where is Architecture? Seven Installations by Japanese Architects (2010), Leiko Ikemura: Transfigurations (2011), Francis Bacon (2013), Guess what? Hardcore Contemporary Art’s Truly a World Treasure: Selected Works from the YAGEO Foundation Collection (2014), The Voice Between: The Art and Poetry of Yoshimasu Gozo (2016), The Japanese House: Architecture and Life after 1945 (2017), and Kengo Kuma (2021). He has also curated for other institutions, including Double Vision: Contemporary Art from Japan (Moscow Museum of Modern Art and Haifa Museum of Art, 2012), Logical Emotion: Contemporary Art from Japan, Haus Konstruktiv, Zurich, MOCAK Museum of Contemporary Art in Krakow, and Kunstmuseum Moritzburg Halle (Saale) (2014-15), and The Japanese House: Architecture and Life after 1945, MAXXI National Museum of 21st Century Arts (2016). Author of many articles on Francis Bacon, art brut, architecture, modern and contemporary art. He is also a part-time lecturer of Tokyo University of the Arts. 

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In 1990, Hiroshi established the Misumi Collection, which focuses on American pop art and, at the time, was a pioneer of corporate art collections in Japan. After Hiroshi retired from his position as president of the company around 2000, he started to build his personal collection, which was named the Taguchi Art Collection. Since then, Hiroshi has expanded the scope of his collection including not only artists from the United States, but also artists from other countries around the world, with a wide range of media including three-dimensional art, photography, and videos.

 

The collection does not have a specific exhibition space but holds exhibitions all over Japan in response to requests from public art museums. So far, the number of exhibitions of the Taguchi Art Collection is 11 private and public museums and 2 public spaces.

 

Miwa, the current president of the Taguchi Art Collection, had a career as a social worker and a university tutor. Miwa’s participation has led to an increase in the number of works dealing with social issues and works related to music, which Miwa is passionate about. Miwa is also interested in how she can use the collection to contribute to society.

 

For example, Miwa focuses on activities for children and communities where there are few opportunities to experience contemporary art. When Miwa holds exhibitions at local museums, she is actively involved in educational programs for the community. Miwa also organizes reach-out activities, such as holding interactive appreciation sessions for children and visiting elementary schools to exhibit some works of art from the collection.

 

For art lovers in general, Miwa organizes educational programs for people to learn about news from the overseas art world, which they would easily miss out on due to a lack of opportunity to reach overseas’ information.

 

We, at the Taguchi Art Collection, wish to share the joy of enjoying art with as many people as possible. This is the huge passion behind our collection, and we hope to continue our activities delivering contemporary art as a door to the world for the children who will make the future. 

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Upon returning to Japan, Shiomi worked at Nanjo and Associates as a coordinator for exhibitions and art projects in Japan and abroad as well as overseeing art consultancy and management for corporate art collection. In 2002, she co-founded the nonprofit organization Arts Initiative Tokyo and became its director. As part of AIT’s activities, she initiated a residency program for artists, curators, and writers in addition to a contemporary art educational program called MAD. Besides operating the organization, she is also involved in planning and managing projects with such partners as Mercedes-Benz Japan, Monex, Inc., Deutsche Bank, and Nissan Motor Corporation. She also works as an advisor or a jury for art foundations and art awards.

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That first experience ignited their love to live around art that confronted and inspired them.

 

Their collection does not focus on a specific part of the world, nor a specific subject or medium. They’ve intentionally avoided boundaries, to allow freedom of discovery and personal growth by embracing different perspectives. Being born and raised in a country with such strong cultural roots, they recognize it influences their views and aesthetics as collectors. Roberto is a member of the Advisory Committee of the Nasher Sculpture Centre in Dallas and has relationships with curators and museums from different parts of the world to whom they lend works. 

 

Their collection includes significant examples of works by artists such as Glenn Ligon, Ana Mendieta, Pedro Reyes, Jill Magid, Oscar Murillo, Elizabeth Peyton, Ragnar Kjartansson, Mona Hatoum, Hector Zamora, Carmen Herrera, Francis Alÿs, Carol Bove, Jaume Plensa, Gabriel Rico, Etel Adnan, Tezontle, Theaster Gates, Wolfgang Tillmans, Minerva Cuevas, Pia Camil, Rosemary Laing, McArthur Binion, Amy Sillman, José Davila, Doug Aitken and Carlos Garcia among others.

 

Roberto was born and raised in Mexico City. He graduated with honors from BA at the UDLA. During his studies, he started working as Financial Assistant at Grupo Diestra’s Family Office and in the year 2000 co-founded metroscubicos.com, the leading real estate website in Mexico City which sold successfully to AOL Time Warner in 2007. 

 

For 20 years Roberto has been a Financial Advisor for Grupo Diestra Family Office and is CEO of Diestra’s Real Estate Division which develops commercial, residential, and mostly hotel projects throughout Mexico and Madrid. Under his mandate, Diestra has acquired and developed over 4,000 hotel rooms in the upper-upscale and luxury segment in Mexico, some of which hold compelling works of art. Roberto is also co-founder and managing partner of Rocher Holdings and Gerbera Capital Real Estate, a leader mix-use developer in Mexico. In 2019 he co-founded MASA Galeria, a collectible design gallery that promotes Mexican talent as well as Mexican inspired art and design. 

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Throughout the museum’s departments, she works to facilitate programming with artists of African descent and supporting their work. She is a founding member of the Leadership Advisory Committee (LAC), the museum’s African-American advisory group. While its Chair, she created the Legends & Legacy Award, which honours renowned living artists of colour. During her chairmanship, she also helped the museum generate over-capacity audiences for a myriad of programs and exhibitions. Denise also serves on the museum’s Nominating Committee.

 

She is committed to building the next generation of artists through her membership on the Board of Governors of The School of The Art Institute of Chicago (SAIC). She and her husband founded the Gary & Denise Gardner Scholarship Fund to provide financial aid to students from Chicago’s South Side communities at SAIC. She is the former co-chair of SAIC’s Board of Governors Institutional Advancement Committee.

 

She and her husband are committed to engaging audiences with work by artists of colour, and to that end, they have supported numerous exhibitions in various museums in Chicago and throughout the United States. She and her husband Gary were the lead individual sponsors of the recent exhibition, Charles White: A Retrospective, at the Art Institute of Chicago. At the MCA Chicago, she and Gary have sponsored the exhibitions: Kerry James Marshall: Mastry, The Mark Bradford Project, Figures of Speech: Virgil Abloh, and Freedom Principle. They have also supported numerous exhibitions throughout the United States through the loaning of work from their collection.

 

She and her husband’s collection of over 150 works includes art by Amy Sherald, Nick Cave, Norman Lewis, Carrie Mae Weems, Julie Mehretu, Charles White, Jennie C. Jones, Kerry James Marshall, Frank Bowling, and many others. Denise also serves on the board of The Gaylord & Dorothy Donnelley Foundation. She is a recent member of The Chicago Public Library Board and a past member of the Executive Committee of The Chicago Community Trust. She also served as co-chair of the Arts & Culture Transition Committee for Chicago’s Mayor-Elect Lori Lightfoot.

 

Denise and Gary have been the recipients of the 2018 Citizen Advocate Award from the Illinois Arts Alliance. They have also been named in the Art 50: Chicago’s Visual Vanguard in New City Magazine. They were also recognised with the Educators Award by the United Negro College Fund Chicago.

 

Denise is a graduate of Kellogg Graduate School of Management at Northwestern University. She also holds a B.S.J. from Northwestern University in Advertising and Social Psychology. She has enjoyed a 30+ year career in marketing, beginning at The Leo Burnett Company. She was for 15 years the VP, Marketing at Soft Sheen Products Company, and was the co-founder of Namaste Laboratories, the nation’s leading manufacturer of ethnic hair care products. For 10 years, she was president of Insights & Opportunities, a research-based marketing and strategic planning firm. She has been a leading expert on multicultural marketing and has published articles in numerous trade publications. 

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Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today such as Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley.

 

A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class.  ARTNOIR  endeavors to celebrate the artistry and creativity of Black and Brown artists around the world via virtual and in-person experiences.  Ossei-Mensah is a contributor to the first-ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye.

 

Over the past twelve years, he has built the Ossei-Mensah Collection,  an art collection with the aim of being reflective of the many artistic relationships that he has developed during his career. Ossei-Mensah prides himself on having personal and professional relationships with all the artists included in his collection. The collection has focused on supporting BIPOC emerging artists with the goal of not only being a supporter but an evangelist of these artist’s practices. 

 

Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit.    Ossei-Mensah currently serves as Curator-at-Large at BAM and will be co-curating with Omsk Social Club 7th Athens Biennale in Athens, Greece in 2021.  Ossei-Mensah has had recent profiles in such publications as the NY Times, Artsy, and Cultured Magazine, and was recently named to Artnet’s 2020 Innovator List.

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Prior to working at Related, she served as the Director of the Cisneros Fontanals Art Foundation (CIFO), a non-profit contemporary art foundation in Miami where she managed the overall operations of the foundation in addition to its exhibitions and publications program. Recent editorial projects include: Lynne Golob Gelfman: Trued Surface, Pan American Modernism: Avant Garde Art in Latin America and the United States,  Frames and Documents, Conceptualist Practices; Inside Out, Photography After Form; and Tacita Dean: Film Works. With over ten years in the non-profit sector, she has worked with internationally recognized artists and institutions to bring numerous contemporary art exhibitions to the South Florida community.

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