In the heart of Los Angeles' Baldwin Hills neighborhood, a home stands as a beacon of cultural richness and artistic innovation. This isn't just any residence; it's the meticulously curated domain of V. Joy Simmons, a renowned radiologist whose passion for art has transformed her living space into a private gallery celebrating Black artists and artists of color. Recently featured in a compelling article by ARTnews, Simmons's collection is described as an "entire constellation" of talent, showcasing works that span generations and mediums. This spotlight not only highlights her personal journey but also underscores the growing recognition of diverse voices in the contemporary art world.
V. Joy Simmons's story begins in the 1970s, during her time as a medical student at UCLA. It was there that she encountered her first significant piece: a print by Elizabeth Catlett, purchased for a modest sum in installments. This acquisition marked the inception of a lifelong commitment to collecting art that resonates with her identity and experiences as a Black woman. Influenced by mentors like Alonzo Davis, her high school art teacher at Crenshaw High School, Simmons developed an eye for pieces that tell stories of resilience, identity, and cultural heritage. Davis, a co-founder of the influential Brockman Gallery in Leimert Park, encouraged her to see art not just as decoration but as a reflection of one's values and vision.
By the 1990s, Simmons had established herself as a successful radiologist at Kaiser Permanente, a career that honed her visual acuity—skills she parallels with her approach to collecting. "I'm a radiologist, so I look at images all day long," she once shared in an interview with Artnet News. This professional background informs her intuitive selections, where she seeks out works that challenge perceptions and evoke emotional depth. Recognizing the need for a space that could properly house her growing collection, Simmons redesigned her Baldwin Hills home. The renovation prioritized natural light, open spaces, and architectural elements that integrate art seamlessly into daily life. From the street, visitors are greeted by a striking stained-glass mosaic on the front door, crafted by Varnette Honeywood and Joyce Dudnick, setting the tone for the treasures within.
Stepping inside, one is immediately immersed in a symphony of colors, textures, and narratives. The foyer features a site-specific installation by Lauren Halsey on the columns, a nod to community and cultural pride. The living room, visible from multiple vantage points including the second floor, houses cornerstone pieces from pioneering artists. Works by Romare Bearden, known for his collage techniques depicting African American life, hang alongside Robert Colescott's satirical paintings that critique racial stereotypes. Betye Saar's assemblages, which often incorporate found objects to explore mysticism and Black history, add layers of introspection. Raymond Saunders and Howardena Pindell round out this foundational group, with Pindell's 1974 mixed-media abstraction gracing Simmons's bedroom—a personal sanctuary amid the collection.
But Simmons's holdings extend far beyond these established names. She has been a steadfast supporter of emerging and mid-career artists, often acquiring works early in their trajectories. Kerry James Marshall's pieces, which celebrate Black figures in everyday settings, and Mark Bradford's abstract compositions made from urban detritus, form core elements of her collection. Kehinde Wiley's bold portraits, reimagining classical art with contemporary Black subjects, and Carrie Mae Weems's photographic explorations of identity and power, further enrich the narrative. More recent additions include vibrant works by Henry Taylor, Noah Davis, Lyle Ashton Harris, Pope.L, Shinique Smith, and vanessa german, creating a dialogue between generations.
One standout feature is the integration of functional art. For instance, Glen Wilson's Adorations (Generational Joy!) from 2023 doubles as a gate to the second floor, blending utility with aesthetic appeal. Patrick Martinez's Black Owned (After Marshall) from 2017 adorns the space above the garage, extending the collection's reach outdoors. Even the backyard boasts site-specific installations, like those by Lauren Halsey, turning the entire property into an immersive experience.
Simmons's approach to collecting is deeply personal and instinctual. "I wanted my collection to look the way I wanted my collection to look, and I didn’t want anything that anyone else had," she explained in the ARTnews feature. This philosophy stems from her early experiences visiting her aunt Janet's home in Harlem, where creatives like Mel Edwards and Jack Whitten were regular guests. It was there that Simmons learned the power of curating a space that reflects one's values. Her commitment extends beyond acquisition; she actively mentors young collectors and opens her home to school groups for scavenger hunts, fostering the next generation's appreciation for art.
In a broader context, Simmons's collection represents a pivotal shift in the art world. Historically, works by Black artists and artists of color have been undervalued and underrepresented in major institutions. Collectors like Simmons are changing that narrative by providing early support and visibility. As noted in a W Magazine profile, her efforts have inspired others, such as Janine Sherman Barrois and Lyndon Barrois Sr., to build their own collections focused on diverse voices. This network of patrons is transforming the cultural landscape, ensuring that artists like Mickalene Thomas, David Hammons, and Calida Rawles receive the recognition they deserve.
Simmons's influence reaches institutional levels as well. A board member of organizations like the Santa Monica Museum of Art (now the Institute of Contemporary Art, Los Angeles), the California African American Museum, and Stanford University, she advocates for exhibitions and acquisitions that highlight underrepresented artists. Her loans to museums, such as those for Barkley L. Hendricks shows, amplify these voices on a larger stage. In conversations with Frieze, Simmons emphasizes the importance of patronage: "Building a collection requires focus and understanding of the story that you’re trying to tell."
The timing of the ARTnews article coincides with a surge in interest in Black art, fueled by movements like Black Lives Matter and increased gallery representation. Galleries such as David Kordansky Gallery and Hauser & Wirth have expanded their rosters to include more artists of color, reflecting market shifts. Simmons's collection, with early works by now-blue-chip artists like Julie Mehretu and Hank Willis Thomas, demonstrates the foresight and impact of dedicated collecting.
Living amid her collection provides Simmons with daily inspiration and solace. "After going out and slaying dragons all day... to come home to a space that you curated that nourishes you. It lifts your spirit," she told Galerie Magazine. This sentiment resonates with many who view art as a form of self-care and cultural affirmation. Her home, filled with pieces like Basil Kincaid's quilts and Sanford Biggers's installations, is a testament to the joy and power of representation.
Beyond the walls of her residence, Simmons's story encourages broader participation in the arts. She advises aspiring collectors to attend openings, visit studios, and trust their instincts—much like her own path. In an era where diversity in art is gaining momentum, figures like Simmons pave the way for inclusive narratives.
As the art world evolves, collections like Simmons's serve as archives of cultural history. They preserve stories that might otherwise be overlooked, ensuring that future generations can engage with the full spectrum of human expression. Through her unwavering support, V. Joy Simmons not only builds a personal haven but also contributes to a more equitable and vibrant artistic ecosystem.
FAQ
Who is V. Joy Simmons? V. Joy Simmons is a Los Angeles-based radiologist and prominent art collector known for her extensive collection of works by Black artists and artists of color. She began collecting in the 1970s and has since become a key patron in the art community.
What inspired V. Joy Simmons to start collecting art? Her passion was sparked during medical school at UCLA, influenced by mentors like Alonzo Davis and visits to galleries like Brockman Gallery. She sought art that reflected her identity and cultural heritage.
Which artists are featured in her collection? Her collection includes works by Romare Bearden, Kerry James Marshall, Mark Bradford, Kehinde Wiley, Carrie Mae Weems, Mickalene Thomas, David Hammons, and many others, spanning established and emerging talents.
How has Simmons contributed to the art world beyond collecting? She serves on boards of institutions like the California African American Museum and ICA LA, lends works to exhibitions, mentors young collectors, and opens her home for educational visits.
Why is her home redesign significant? In the 1990s, she renovated her Baldwin Hills residence to maximize light and space for displaying art, turning it into a living gallery that integrates pieces into every aspect of the home.
What advice does Simmons give to aspiring collectors? She emphasizes following intuition, attending studio visits and openings, and building a collection that tells a personal story, rather than following trends or seeking financial gain.