---

On our first evening at Southside Contemporary Art Gallery, nestled on Hull Street, one of the first questions owner and curator Rā-Twoine Fields, who also goes by Rosetta, asked was: Are you collectors? For those who admire art, that felt like a compliment.

Now, we need to be.

That simple question sparked a deeper conversation about Richmond’s art scene — the recent mural cover-up, what it means to own art, and why Richmond still takes such an archaic approach to harnessing the energy of its local artists. So, we went back to interview Fields to gain more insight on his thoughts about Richmond — how he landed here (by way of New Jersey, as a University of Richmond alum), and what the city needs to truly become a fire art city.

We began our discussion with the ongoing debate about expanding the Arts District, which is currently nestled in Jackson Ward. The issue has sparked both excitement and resistance. The key question remains: What defines an arts district?

We explored zoning restrictions, city regulations, and the lack of unity among various artistic communities across Richmond. Areas like Manchester — even as far as Petersburg — boast thriving art scenes and hold First Fridays but lack formal recognition. However, the debate originally stemmed from the city failing to limit power for the owners of dilapidated buildings in Jackson Ward rather than expanding the zoning lines.

If extending the district isn’t an option, then why can’t Richmond have multiple arts districts? SCAG owner expressed this sentiment, saying he’s had many conversations and is still left to wonder: Why can’t we connect the dots? First Fridays shouldn’t be limited to just one part of the city. Yet, as he shared, it remains a struggle to get visibility: I have to beg RVA First Fridays to post our stuff.

Fields has had the opportunity to participate and attend city council meetings and discussions with other art districts like Manchester Manifest where talks of extending support for the arts has been met with little change. He states:

Honestly… it’s going to take more of us to synergize.

He’s right. Richmond has long had visionaries pushing to expand the arts scene and bring more money into the city through the arts. Masterminds like Fields, Silly Genius, and Chris Visionz have been doing the groundwork for years. (See All City Art Club)

Fields emphasized the need for recognition and strategic planning:

I think a lot of people just need to recognize where we are, where we’re trying to go, and what we need to support. You know, so that’s where I am right now — how can I support? My doors are open. I have platforms, I have resources. What can we do to share? Because the city needs it.

And the need extends beyond just Jackson Ward and The Fan District. As Fields put it: “Southside is ripe soil for support. There are plenty of art businesses here — tattoo artists, galleries, restaurants. Notably, 85–90% of these businesses are Black-owned.”

Richmond’s Gentrified Arts Spaces

We also discussed The Fan and Scott’s Addition, where the entertainment scene thrives with brewery hopping and trendy restaurants — not to mention outrageously priced apartments appearing out of nowhere. Yet, these spaces rarely showcase or support Richmond’s art community.

Further, even those hotspots are losing their luster. Fields shared his frustration with the city’s real estate promises regarding areas like The Boulevard and Scott’s Addition:

That’s what happens with Richmond — time and time again, unfortunately, we realize: It’s not for us. It sounds good, it looks good, but when you go in, you realize, ‘Oh, this isn’t really for us.’

Art Investment and Accessibility

SCAG’s Keep it 1000 exhibit, was a great reference point for discussions on art collection, fine art affordability, and whether Black people see art as a viable investment. “We’ve been really catering to different points of the ecosystem because we realize that if we can grow it, artists can be successful.”

Fields wants more community involvement in shaping Richmond’s art landscape:

One thing I’m about to offer — it’s kind of a hot seat moment — but I’m just going to have an open space. People can come in and tell us what they want to see in the gallery, what they want to see in the city. And I’m just going to sit and listen. Because I want to hear. What can be done? I tell people, I don’t just hold this space to wear a crown as the only black gallery owner. No, I want more galleries. I want more art spaces.

Which is one of Fields’ biggest pushes is for more curators to recognize Virginia’s talent:

I’m trying to get more curators to see Virginia. Because a curator is the one who can say, ‘Oh wow, let me put you in a show’.

But curators alone won’t solve everything. Richmond’s art scene lacks public art, especially in areas outside of traditional art hubs. We need more sculptures. More public art. When you drive around, you should see art everywhere. Even bike racks should be designed by artists. Fields also highlighted the gap in commercial art spaces:

We need more commercial art spaces. In other cities, art markets aren’t just run by institutions and nonprofits — there are multiple faces of the art world.

Ownership and wealth disparities may also be a barrier. Richmond is filled with vacant homes and aging businesses that, while not necessarily blighted, risk stagnation without a push from leadership. Rather than allowing these properties to sit empty, city officials could enforce building standards to encourage revitalization. Supporting artists in transforming these spaces would not only enhance the city’s aesthetic but also generate revenue and foster community engagement.

Compared to cities like New York, Chicago, or Miami, Richmond’s art scene lacks commercial galleries and independent art collectors. Many larger markets have the freedom to support (as Field’s put it) art for art’s sake — a privilege that Richmond’s artists struggle to obtain.

Fields emphasized art as an investment:

Part of the education we’re pushing is this: Art is one of the only things that doesn’t depreciate. If I buy a piece from Silly Genius today for $500, it will always be worth at least $500. It won’t lose value — it can only go up, especially as the artist grows.

Which bought us back to Keep it 1000 and the vision behind it. Fields explained:

We actually started out with ‘Keep it 100’. The whole goal was to mirror our ethos as a contemporary art gallery focused on accessibility and exposing contemporary fine art. But we quickly realized that $100 wasn’t really respectable for the artists. Especially the artists that we were working with. Even limited edition prints, the artists that I’m starting to work with and having to work away, you know, it’s hard for them to be at that price point.

In a sense, Keep It 1000 was a model of what affordable fine art can look like to a potential collector.

The Business of Art: Investing in Black Artists

Richmond’s art community is thriving but remains fractured.

The solution? More collaboration. More visibility. A citywide commitment to fostering public art, commercial spaces, and opportunities for Black artists to be seen and valued. Long story short?

Buy more Black art.

As Fields joked: I’m tryna keep my people out of Target, IKEA, and Walmart.

Then, with a grin, he added: Actually, I might do a show called ‘Anti-Target, IKEA, Walmart, Yo!’

We, The Richmond Seen, look forward to it.

Visit Ra-Twoine Fields at Southside Contemporary Art Gallery from February 7 through March 1 for his latest curation Diasporic Crossing. With artists ranging from Virginia to Ghana, Diasporic Crossing is about returning to home and expansion simultaneously.

Opening night starts Friday, 2/7 with a reception staring at 7pm.

#StayLocal #StayOnSeen