TAMI OUTTERBRIDGE
KEEPER OF THE FLAME

“Tami has been instrumental in sharing research, knowledge of the LA arts community and her father's archive in the promotion of his legacy and community…  A family legacy holder is not an independent contractor and yet works full-time, holds and shares knowledge freely and is indispensable to cultural heritage.” Beth Ann Whittaker, Associate Director, Sam Francis Foundation & Co-founder/President,  Plain Sight Archive

An Arts Statement


"Art has the audacity to be anything it needs to be at a given time.” 
- John Outterbridge (1933-2020)


The statement above is one of John Outterbridge’s most iconic quotes. And as his daughter, and a steward of my father’s significant Los Angeles arts legacy, I find the lesson he offers in that quote to be quite instructive in defining my own role as an arts worker. I say that because, rather than fitting into neat boxes, my role as an arts worker straddles many different mediums: Legacy steward & keeper of the flame. Writer & archivist. Media spokesperson & event producer. Artist & collaborator.  It’s a type of arts and culture gumbo.

As I first heard it described from Beth Ann Whitaker of Plain Sight Archives and the Sam Francis Foundation, one engaged in this type of legacy stewardship can be said to be performing memory work.  So, in addition to the pursuit of my own artistic projects and collaborations – I am, indeed, a Memory Worker.

One aspect of my artistic work life is the shepherding and amplifying of the John Outterbridge legacy as opportunities arise. Other aspects include mining the stories and aesthetics learned at my father’s knee and documenting them.  Another involves taking inspiration from my relationships with other artists to hone my own artistic imprint and voice through visual, narrative, conceptual and assemblage projects and collaborations.   

Given the impact of an L.A. icon like John Outterbridge, and, as such, being a keeper of the flame is important arts work, even though it is often not paid arts work.  It is also a self-driven endeavor and commitment -- and not one that -- so far, anyway, has allowed me to be part of any arts organization staffing.  Additionally, very often, it is behind the scenes work; with efforts that are not as easily mapped as more public-facing work. 

Coming up, I will be taking part in ongoing conversations and meetings, attending events and exhibitions, providing sourcing of information on works of art, methods, movements and eras, participating in filming for documentary, news-related or digital projects, and spearheading narrative work including the authoring of a first-ever John Outterbridge monograph focused exclusively on his art and life practices and the creation of didactics related to upcoming John Outterbridge exhibitions and showings.

Now, despite the loss of the Outterbridge family home, as well as my possessions and workspace in the recent Eaton Canyon/Altadena wildfires, I will continue my work.  Indeed, arts work must also have the audacity and the courage to be anything it needs to be at a given time.

- Tami Outterbridge

February 18, 2025 
Center for Cultural Innovation Attention:  Attention: Center for Cultural Innovation & the J. Paul Getty Foundation 
244 S. San Pedro Street, Suite 401 Los Angeles, CA 90012   
Re:  Fire Relief Fund – Letter of Support for Application of Tami Outterbridge

First, allow me to thank you for your commitment to supporting individual artists and those in the arts whose contributions are an essential part of our social, cultural and community ecosystem.  It is in this context that I write with the sincerest desire that you will select Tami Outterbridge to be a recipient of LA Fire Relief Funds.  As the daughter of a brilliant artist, the late John Outterbridge, it was almost inevitable that she would learn the importance of social practice and art making at his side.  She has established her own artistic voice as a writer and script author, with an astute skill at capturing truths and stories.  She is also a visual art creator in her own right; and, a supportive collaborator with other artists.  Sadly, the completion of her most recent artistic association with visual artist Dominique Moody, the “Alchemy of Black Love”, had just been celebrated when it, along with her home, the home of the mother she cares for, and all of her belongings and art making space, was destroyed two days later by the Eaton fire.     

Like others impacted by the fires, she too cobbles together support daily wherever she can find it in order to keep moving forward.  I know this is beyond draining as I have watched my own cousins who lost their home and church do the same.  It is a daily job in and of itself that will go on for quite some time.  But, it is Tami’s creative can-do spirit that inspires me, and drives her desire to remain a working artist in the close community of Altadena.  She, and others, can speak more precisely to the fire’s impact on her personal visual art making practice.  I am drawn to the particularly unique, invaluable and irreplaceable role she has as a social and artistic contributor to the “fabric of all of our lives”, especially to the wider Black community.  It is through her voice, her creative thinking and her direct experience that she has been and is an important art keeper and contributor to the Black visual art scene.  Yes, she can be categorized as a traditionally defined artist, but it is her skill as THE story and “his-story” teller of the legacy, thinking, impact of John Outterbridge that makes Tami’s role in the art world so unique and valued.  Those of us who did not experience the casualty of the flames, immediately knew that Tami Outterbridge’s loss included not only her art and memorabilia, but also that of our most cherished artist John Outterbridge.  His tools, artworks, papers and writings, materials, and physical influences were as much a part of her studio as they were his memorabilia.  These were not just things, they were the foundation for the perspective she was taking to writing, organizing, documenting and telling John Outterbridge’s known and especially unknown stories.  She was shaping a platform against which a wider story, “his-story” and practice could be more deeply shared beyond a curatorial interpretation on a museum wall panel.  Many of these backstories can still be found in the various art communities John touched, and with the other artists around whom she grew up and who were the influencers of her own artistic practice.  She saw those sculpting tools, paint brushes, and even the worn strips of rags he was using to make new visual statements about life and Black life in particular.  Tami can dig at and get to the depth of John Outterbridge’s influence as an artist and as an advocate for other artists and making sure that the art of making art was spread far and wide. 

Even in own my career as a professional dancer back in 1973, I not only had the benefit of taking class at the Communicative Arts Academy in Compton where Outterbridge served as artistic director, but it was one of the places with a stage where I danced professionally.  It was decades later, when as an arts administrator, that I began to think of John Outterbridge as more than the artist that was my uncle John Riddle’s friend or as the man you could count on to support presenting other artists.  It was later still when I first met Tami Outterbridge and understood that he was an influencer of hope and exuberance, and she is too.  Tami brings those qualities to the effort to make sure that the many hats that John Outterbridge wore are shared as a source of continuing influence in the art community,  The Fire Relief Fund will provide some breathing space.  It offers the “potential to rebuild” her life and give equal commitment to continuing to lift-up and sustain the legacy of John Outterbridge.  Like in “Hamilton,” Tami is one of the first voices that was in the room when John created, when he helped others, when he sold a work, and when he shared it with a friend, when he stood ground for issues, and when he simply served as a mentor by his mere presence….  I know John was always there for me at the California African American Museum, when I was the Executive Director, and Tami Outterbridge was there with him to support his voice…and witness his ability to mentor even those like me seasoned in our own careers. 

Tami’s artistry is finding different ways to capture and tell stories.  It is creative work that she feels compelled to do.  So much of what was lost represented the inner understanding of John Outterbridge as an artist.  An official Outterbridge archive was in development beyond what is at Marquette University.  Things have been lost – she doesn’t have his welding tool, but the fire didn’t quiet what she knows, has to share -- she knows where it came from and how he used it.  What’s in the drawer, a destroyed catalog, or even his collection of “things” can’t be held anymore, but what they stood for or meant is the first-hand interpretation Tami can provide, and we so need that to continue.  She can’t recreate from ash what is gone, but from reaching out to others, she can rebuild the archives, and make new ways to capture and experience the man that was not only John Outterbridge, but the most significant influencer in her own life as a creative artist working across disciplines.  Your invitation for Tami to apply acknowledges the need for recognizing how art is made, cared for, curated, historically maintained… and that the stewards of legacy are some of our most valuable art workers…especially those with the first-hand knowledge.  Tami is one of those valued artists, artisans, art workers for me. Thank you again for considering Tami Outterbridge to receive Fire Relief Funds.  

Sincerely,
Charmaine Jefferson 
President & Consultant-Service-Provider Kélan Resources
kelan10@att.net 323 708 6177 
Kélan Resources provides strategic consulting services integrating the arts, education, and sustainable business principles into institutional nonprofit leadership, public policy, and production of live programs, performances and exhibitions.

1030 1/4 N. WESTERN AVE, 
LOS ANGELES, CA 90029

February 13, 2025

To Whom It May Concern, 
I have worked directly with Tami Outterbridge in her role as the steward of John Outterbridge's estate, legacy and archive. We first met when the Sam Francis Foundation needed her approval to use an image of her father in our publication: A History for the Future: The Museum of Contemporary Art, Los Angeles 1979–2000. California: Sam Francis Foundation, October 2022. 

As we continued to correspond, our work together crossed over into several areas. My other role at the non-profit organization, Plain Sight Archive has been researching and working with Tami highlighting the legacy of Outterbridge and several others. Plain Sight Archive's mission is to illuminate archival pieces that are dispersed and obscured within institutions and also to connect with memory workers and legacy holders. Tami has been instrumental in sharing research, knowledge of the LA arts community and her father's archive in the promotion of his legacy and community. 

Tami Outterbridge has a career as a writer. In her role as the Outterbridge estate she has been connected with an expansive community of Los Angeles artists. She was recently interviewed for a PBS documentary focused on the Brockman Gallery in Leimert Park. This is exactly the kind of arts work that can fall through institutional cracks. A family legacy holder is not an independent contractor and yet works full- time, holds and shares knowledge freely and is indispensable to cultural heritage. 

Tami Outterbridge is an important cultural figure in the LA arts community. The loss of her home, the loss of her original family home and her father's archive is a devastating loss to the cultural history of this city. 

Beth Ann Whittaker
Associate Director, Sam Francis Foundation & 
Co-founder/President, Plain Sight Archive 
323-580-3602  
contact@plainsightarchive.org 

Connie Tilton
Tilton Gallery
8 East 76th Street New York, NY 10021 

Grant Review Committee:
L.A. Arts Community Fire Relief Fund Grant 
Subject: Letter of Recommendation for Tami Outterbridge Dear Grant Review Committee
I am writing to enthusiastically support Tami Outterbridge’s application for your grant. As the owner of Tilton Gallery in New York City, we have worked with her late father, John Outterbridge, and represented his work since the mid-2000s. I have had the privilege of working closely with Tami, whose unwavering commitment to his artistic contributions has been invaluable to our mission.

Tilton Gallery has sole representation of Outterbridge’s work and we have exhibited him in four major solo exhibitions, both while he was alive and since he has been deceased. We have included his work in countless group exhibitions and art fairs and have sold his work to many major museums around the country, including the Whitney Museum of American Art, the National Gallery of Art, Washington, D.C, The Houston Museum of Fine Arts, the Museum of Modern Art, New York, the San Francisco Museum of Art, the Hammer Museum, Los Angeles and Los Angeles County Museum of Art, among others. We have ensured that his work is included in major museum exhibitions and I devoted a major chapter of my 2011 publication, L.A. Object & David Hammons Body Prints, to his work . We are dedicated to preserving and promoting his legacy as one of the most important Los Angeles artists from the second half of the 20th century and into this century. 

John Outterbridge’s work is not just an essential part of American art history—it is a testament to the power of art as a vehicle for cultural expression, social activism, and storytelling. Tami Outterbridge has been an integral force in ensuring that his legacy continues to be recognized, studied, and celebrated. Her dedication extends beyond traditional archival eWorts; she is an advocate, an organizer, and a passionate steward of his work, tirelessly creating opportunities for education and discourse. 

Through her eWorts, we have been able to continue to present Outterbridge’s work with the depth and context it deserves. She has played a crucial role in facilitating research and engaging the Los Angeles community in meaningful conversations about his artistic and historical impact. Her ability to bridge generations is an invaluable asset. She brings Outterbridge’s vision into contemporary discussions, ensuring that his voice continues to resonate. Her leadership, passion, and unwavering commitment make her exceptionally deserving of this grant. I have no doubt that with your support, she will continue to make a profound impact in the field of arts and culture. 

I wholeheartedly recommend Tami Outterbridge for this opportunity, and I urge you to consider the immense value her work brings to the artistic community. Please do not hesitate to contact me for more information at connie.rogers.tilton@gmail.com 
Sincerely, 
Connie Tilton 

February 17, 2025

To Whom It May Concern:
In a 1985 LA Times article, John Outterbridge noted, “If the children of America could share their histories, I think we would be well on our way to better communities. But as it is [Black Americans] don’t get a chance to focus on ourselves as a real part of the tapestry.” Forty years ago, Outterbridge identified the need to preserve archival records, and the danger of overlooking the creative histories of marginalized groups. In my research on the Brockman Gallery (1967-1990) and its roster of artists, which featured Outterbridge, I have been reminded how valuable archival resources, like the Brockman Gallery’s papers (housed at the LAPL since 2019), can be. The loss of historical documentation and the knowledge held in artworks, in the histories of how they are made and exhibited, is truly heart-breaking. As our communities work to rebuild art practices and studios for the present and the future, I hope we don’t lose sight of the past and find ways to rebuild archival practices and support efforts to write the histories of Black creative life in Altadena in the 20th century. 

Tami Outterbridge had been working to preserve her father’s legacy, to keep the memory of his community-oriented life in conversation. She has been working with LACMA to discuss her father John Outterbridge’s art and his decades-long role as director of the Watts Towers Art Center, participating in planning meetings and sharing first-hand accounts of her father’s position as leader in the arts. As a witness to his organizing activities, assemblage-making, and participation in artist-run spaces like the Brockman Gallery, Tami will also participate in a film LACMA is producing, an oral history of the gallery and its role in the Black Arts Movement. 
Lauren Hanson , 
Assistant Curator, Modern Art, Los Angeles County Museum of Art

February 17, 2025

To Whom It May Concern:
I am writing today to recommend Tami Outterbridge for the L.A. Arts Community Fire Relief Fund. LA Common’s programs are grounded in the philosophy that culture is a valuable community resource, art is a powerful tool for telling stories and creating change, and artists have an important role to play in the life and future of the community. Tami Outterbridge is an important member of the LA Arts Community in her roles as organizer, archivist, and artist. 

We at LA Commons had the opportunity to first work with Tami’s father John Outterbridge who was a mentor to our work and key advisor to our Crenshaw Metro banner project. John Outterbridge is a world renowned artist who contributed exponentially to the LA culture and community. Tami is the keeper of the archives and caretaker of this important legacy. At LA Commons we first began our work with Tami Outterbridge when her father was nominated overwhelmingly by the community to be honored at the 2024 Day of the Ancestors Festival of Masks. 

Tami partnered with LA Commons staff and community members to curate the artists who performed including local legends Dwight Trible, griot poet Kamau Daáood, filmmaker Ben Caldwell and the Harnony Project youth drumline. All quickly answered Tami’s call and created unforgettable performances. Tami also was a consultant on a PBS documentary about the Brockman Gallery and its legacy and arranged for the crew to take footage of the event, that later appeared in the documentary. Tami contributed greatly as an organizer, publicist, and steward of her fathers unique legacy. 

In her own artistic endeavors, Tami recently collaborated on a Dominique Moody piece titled The Alchemy of Black Love. The team took a previously dismantled piece of Dominiques and developed it into a new work using found objects of Dominiques, found objects of Tami’s and found objects, treasures and original signature rag elements from the studio of John Outterbridge. Together, the two artists developed the narrative for the piece and unique ways for the community to engage with it as it would appear in shows. Both Tami and her Mother lost their homes in this tragedy. It is essential that we support Tami as a culture keeper. 
Thank you,
Beth Peterson, Community Art Programs Director, LA Commons, beth@lacommons.org 

February 15, 2025 

To whom it may concern, 
Please accept this le4er in support of Tami Ou4erbridge’s applica<on for support. I have known and worked with Tami for a number of years, and I consider her a vital part of our Los Angeles arts community. From her collabora<ons with her father, John Ou4erbridge, to her wri<ng and reimagining of John’s archive through new art works of her own, Tami represents the transforma<ve power of arts legacies in California and Alta Dena in particular. 

Like me, Tami learned her craG modeled by her parents and has always understood her role in making meaning with aesthe<cs, both experienced and imagined. Her work as chronicler and maker con<nues to expand the Black Arts Movement West into new geographies and through new genera<ons. She is literally the mul<scalar bridge between crea<vity and community, and although she and her work have been so devasta<ngly impacted by the Eaton Fire, her passion to transcend tragedy is paramount to building the radical aesthe<c architecture that endures and sustains us. Please support her work that supports the essen<al interests of her community. 

Respecfully, 
jill moniz
founder, Transformative Arts 

Additional Art Work Collaborations

“The Alchemy of Black Love,” 
with the Artist Dominique Moody

Tami’s own life has been steeped in the realms of creative thought and the crafting of aesthetics through practice. The piece was a set of life-sized silhouette of figures cut from indigo blue wood panels, which were component parts to another artwork as part of an installation. It was a personal narrative piece which she thought was deeply moving so in light of our conversation we decided to collaborate on a transformation of the piece. Together, we pulled together found objects from her father’s materials and utilized some of his signature practices, especially the knotting of old colorful rags. We also combined Tami’s found objects along with some of mine into a brand new piece that came to be titled The Alchemy of Black Love. 

I had also proposed creating a life-sized portrait of her father with my signature silhouette, assemblage and collage elements. As the archivist of her father’s legacy as well as his estate and personal, she had proposed including items like the distinct Outterbridge spectacles that he was often photographed in. We are looking forward to future creative collaborations. Due to a pending art exhibition, our collaboration on the John Outterbridge portrait piece will be postponed until the late spring of 2025. 

On Sunday January 5th, Tami picked up the completed artworks and we delivered them to her home in Altadena. It was my first time in her small, beautiful home located on the family property where her mother Beverly still resided in and which also housed a treasure trove of items belonging to the John Outterbridge studio and estate. Inside her home you could tell that she has an eye for collecting, curating and sharing the stories behind the archive of her father’s artistic legacy. In this role as a steward of the John Outterbridge arts legacy, her skills as a producer, storyteller and communicator of his role in L.A. arts history are often out into use behind the scenes, yet they are vital to the L.A arts scene.  

You could see her gifts expressed in the way she displayed art, volumes and ephemera from the Black Arts Movement in Los Angeles throughout her home.  As I saw it, Tami’s home was a cottage filled with artworks many of whom I recognized from our established arts community. Her father’s works were throughout the house as drawings, paintings and sculptures, works rarely seen in public. She also collected unique objects and vintage treasures like old photographs of African Americans from the 1900’s that she planned to repurpose into assemblage works.  

We had even talked about collaborations that might have arisen from this rare group of black and white period photos she had culled from the studio of John Outterbridge; photos that she knew her father wanted to come to life in a series of works. She also had her father’s collection of books that included his artwork. So adding The Alchemy of Black Love to this culturally rich dwelling made it feel like the artwork that I delivered was at home. It is my hope that Tami will continue her very special arts outreach and stewardship in the L.A. arts community. 

Dominique Moody
January 6, 2025