Save the historic Billie Holiday sign and the Integrity of Restoration Plaza

Restoration Plaza in 2019 had announced an innovation campus a
new vision that the iconic Billie Holiday signage is scheduled to be removed.
The Sign was designed in the 1970’s by Billie Holiday’s set designer and artist Jokulo Cooper. An artist and original member of the 22 African American artist that exhibit the first ground breaking Black Art Show in 1968 at the Brooklyn Museum.

Since 1967 Restoration has continuously served as a movement-building meeting spot and training ground for the Black Arts Movement and other social justice activists. Bedford Stuyvesant’s iconic trend setters and community advocates such as Eubie Blake, John O Killens, Sam Pinn, Onie Miller, Dr. Carlos Russell, Nbushe Wright, Jay Z, Abdul Rahman, Emmett Wigglesworth , Louis Reyes Rivera, Sadikisha Collier, Otto Neal, Claudine Brown, Sonny Caron, Gitu Weusi,  Che Baraka,Tom Feelings, Ogundipe Fayomi, just to name a few. We are asking that the Restoration adopt a comprehensive historic preservation program. Such a program would include a historic preservation ordinance, a historic preservation community board; and a local Historical Resources/Landmark Register. Done properly, historical preservation could be a way for Restoration Corporation to honor Brooklyn’s Cultural Arts & Social justice legacy and continue building the Restoration Plaza Vision.

The Bedford Stuyvesant Restoration Corporation’s Skylight Gallery was started in 1972 as a central component of the corporation's Center for Arts and Culture. With a mission of showcasing emerging and established artists from Africa and the Diaspora,

The gallery's founders wanted to provide such as a space, just as had been done with the creation of the Studio Museum in Harlem in the early 1960 “Teddy" , Theodore Gunn. Interviewed by Jennifer Scott for Place Matters. April 2003.

 In the 1970’s and 80 Restoration provided a comprehensive sound and light training program in theater arts that helped trained neighborhood youth to become sound and light technicians. Through the  RCA funded  Recording  studio produced a number hit songs such as Vaughan’s  Mason and  Crew Roller Skate dance hit “Bounce, Rock, Skate” and Strafe’s “Set It off “. Many of the students (George Maliki Robinson) obtained professional employment opportunities in the audio and video industry. Here is a list of request for a permanent small art space that houses local cultural arts and archives:

• Preserved the iconic Billie Holiday sign: The art space should have enough room to display art and artifacts, hold events, and accommodate visitors comfortably.

• Adequate Space: The art space should have enough room to display art and artifacts , hold events, and accommodate visitors comfortably.

• Security: The space should have proper security measures in place to ensure the safety of the artwork and artifacts on display, as well as any archives.

• Climate Control: Proper climate control is necessary to ensure that the artwork, artifacts, and archives are protected from damage due to environmental factors like temperature, humidity, and light.

• Accessibility: The art space should be easily accessible to people of all abilities, including those with mobility issues or visual impairments.

• Flexible Space: The space should be able to accommodate a variety of art forms, including visual art, sculpture, performance art, and multimedia installations.

• Technology: The space should have access to up-to-date technology and digital tools to help archive and showcase the artwork and artifacts.

• Funding: Adequate funding should be in place to ensure the ongoing operation and maintenance of the art space, as well as to support local artists and curators.

• Community Engagement: The art space should be an active participant in the local community, hosting events, workshops, and other activities to engage the public and encourage local cultural exchange.

• Sustainability: The space should strive to be environmentally sustainable by using renewable energy sources and reducing waste.

• Inclusive: The space should be committed to promoting diversity, equity, and inclusion in all aspects of its programming, including the artists it showcases and the stories it tells.

Of course, here are a few more demands for a permanent small art space that houses local cultural arts and archives:

• Preservation: The space should prioritize the preservation of historical and cultural artifacts, and should have measures in place to protect them from deterioration or damage.

• Curators Vision: The space should have a clear curators vision that aligns with the community's cultural heritage and values, while also exploring new and emerging art forms.

• Flexibility: The space should be flexible enough to adapt to changing needs and trends in the local cultural arts scene.

• Educational Resources: The space should provide educational resources, such as workshops, classes, and tours, to help the public understand and appreciate the artwork and artifacts on display.

• Collaboration: The space should actively seek out and promote collaborations with other local arts organizations, cultural institutions, and community groups.

• Volunteer and Internship Opportunities: The space should provide opportunities for volunteers