Ron Norsworthy

Ron Norsworthy (born in South Bend, Indiana) is an award-winning visual artist and designer. He was the CEO and founder of the multi-disciplinary design firm The Norsworthy Fund (2005-2010) as well as creator of N HOME, a line of bedding and home accessories developed in partnership with television shopping channel QVC (UK), which he presented on the channel from 2011-2014, making him the first black interior designer to have his own home design brand on a TV shopping network. Additionally, he is responsible for numerous design projects, including many iconic music videos, sets, interiors, and events.

Norsworthy’s interdisciplinary practice is a fusion of fine art, video and multiple design disciplines. A graduate of Princeton University, he began his career working as a designer for the architect Michael Graves. His interest in the role of architecture in entertainment and pop culture led him to explore art direction and production design.

Norsworthy is notable for his work as production designer for a number of iconic, genre-defining music videos and televised performances for artists such as Britney Spears, Missy Elliott, Salt-N-Pepa, Erykah Badu, Madonna, Destiny's Child, Busta Rhymes, Aretha Franklin, Jay-Z, and Sean Combs (P. Diddy). These projects encompass a two decade span in which Norsworthy designed award-winning films, videos, and commercials, working with well-known directors such as Matthew Rolston, Hype Williams and Spike Lee. He was elected and served on the New York Chapter Board of Governors for the Grammy Awards from 1999–2000.

Norsworthy’s art has been exhibited in numerous galleries and institutions. Most significantly, his work was shown at the Studio Museum in Harlem as part of the groundbreaking exhibition "Harlemworld: Metropolis as Metaphor" organized by curator Thelma Golden in 2004. His piece, entitled "Reparation Tower, Harlem", was a full-scaled sales office for a luxury high-rise in the form of an upraised fist. The installation and exhibition were favorably reviewed by architecture critic Herbert Mitchell Muschamp in The New York Times who described the work as "... a symbol of defiance aimed at indifference. But the symbol is handsomely fitted with interiors that signify bourgeois complacency... the views from within must be fabulous."[1]