{"article":{"id":1158,"title":"A Collector's Personal Focus: Discovering the Value of Engagement","excerpt":"","body":"<html><head></head><body><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418356/lejc9vv9xieri2aooifq.jpg\"><figcaption>Pictured from left: Eric Fischl, <i>The Chair, the Bed, Getting Ready</i>; sculpture by Cuban collective The Merger; two photographs by Katy Grannan; Julian Schnabel, <i>Winnie Fung</i><br>&nbsp;</figcaption></figure><p>By GINNY VAN ALYEA</p><p><i>When an art world colleague mentioned one day that a favorite client of his had an extensive, private collection of art not often shared with the public, I was intrigued. I never tire of profiling collectors and how they assemble personal outlets for creative passion. It’s truly one of the highlights of being the publisher of CGN. The difference right now is that due to COVID-19, I would not be able to see this collection in person. Like so much else these days, this collection would have to be experienced virtually – emailed images digested from my laptop. While that sounded discouraging at first, it allowed for a more lingering, ultimately still first hand look at one man’s devotion to a top notch collection displayed over five locations, including two residences in Chicago, a suburban office on the North Shore, and two homes in California.&nbsp;</i></p><p><i>The collection contains approximately 120 works of art, and currently nothing is hidden away in storage. It spans mediums, from figurative paintings to multimedia works, as well as from collage to sculpture, but the collector, who opted to remain anonymous for this interview, says that most of the art may be classified as post-1980 work by American and European contemporary artists. Adding to the range and eclecticism of the collection are antiquities, fossils, Chinese cloisonné, medieval reliquaries, textile garments, and original comic book art. And while I was unable to see the collection first-hand, it may be viewed by private appointment.</i></p><p><i>The collector’s interest in art was piqued in college, and over time, he discovered he wanted to be surrounded by art. As he found his personal focus, he has approached art collecting as a life-long education in creativity and deliberate engagement.</i></p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418357/b1noe8zot6y3nctaz2qq.jpg\"><figcaption>Wall artworks left to right: Jan De Maesschalck, <i>Homesickness</i>; Elliott Hundley, <i>Still Life with Sculpture;</i> a Ming Dynasty cloisonné basin with mythical beasts. &nbsp;Items on table include sketchbooks by Joanne Greenbaum and a Kate Gilmore's video, <i>Anything…</i></figcaption></figure><p>&nbsp;</p><p><strong>CGN: Initially what helped you learn about art? &nbsp;</strong></p><p><strong>Collector: </strong>Like many humanities majors at liberal arts colleges, I took a few art history classes, one of which was a fine arts course titled Twentieth Century Painting, which the students jokingly named “Spots and Dots.” Although this was during the late 1970’s, the art I surveyed in the course seemed to end abruptly at 1960’s minimalism. I wondered what important art had been produced in the intervening decade, so I asked a friend, an art history major, what she knew. Her response was memorable: “Not much…Some guy crucified himself on a Volkswagen.”</p><p>My interest in art generally, and more specifically contemporary art, began with that college course, despite where its coverage ended. After graduation I took a job in banking in Los Angeles.&nbsp; On the weekends I would go to museums and galleries, just looking and learning.</p><p><strong>CGN: When did you get started enjoying art and then collecting it?&nbsp;</strong></p><p><strong>Collector: </strong>My interest in collecting art really began when I happened to see the photos of Henry Geldzahler’s New York apartment in the September 1982 issue of<i> Architectural Digest</i>.&nbsp; Several qualities about that apartment appealed to me. For one, the art was displayed informally. Until then I had thought art was only displayed in ornate frames and in fancy, decorated homes, but here was art almost haphazardly arranged, with pieces placed on floors and in bookshelves. Second, there was a lot of art in the small apartment. He had artwork everywhere – on walls, atop tables, and in every corner. Finally, he had two artworks by young, then-unknown artists that really knocked me out: Jean-Michel Basquiat and Keith Haring. Geldzahler had just acquired the paintings at the P.S. 1 Queens exhibition <i>New York/New Wave</i>. I thought, if art this novel and exciting is being created now, then I want to start a collection. Basquiat and Haring were already priced out of my reach, so I started looking at local LA artists.&nbsp; Shortly thereafter I acquired my first painting, a small work by artist Jeffrey Vallance. I got a cash advance against my credit card to buy it. The painting is still displayed in my Chicago condo.</p><p><strong>CGN: You own a wide range of art, from large-scale work by internationally known blue-chip names to smaller-sized pieces, many by Chicago-based artists, among others. How do you manage the installation of such a blend of work? &nbsp;</strong></p><p><strong>Collector: </strong>I don’t think about how a work will be displayed when I purchase it, and this indifference has led to some interesting issues. I purchased a Paul McCarthy work, <i>Bavarian Deer</i>, a few years back. I knew it was big, because part of its impact is its scale – the artwork is a small 1960’s postcard image of a deer, blown up to monumental proportions. It wasn’t until the work arrived in Chicago though, that I realized it wouldn’t fit in my building’s elevator. My art installer, Dennis Callahan, arranged with the building to ‘ride the elevator,’ placing the work on top of the elevator cab and riding with it. Then we decided to hang the work in front of a window, which was the only space for it in the condo.&nbsp; Installed it looks amazing: a nostalgic image of innocence, enlarged to nearly billboard-size.</p><figure class=\"image image-style-side\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418358/cjgidyvhdkwmal3whani.jpg\"><figcaption>Left: Jared Joslin,<i> Panther and Zebra.</i> Top right: Tony Fitzpatrick,<i> Chicago Harlequin</i>; Bottom right: Tony Fitzpatrick, <i>Woman on the Beach</i></figcaption></figure><p><strong>CGN: Do you look for conversations between the works?</strong></p><p><strong>Collector: </strong>I sometimes arrange works thematically. For example, in my office I have two drawing collages by Tony Fitzpatrick, purchased from the artist. While I was visiting with Fitzpatrick, he mentioned a Chicago artist in his own collection, Jared Joslin. So I purchased one of Joslin’s works,<i> Panther and the Zebra</i>, and it is installed next to the two Fitzpatrick pieces. &nbsp;</p><p><strong>CGN: How would you describe the focus of your collection now?&nbsp; What’s it like to live among this mix of art that so many only see in a museum?</strong></p><p><strong>Collector: </strong>The focus of my collection now is 1980’s American Contemporary.&nbsp; Initially I approached collecting the way most consultants advise: buy what you like. For me, though, this was unfocused, because I found that I liked a lot of art. So I needed to narrow my range, and when I looked at my collection I decided that the works that meant the most to me were those made by American artists prominent when I first became interested in art in the early 1980’s: Julian Schnabel, Eric Fischl, Susan Rothenberg, Robert Graham, Robert Therrien, Jim Dine, and others.&nbsp;</p><p>Art of the 1980’s has a vibrancy, and that energy spilled over into music, fashion and performance. I think the influence is ongoing.&nbsp;</p><figure class=\"image image-style-side\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418359/gher1q1ju8aojidmgpiz.jpg\"><figcaption>From left to right: Paul McCarthy, <i>Bavarian Deer</i>; Liz Deschenes, <i>Blue Wool</i>; On floor: Ursula von Rydingsvard, <i>Lucretia</i>; Math Bass, <i>Scottie Dog</i><br>&nbsp;</figcaption></figure><p><strong>CGN: You’re still an active collector today. How do you learn about and discover art now?&nbsp;</strong></p><p>While my 1980’s focus continues, I have added a handful of works each year from current artists, purchased from galleries. Most recently, I’ve acquired two Jan-Ole Schiemann paintings from Nino Mier (LA) and Kasmin (NY), a Jenna Gribbon work from Fredricks &amp; Freiser (NY) and a Paul Sietsema work from Matthew Marks (LA).</p><p><strong>CGN: Where do you primarily buy art – through galleries, auctions or art fairs?</strong></p><p><strong>Collector: </strong>For works from the 1980’s, I am primarily purchasing at auction.&nbsp; More current works I purchase through galleries, and occasionally at art fairs.&nbsp; I go to very few fairs, only Frieze New York, Frieze Los Angeles and EXPO CHICAGO.</p><p><strong>CGN: Your focus, once you decided on one, is very personal.&nbsp;</strong></p><p><strong>Collector: </strong>I love living with these works, and spending time with them. 20 years ago, the comedian Steve Martin displayed his art collection in Las Vegas, and he wrote and narrated the audio tour guide. A point that he made was that an artwork succeeds when you can stare at it for hours and find meaning, but you know in the end you’ll never fully understand it. He said it better, and funnier, but that’s the gist, and I agree with him.</p><p>One issue I am conscious of is that private ownership of art deprives the general public of viewing those works.&nbsp; But I don’t think it applies to the works in my collection. I tested my hunch a few years ago by offering to have my estate leave my collection to a well-known modern art museum, which shall go unnamed. The museum agreed to accept the collection, but only if they were free to sell any or all of the works.&nbsp;Thus, the market has spoken: my art works are very meaningful to me, but they are not necessarily rare, and their private ownership does not deprive patrons of the ability to view works that might be deemed enormously important.</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418360/xsvdhaztu85cm7zlcrij.jpg\"><figcaption>Jim Dine, <i>Alone at Night</i>, each panel signed, titled and dated 1991 on the reverse, oil on 2 joined canvases, in artist’s frame, 86 1/8 by 147 3/4 in.&nbsp;</figcaption></figure><p>&nbsp;</p><p><strong>CGN: What do you think about art for investment?</strong></p><p><strong>Collector: </strong>When it comes to art, one needs to be agnostic as to intrinsic value and investment potential. I don’t think about art as an investment, except to the extent that I do insure the collection and try to keep track of its value for that purpose. Over the past 40 years of collecting art, I’ve certainly purchased works that have increased in value, and conversely some of the works I’ve purchased probably have very little resale value.&nbsp;</p><p>I guess the way I look at the value of art can be summed up by a story about a recent acquisition. Many years back, I asked an artist – who happened to live next door to me in LA at the time – the price of one of his works, a favorite of mine. The price he named was more than I could afford then. Recently, I finally acquired that work from that same artist through a NY gallery for 30 times the price the artist stated so long ago. It doesn’t bother me that I had to pay so much more for it now, I’m just happy to have it in my collection. I ended up sending the artist an email congratulating him for holding the work so long, and in the process earning a ten percent annual compounded return for 38 years!</p><figure class=\"image image-style-side\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418360/nhjjyl5oivnap0kafijn.jpg\"><figcaption>Robert Longo, <i>Untitled (Two Women)</i></figcaption></figure><p><strong>CGN: What would you tell a visitor about your collection, as well as about collecting in general?</strong></p><p><strong>Collector: </strong>Since my collection is so varied, I would speak about each work individually rather than the collection as a whole. In fact, rather than speaking I would hand the visitor an information page I’ve prepared for each of the works. It includes information that would typically be shown in an auction catalog, for instance: date created, media, and provenance. I have tried to include, in a condensed version, thoughts and ideas on the artists, and sometimes specifics about the actual artwork in the collection, on a page that the visitor can read while looking at the work itself. I re-read these notes myself from time to time.</p><p>As far as collecting in general, I would suggest buying what you like; but, again, at least in my case, it helps to have a focus. You might build a collection around a certain time period, a genre, or different stages in a single artist’s life and work. I would also advise finding out as much as you can about the artists in your collection, including auction notes, criticism, films, and interviews. For example, to fully understand a Schnabel plate painting I think it’s crucial to watch Michael Blackwood’s important 1982 documentary <i>A New Spirit in Painting</i>. Likewise, my Eric Fischl painting <i>The Chair, The Bed, Getting Ready</i> had much greater resonance for me after reading his autobiography <i>Bad Boy</i>. I would also recommend three great books on how to view and understand modern art: Robert Hughes’ <i>The Shock of the New</i>, Leo Steinberg’s classic <i>Other Criteria</i>, and Calvin Tomkins’ amazing book <i>The Bride and the Bachelors</i>, which I keep coming back to, and have now read several times. Also, go to galleries and speak with the representatives.&nbsp;</p><p>I never understood Nan Goldin’s photographs until her work was explained to me by Mike Davis at Matthew Marks. Once decoded, I fell in love with these photographs, and recently added Goldin’s 1991 photo <i>Guy at Wigstock</i> to my collection.</p><figure class=\"image image-style-side\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418361/c2c3dqdf7qwwaqdq8mg3.jpg\"><figcaption>Nan Goldin, <i>Guy at Wigstock</i></figcaption></figure><p><strong>CGN: What kind of conversations have started about the art in your collection?</strong></p><p><strong>Collector: </strong>Almost everyone that visits the collection tells me which work is their personal favorite. Some tell me which is their least favorite! Now, when I have visitors, I do ask them which is their favorite, but I also ask them: Why? What do you like about your favorite work in the collection? What are the qualities of the work that make it your favorite, or least favorite? I enjoy this discussion and have learned from it too. And I do ask people to take their time while visiting the collection. There is a terrific article written by art historian Jennifer Roberts titled <i>The Power of Patience</i>. In it, she argues, convincingly to my mind, that collectively we have lost the ability to focus in a slow, engaged way – what she calls ‘immersive attention.’ Its only at this slow-paced, immersive engagement with the work that I believe art truly reveals itself.</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p></body></html>","published_at":"2020-08-31 10:00:00","state":"published","slug":"a-collector-s-personal-focus-discovering-the-value-of-engagement","type":"NewsPost","meta_description":"","text":null,"created_at":"2020-08-31 15:53:22.897893","updated_at":"2020-08-31 15:56:06.832803","category_id":3,"highlighted":false,"searchable":"'-19':108B '-1980':242B '1':667B '1/8':1577B '120':192B '147':1579B '1960':438B,845B '1970':424B '1980':1071B,1146B,1165B,1227B,1299B '1982':560B,2043B '1991':1563B,2166B '2':1569B '20':1358B '3/4':1580B '30':1751B '38':1815B '40':1642B '86':1576B 'abil':1542B,2313B 'abl':113B 'abrupt':436B 'accept':1496B 'acquir':661B,713B,1250B,1739B 'acquisit':1693B 'activ':1213B 'actual':1920B 'ad':250B,1233B,2163B 'advanc':728B 'advis':1083B,2002B 'afford':1734B 'agnost':1601B 'ago':1360B,1470B,1760B 'agre':1427B,1494B 'allow':147B 'almost':601B,2193B 'alon':1554B 'alreadi':696B 'also':2001B,2075B,2123B,2230B 'although':418B 'alyea':40B 'amaz':930B,2104B 'american':245B,1073B,1133B 'among':776B,1050B 'angel':508B,1331B 'annual':1811B 'anonym':227B 'antiqu':260B 'anyth':373B 'apart':556B,569B,622B 'appeal':570B 'appli':1456B 'appoint':291B 'approach':322B,1077B 'approxim':191B 'architectur':563B 'argu':2302B 'around':1981B 'arrang':603B,884B,974B 'arriv':863B 'art':43B,61B,195B,236B,272B,297B,313B,323B,381B,389B,395B,404B,427B,445B,459B,481B,487B,530B,540B,576B,585B,600B,618B,676B,752B,880B,1054B,1103B,1142B,1162B,1223B,1287B,1292B,1317B,1367B,1441B,1486B,1519B,1588B,1596B,1614B,1646B,1682B,2087B,2188B,2290B,2341B 'articl':2287B 'artist':249B,645B,709B,721B,775B,993B,1004B,1134B,1242B,1573B,1700B,1745B,1756B,1792B,1914B,1994B,2012B 'artwork':337B,625B,639B,841B,1389B,1921B 'ask':455B,1698B,2222B,2231B,2273B 'assembl':80B 'atop':629B 'attent':2325B 'auction':1290B,1306B,1891B,2017B 'audio':1378B 'autobiographi':2070B 'away':201B 'bachelor':2110B 'back':826B,1696B,2115B 'bad':2071B 'bank':505B 'base':774B 'basin':355B 'basquiat':654B,692B 'bass':1205B 'bavarian':821B,1192B 'beach':961B 'beast':358B 'becam':1139B 'bed':19B,2058B 'began':488B,542B 'believ':2340B 'better':1417B 'big':831B 'billboard':940B 'billboard-s':939B 'blackwood':2040B 'blend':787B 'blown':852B 'blue':762B,1196B 'blue-chip':761B 'book':271B,2079B,2105B 'bookshelv':611B 'bother':1764B 'bottom':954B 'boy':2072B 'bride':2107B 'build':876B,887B,1978B 'buy':734B,1084B,1286B,1959B 'cab':900B 'california':187B 'call':2323B 'callahan':883B 'calvin':2102B 'canvas':1571B 'card':732B 'case':1969B 'cash':727B 'catalog':1892B 'centuri':408B 'certain':1649B,1983B 'cgn':98B,374B,523B,745B,962B,1033B,1208B,1281B,1335B,1582B,1822B,2179B 'chair':17B,2056B 'chicago':175B,743B,773B,865B,952B,1003B,1334B 'chicago-bas':772B 'chines':262B 'chip':763B 'class':397B 'classic':2098B 'classifi':239B 'client':52B 'cloisonné':263B,354B 'collag':217B,986B 'colleagu':45B 'collect':25B,59B,117B,127B,166B,189B,258B,281B,324B,533B,539B,691B,1008B,1042B,1068B,1078B,1117B,1368B,1462B,1479B,1498B,1627B,1645B,1786B,1831B,1836B,1842B,1856B,1924B,1953B,1980B,2015B,2173B,2191B,2198B,2244B,2282B,2308B 'collector':2A,76B,222B,293B,382B,535B,790B,971B,1063B,1214B,1294B,1346B,1591B,1839B,2192B 'colleg':301B,390B,491B 'come':1594B,2114B 'comedian':1362B 'comic':270B 'compound':1812B 'condens':1907B 'condo':744B,926B 'congratul':1795B 'conscious':1434B 'consult':1082B 'contain':190B 'contemporari':248B,486B,1074B 'continu':1230B 'convers':967B,1658B,2183B 'convinc':2303B 'corner':634B 'could':1733B 'cours':405B,432B,492B 'coverag':496B 'covid':107B 'creat':683B,1896B 'creativ':84B,332B 'credit':731B 'criteria':2100B 'critic':2019B 'crucial':2036B 'crucifi':473B 'cuban':24B 'current':197B,1241B,1308B 'date':1562B,1895B 'davi':2148B 'day':48B,125B 'de':342B 'decad':452B 'decid':907B,1119B,1340B 'decod':2153B 'decor':595B 'deem':1549B 'deer':822B,851B,1193B 'deliber':334B 'denni':882B 'depriv':1442B,1538B 'deschen':1195B 'describ':1037B 'despit':493B 'devot':161B 'differ':100B,1989B 'digest':136B,564B 'dine':1159B,1553B 'discourag':143B 'discov':6A,306B,1222B 'discuss':2263B 'display':167B,578B,588B,740B,801B,1365B 'documentari':2044B 'doesn':1762B 'dog':1207B 'door':1706B 'dot':417B 'draw':985B 'due':105B 'dynasti':353B 'earli':1145B 'earn':1807B 'eclectic':255B 'educ':330B 'elev':878B,891B,899B 'elliott':345B 'els':123B 'email':134B,1794B 'end':435B,497B,1407B,1788B 'energi':1172B 'engag':10A,335B,2319B,2334B 'enjoy':529B,2261B 'enlarg':936B 'enorm':1550B 'eric':14B,1150B,2052B 'estat':1476B 'european':247B 'everi':633B 'everyon':2194B 'everywher':626B 'exampl':978B,2024B 'except':1618B 'excit':680B 'exhibit':669B 'experienc':132B 'explain':2143B 'expo':1333B 'extens':57B 'extent':1621B 'fact':1861B 'fair':1293B,1318B,1324B 'fanci':594B 'far':1951B 'fashion':1177B 'favorit':51B,1722B,2206B,2214B,2227B,2240B,2256B,2259B 'fell':2155B 'figur':208B 'film':2020B 'final':635B,1738B 'find':1400B,2003B 'fine':403B 'first':145B,154B,283B,715B,1138B 'first-hand':282B 'fischl':15B,1151B,2053B 'fit':873B 'fitzpatrick':951B,957B,989B,999B,1031B 'five':169B 'floor':608B,1199B 'focus':5A,319B,1039B,1065B,1229B,1337B,1975B,2315B 'fossil':261B 'found':316B,1096B 'frame':591B,1575B 'fredrick':1269B 'free':1504B 'freiser':1270B 'friend':457B 'friez':1326B,1329B 'front':913B 'fulli':1411B,2026B 'fung':36B 'funnier':1419B 'galleri':518B,1245B,1289B,1313B,1749B,2126B 'garment':267B 'geldzahl':552B,658B 'general':482B,1444B,1838B,1955B 'genr':1987B 'get':20B,527B,2059B 'gilmor':370B 'ginni':38B 'gist':1424B 'go':514B,1320B,1490B,2124B 'goldin':2136B,2164B,2175B 'got':725B 'graduat':499B 'graham':1155B 'grannan':32B 'great':2078B 'greater':2063B 'greenbaum':366B 'gribbon':1266B 'guess':1673B 'guid':1380B 'guy':472B,2168B,2176B 'hand':155B,284B,1235B,1867B 'hang':909B 'haphazard':602B 'happen':545B,1702B 'happi':1780B 'hare':657B,694B 'harlequin':953B 'help':377B,1971B 'henri':551B 'hidden':200B 'highlight':92B 'histori':396B,460B 'historian':2291B 'hold':1798B 'home':185B,596B 'homesick':344B 'hour':1398B 'hugh':2089B 'human':385B 'hunch':1466B 'hundley':346B 'idea':1911B 'imag':135B,848B,933B 'immers':2324B,2333B 'impact':836B 'import':444B,1551B,2042B 'includ':171B,362B,1882B,1904B,2016B 'increas':1654B 'indiffer':808B 'individu':1852B 'influenc':1183B 'inform':579B,1871B,1883B 'initi':375B,1075B 'innoc':935B 'instal':783B,881B,927B,1026B 'instanc':1894B 'insur':1625B 'interest':295B,479B,537B,813B,1140B 'intern':759B 'interven':451B 'interview':230B,2022B 'intrigu':70B 'intrins':1604B 'invest':1590B,1607B,1617B 'issu':561B,814B,1431B 'item':359B 'jan':341B,1253B 'jan-ol':1252B 'jare':943B,1009B 'jean':652B 'jean-michel':651B 'jeffrey':722B 'jenna':1265B 'jennif':2292B 'jim':1158B,1552B 'joann':365B 'job':503B 'join':1570B 'joke':413B 'joslin':944B,1010B,1016B 'julian':33B,1148B 'kasmin':1262B 'kate':369B 'kati':31B 'keep':1631B,2113B 'keith':656B 'kind':2181B 'knew':464B,828B 'knock':648B 'know':1404B 'known':760B,1484B 'la':708B,1260B,1280B,1710B 'laptop':139B 'larg':755B 'large-scal':754B 'las':1370B 'late':423B 'learn':379B,522B,1219B,2266B 'least':1966B,2213B,2258B 'leav':1477B 'led':810B 'left':13B,338B,942B,1187B 'leo':2095B 'liber':388B 'life':328B,348B,1996B 'life-long':327B 'like':120B,383B,1047B,1087B,1099B,1962B,2237B 'likewis':2050B 'linger':151B 'littl':1669B 'live':1049B,1349B,1704B 'liz':1194B 'll':1409B 'local':707B 'locat':170B 'long':329B,1759B,1802B 'longo':1818B 'look':156B,520B,705B,929B,965B,1114B,1677B,1934B 'los':507B,1330B 'lost':2311B 'lot':616B,1101B 'love':1348B,2157B 'lucretia':1203B 'm':1778B 'made':1131B,1385B 'maesschalck':343B 'major':386B,461B 'make':2253B 'man':159B 'manag':781B 'mani':384B,770B,1057B,1694B 'mark':1279B,2151B 'market':1515B 'martin':1364B 'math':1204B 'matthew':1278B,2150B 'may':237B,286B 'mccarthi':819B,1191B 'mean':1401B 'meaning':1523B 'meant':1124B 'media':1897B 'mediev':264B 'medium':206B 'memor':468B 'mention':46B,1001B 'merger':27B 'michael':2039B 'michel':653B 'mier':1259B 'might':1547B,1977B 'mike':2147B 'mind':2306B 'mine':1724B 'ming':352B 'minim':440B 'mix':1052B 'modern':1485B,2086B 'monument':855B 'much':122B,470B,1772B,2006B,2062B 'multimedia':211B 'museum':516B,1062B,1487B,1493B 'music':1176B 'mythic':357B 'name':414B,764B,1728B 'nan':2135B,2174B 'narrat':1376B 'narrow':1108B 'near':938B 'necessarili':1530B 'need':1106B,1598B 'never':72B,1410B,2133B 'new':554B,670B,1327B,2046B,2094B 'next':1027B,1705B 'night':1556B 'nino':1258B 'north':181B 'nostalg':932B 'notch':165B 'note':1944B,2018B 'noth':198B 'novel':678B 'ny':1263B,1271B,1748B 'occasion':1315B 'offer':1472B 'offic':178B,981B 'often':63B 'oil':1567B 'ole':1254B 'one':47B,89B,158B,398B,574B,1014B,1342B,1430B,1597B,1717B 'ongo':1185B 'opt':224B 'origin':269B 'ornat':590B 'other':777B,1161B 'outlet':82B 'ownership':1439B,1535B 'p.s':666B 'pace':2332B 'page':1872B,1927B 'paint':209B,409B,663B,716B,737B,1256B,2031B,2049B,2054B 'panel':1558B 'panther':945B,1019B 'part':833B 'passion':85B 'past':1641B 'patienc':2298B 'patron':1539B 'paul':818B,1190B,1274B 'pay':1770B 'peopl':2274B 'percent':1810B 'perform':1179B 'period':1985B 'person':4A,81B,119B,318B,1345B,2205B 'photo':549B,2167B 'photograph':29B,2138B,2160B 'pictur':11B 'piec':605B,769B,1032B 'piqu':299B 'place':606B,892B 'plate':2030B 'point':1382B 'post':241B 'postcard':847B 'potenti':1608B 'power':2296B 'prepar':1875B 'price':697B,1715B,1726B,1754B 'primarili':1285B,1303B 'privat':58B,290B,1438B,1534B 'probabl':1666B 'process':1806B 'produc':448B 'profil':75B 'promin':1135B 'proport':856B 'proven':1899B 'public':67B,1445B 'publish':96B 'purchas':804B,816B,990B,1013B,1243B,1304B,1311B,1650B,1665B 'purpos':1638B 'qualiti':566B,2248B 'queen':668B 'rang':253B,750B,1110B 'rare':1531B 'rather':1853B,1862B 're':1210B,1941B 're-read':1940B 'reach':701B 'read':1932B,1942B,2068B,2120B 'readi':21B,2060B 'realiz':869B 'realli':541B,647B 'recent':1247B,1692B,1736B,2162B 'recommend':2076B 'reliquari':265B 'remain':226B 'repres':2131B 'resal':1670B 'resid':173B 'reson':2064B 'respons':466B 'return':1813B 'reveal':2343B 'revers':1566B 'ride':889B,902B 'right':101B,340B,949B,955B,1189B 'robert':1154B,1156B,1817B,2088B,2293B 'rothenberg':1153B 'rydingsvard':1202B 'said':1415B 'say':231B 'scale':756B,839B 'schiemann':1255B 'schnabel':34B,1149B,2029B 'scotti':1206B 'sculptur':22B,219B,350B 'second':612B 'see':115B,279B,547B,1059B 'seem':433B 'sell':1506B 'send':1790B 'septemb':559B 'sever':565B,2121B 'shall':1489B 'share':64B 'shock':2091B 'shore':182B 'short':710B 'shown':1888B 'sietsema':1275B 'sign':1559B 'sinc':1840B 'singl':1993B 'size':768B,941B 'sketchbook':363B 'slow':2318B,2331B 'slow-pac':2330B 'small':621B,718B,844B 'smaller':767B 'smaller-s':766B 'sometim':973B,1916B 'sound':142B 'space':921B 'span':205B 'speak':1848B,1864B,2128B 'specif':485B,1917B 'spend':1354B 'spill':1173B 'spirit':2047B 'spoken':1517B 'spot':415B 'stage':1990B 'stare':1394B 'start':528B,689B,704B,2185B 'state':1757B 'steinberg':2096B 'steve':1363B 'still':153B,347B,739B,1211B 'storag':203B 'stori':1689B 'student':412B 'suburban':177B 'succeed':1390B 'suggest':1958B 'sum':1685B 'surround':311B 'survey':429B 'susan':1152B 'tabl':361B,630B 'take':2276B 'tell':1826B,2199B,2208B 'ten':1809B 'terrif':2286B 'test':1464B 'textil':266B 'themat':976B 'then-unknown':642B 'thereaft':711B 'therrien':1157B 'think':794B,1181B,1454B,1586B,1612B,2033B 'though':866B,1090B 'thought':584B,674B,1909B 'three':2077B 'thus':1513B 'time':304B,1355B,1713B,1752B,1947B,1949B,1984B,2122B,2278B 'tire':73B 'titl':406B,1560B,2294B 'today':1215B 'tomkin':2103B 'toni':950B,956B,988B 'took':392B,501B 'top':164B,896B,948B 'tour':1379B 'track':1632B 'tri':1629B,1902B 'truli':88B,2342B 'twentieth':407B 'two':28B,172B,184B,638B,984B,1030B,1251B,1820B 'typic':1886B 'ultim':152B 'unabl':277B 'understand':1412B,2027B,2085B 'understood':2134B 'unfocus':1093B 'unknown':644B 'unnam':1491B 'untitl':1819B 'ursula':1200B 'vallanc':723B 'valu':8A,1605B,1635B,1656B,1671B,1680B 'van':39B 'vari':1845B 've':1249B,1648B,1664B,1874B 'vega':1371B 'version':1908B 'vibranc':1169B 'video':372B 'view':288B,1447B,1544B,2083B 'virtual':133B 'visit':997B,2196B,2280B 'visitor':1828B,1869B,1930B,2219B 'volkswagen':477B 'von':1201B 'wall':336B,628B 'want':308B,687B 'wasn':858B 'watch':2038B 'wave':672B 'way':1080B,1675B,2320B 'weekend':511B 'well':214B,1483B,1833B 'well-known':1482B 'whole':1859B 'wide':749B 'wigstock':2170B,2178B 'window':916B 'winni':35B 'woman':958B 'women':1821B 'wonder':442B 'wool':1197B 'work':193B,212B,243B,719B,757B,789B,798B,820B,862B,894B,911B,970B,975B,1018B,1122B,1237B,1267B,1276B,1296B,1309B,1352B,1449B,1459B,1512B,1520B,1545B,1651B,1662B,1720B,1741B,1800B,1851B,1880B,1937B,1998B,2141B,2202B,2241B,2251B,2337B 'world':44B 'would':110B,128B,513B,1035B,1824B,1847B,1866B,1885B,1957B,2000B,2074B 'wouldn':871B 'written':2288B 'wrote':1374B 'year':825B,1239B,1359B,1469B,1643B,1695B,1816B 'york':555B,1328B 'york/new':671B 'young':641B 'zebra':947B,1022B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721767409/g11zmijnaz3rh1ux9jaj.jpg","editor_pick":false,"category_name":"Interviews"},"related":[{"id":13767,"title":"Anticipating a Season of Art: Five to Talk to – Nikko Washington","excerpt":"","body":"<p>Fall offers a full slate of exhibitions across galleries and museums throughout the Midwest.&nbsp;Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next.</p><p><br></p><p><em>The following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition&nbsp;</em><a href=\"https://835ba3.myshopify.com/\" rel=\"noopener noreferrer\" target=\"_blank\"><em>click here.</em></a></p><p><br></p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789517637/noxz9olp47gfneafz8xg.jpg\"></p><p><br></p><h4><em>Nikko Washington –&nbsp;</em></h4><h4><em>Artist</em></h4><p><br></p><p>“I’m thrilled to further expand my artistic and design practice by introducing other mediums into the mix. I’m looking forward to watching the seasons change and devoting a lot of time in the studio as well. Fall/winter is my favorite time to create new works.&nbsp;</p><p><br></p><p>I have an upcoming solo show with <a href=\"https://vsgcontemporary.com\" rel=\"noopener noreferrer\" target=\"_blank\">VSG&nbsp;Contemporary</a> that I am excited about. The work will delve further into the topics of cultural mythology and how these tales and narratives have helped shape my worldview.&nbsp;</p><p><br></p><p>Also, it wouldn’t be right if I left out my&nbsp;excitement for this upcoming season of Chicago sports.”</p><p><br></p><p><a href=\"https://www.nikkowashington.com\" rel=\"noopener noreferrer\" target=\"_blank\">Nikko Washington</a></p><p><br></p>","published_at":"2026-09-11 00:30:00","state":"published","slug":"anticipating-a-season-of-art-five-to-talk-to-nikko-washington","type":null,"meta_description":"","text":null,"created_at":"2026-09-16 00:13:58.216","updated_at":"2026-09-16 00:13:58.216","category_id":3,"highlighted":false,"searchable":"'2026':76B 'across':19B 'also':174B 'anticip':1A,60B 'appear':71B 'art':5A 'artist':39B,90B,98B 'behind':26B 'bring':41B 'cgn':73B 'chang':117B 'chicago':191B 'click':86B 'communiti':33B 'contemporari':146B 'convers':69B 'copi':81B 'creat':135B 'cultur':161B 'delv':155B 'design':100B 'devot':119B 'edit':85B 'excit':54B,150B,185B 'exhibit':18B 'expand':96B 'fall':12B,75B 'fall/winter':129B 'favorit':132B 'five':6A,50B,68B 'follow':63B 'forward':112B 'fresh':42B 'full':15B 'galleri':20B 'help':170B 'insid':51B 'introduc':103B 'left':182B 'look':111B 'lot':121B 'm':92B,110B 'magazin':77B 'mani':29B 'medium':105B 'midwest':25B 'mix':108B 'museum':22B 'mytholog':162B 'narrat':168B 'new':136B 'next':61B 'nikko':10A,88B,193B 'offer':13B 'one':66B 'peopl':30B 'perspect':43B 'practic':101B 'preview':64B 'print':84B 'public':46B 'receiv':79B 'right':179B 'scene':28B 'season':3A,116B,189B 'shape':171B 'show':143B 'slate':16B 'solo':142B 'spoke':48B 'sport':192B 'studio':126B 'support':38B 'tale':166B 'talk':8A 'thrill':93B 'throughout':23B 'time':123B,133B 'tireless':36B 'topic':159B 'upcom':141B,188B 'vsg':145B 'washington':11A,89B,194B 'watch':114B 'well':128B 'work':35B,137B,153B 'worldview':173B 'wouldn':176B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788406360/ujd84dhihjroxqjs9izj.jpg","editor_pick":true},{"id":13930,"title":"Andi Crist: The Art of The Pun","excerpt":null,"body":"<p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961823/s3lp0uull2s8mvd8funj.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist, </span><em style=\"color: rgb(136, 136, 136);\">Extension Cords</em><span style=\"color: rgb(136, 136, 136);\">, Glazed stoneware, chrome, Sizes vary 2021-present. Photo: Mikey Mosher</span></p><p><br></p><p><br></p><p><br></p><p><strong><em>This interview is part of CGN's Fall 2026 issue.&nbsp;</em></strong><strong style=\"color: rgb(51, 51, 51);\"><em style=\"color: rgb(51, 51, 51);\"><a href=\"https://chicagogallerynews.myshopify.com/\" rel=\"noopener noreferrer\" style=\"color: rgb(51, 51, 51);\" target=\"_blank\">Purchase a copy or subscribe</a>.</em></strong></p><p><br></p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961824/mghrpnghxd9j9ko2dsjt.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist</span></p><p><br></p><p><br></p><p>BY ALISON REILLY</p><p><br></p><p>Andi Crist’s warm, engaging demeanor is evident in the first few minutes of our conversation. Generous with her time and forthcoming in her observations, she cares deeply about building relationships through her art making. Crist grew up in Birmingham, Alabama, devoured art classes, wrote songs and played music in high school, and moved to Chicago to study visual art at Columbia College. In 2024, she received her MFA from the University of Illinois at Chicago. She is a woodworker, sculptor, ceramicist, and conceptual artist, and she teaches at Illinois Institute of Technology. We discussed her multidisciplinary practice, her experience working as an art handler, preparator, and fabricator, and how she thinks about labor, creativity, and value in the art world.&nbsp;</p><p><br></p><p><br></p><p><strong>CGN: You grew up in Birmingham, Alabama. How did that environment shape your point of view as an artist?</strong></p><p><br></p><p><strong>Andi Crist:</strong> That’s such a funny question. Nobody’s ever really asked.</p><p><br></p><p><strong>CGN: Oh, really?</strong></p><p><br></p><p><strong>AC: </strong>Yeah, maybe because I never was super connected with the arts community down in Birmingham. I moved to Chicago in 2007, so it’s been 20 years since I lived in the South. I was definitely one of those art kids—one art credit was required in high school, and I graduated with like seven. I was surrounded by artists who had a big impact on me, because they were working artists. All my art teachers were trained in Alabama and then continued to teach and work in Alabama, which gave me this desire to try to expand my community outside of what I was familiar with.</p><p><br></p><p><strong>CGN: Do you identify as a Chicagoan?</strong></p><p><br></p><p><strong>AC: </strong>My family still lives in Alabama, and I go back every year. I love being in Alabama. Maybe now being in Chicago for almost 20 years, I identify as a southerner living in the city. I carry on the social qualities of a friendly southern person [laughs].&nbsp;</p><p><br></p><p><strong>CGN:</strong> <strong>You have a varied art practice</strong><strong style=\"color: rgb(71, 71, 71);\">—</strong><strong>woodwork, ceramics, mold making. What drew you to those types of fabrication methods and that type of art making?</strong></p><p><br></p><p><strong>AC:</strong> My dad is a carpenter and a hobbyist woodworker, but his career was psychology, and my mom was a professor and an incredible craftswoman. I absorbed my mom’s model of creativity, which is to try a bunch of different things and not necessarily finish them but to try to learn as much as I can by just going for it. My practice over the years has become an exploration of conceptual elements of what makes art art and not just craft. Do you have to be a master craftsperson or a professional artist in order to make something that resonates with people?</p><p><br></p><p>I make a lot of work that references the mode of making and requires a variety of different media. I just finished teaching a ceramics production class where students learned how to produce molds, think about positives and negatives, and get into a level of production rather than just handicraft as a way to multiply their output.</p><p><br></p><p>I got into fabrication because I’ve always liked working with other artists. I have a background in theater and gallery work. I’m a voracious learner, and I like being able to share those skills with my community. Then I end up making work about that. It’s a self-feeding cycle.</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961825/zzejqwibga5f5wk6einh.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist,&nbsp;</span><em style=\"color: rgb(136, 136, 136);\">Artist’s Ladder</em><span style=\"color: rgb(136, 136, 136);\">, 2023.&nbsp;Photo: Jeff Perlman</span></p><p><br></p><p><br></p><p><strong>CGN: Thinking about your background as an art handler and preparator</strong><strong style=\"color: rgb(59, 62, 65);\">—</strong><strong>how did you get to the point where you were making work about that experience?</strong></p><p><br></p><p><strong>AC: </strong>In 2010, right before I graduated from Columbia, I was living in a storefront in West Logan Square with my partner at the time. We started a gallery called Autotelic in the space and had to build it out using the worst tools with very minimal resources. Then we started curating shows there and that meant helping other artists figure out how to install their work in our unusual space. Eventually, I gained the reputation for knowing how to do that type of work. I started getting invited to work in museums and galleries.&nbsp;</p><p><br></p><p>The Holocaust Museum was the first museum I worked at, and as difficult as that subject matter is, that experience was really important to me because I was learning more about the larger world of gallery work. As an artist working as a preparator, you’re straddling both sides of that space. You’re really seeing how the sausage is made. You’re hearing all the conversations about artists, curators, the process of exhibition making. There is a lot of information you can gather about the economics of the art world by just being the person that has the know-how to touch and handle artwork. Eventually that started feeding into my art practice because I wanted to make work that was contributing to a conversation around art as a type of job. It fueled a methodology of seeing everything in the world as the result of a long line of processes that required effort and thoughtfulness by many hands.</p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961826/uv5bysb5fbne30gr5czh.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist, </span><em style=\"color: rgb(136, 136, 136);\">Fair Warning</em><span style=\"color: rgb(136, 136, 136);\">, 2025.</span></p><p><br></p><p><br></p><p><strong>CGN: The title of your recent exhibition at the Cleve Carney Museum—<em>Live, Laugh, Lo</em>—sorry, not <em>Live, Laugh, Love</em>—<em>Live, Laugh, Labor</em>.</strong></p><p><br></p><p><strong>AC:</strong> [Laughs] That’s what everybody does.</p><p><br></p><p><strong>CGN: I love the title—it’s perfect. You incorporate humor along with thoughtful critiques about labor and value in your work. What role does humor play? How does it help you connect with your audience?</strong></p><p><br></p><p><strong>AC:</strong> One of my biggest criticisms of art with a capital A is how easily it can be overly intellectualized. I think that’s why I end up making a lot of work that references things that already exist or have some kind of real purpose. It’s important to give people a foothold so there’s an obvious place to board that train of thought. As an artist—maybe this is me getting into a sweeping argument about what artists should be—but I personally believe in intellectual accessibility. Humor is a swift way to drop defenses and allow people to come in without feeling like they are not getting the joke or not understanding. I like to make work that can hold both of those things at the same time—it’s funny on the surface level, it’s kind of cheeky, but there’s also another way to look at it that is intellectually clever. There is a joy in the attempt to “get it”. Like the satisfaction of grasping how a crossword puzzle actually works.</p><p><br></p><p>It’s also so much a part of my personality. I take myself seriously as an artist, but my ego isn’t at the heart of it. It’s really something that I do because I love to make things, and I love to connect with other people. My parents raised me on puns, creating those language relationships between things and people and space. Understanding a joke is the same way that we understand art, and while neither of my parents would consider themselves artists, they taught me how to think about art.</p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961828/gnotyfijabr7e15kb6hm.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist,&nbsp;</span><em style=\"color: rgb(136, 136, 136);\">69 Bananas</em></p><p><br></p><p><br></p><p><br></p><p><strong>CGN: Your work, <em>Artist’s Ladder</em>, explores hierarchies, workplace cultures, and institutional values. What experiences shaped your reflections on these themes?</strong></p><p>&nbsp;</p><p><strong>AC:</strong> The ladder piece distinctly represents the complicated relationship between front of house, back of house, and the hierarchy of labor. Who is the artist in those relationships? How much does another person’s knowledge and expertise contribute to the success of another artist?</p><p><br></p><p>There are enormous, industrialized art practices out there, warehouses full of people making things, and those people are also artists. When you make work that involves other people, it’s important to acknowledge their contributions. I’ve had complicated interactions with other artists who are like, ‘Hey, do you want to collaborate with me on this thing?’ but really they just want me to make their idea. I made <em>Artist’s Ladder</em> while I was in grad school at UIC, and it really represented my relationship with a lot of other artists, because I could be an actual support structure for them. Then it turned into this absurd physical thing. It’s extremely overbuilt with inlaid racing stripes made of exotic hardwood, and a butcher’s block-style plaid top. It’s not really like an FU as much as it is asking for acknowledgement of my skills and the essential support structures that exist.</p><p>&nbsp;</p><p><strong>CGN: I want to ask you about another piece, <em>Five O’Clock Somewhere</em>, a wool rug that resembles a children’s play mat. I work at a library, and it reminded me of rugs I see all the time. It’s a peaceful image of an office park with a large fountain surrounded by a parking lot. I’m curious why you chose a rug as the medium to depict that image.</strong></p><p>&nbsp;</p><p><strong style=\"color: rgb(38, 38, 38);\">AC: </strong><span style=\"color: rgb(38, 38, 38);\">To me </span>the heart of that joke was that it was a landscape. I wanted it to be physically traversable. And that was, I don’t want to say controversial, but it was something that I had to talk about a lot.<span style=\"color: rgb(38, 38, 38);\"> </span>The critique of that work was the fact that I didn’t want to hang it on the wall and turn it into a tapestry. I really wanted it to be a rug that people could walk on. When I showed that work at Chicago Artists Coalition for the New City Breakout Artists show. There was a lot of pushback about having it on the floor and allowing people to walk on it.</p><p>&nbsp;</p><p>That, to me, was such an important conversation, because, in my mind, the fact that you could walk across it and traverse it was part of how I was thinking about the object. Rugs are utilitarian–they are floor coverings. When you make art that doesn’t do anything, you don’t get to participate in that part of the conversation.</p><p>&nbsp;</p><p>I enjoy sparring around art like that. I am totally tickled by the pushback. The critique of display is exciting, and sorting through the politics of utilitarianism in art spaces is fun to me. And then—it was so crazy—we ended up showing it halfway on the wall and halfway on the ground.&nbsp;</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961829/r1zylkwfw9rkw191skdl.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist, </span><em style=\"color: rgb(136, 136, 136);\">Five O’Clock Somewhere</em><span style=\"color: rgb(136, 136, 136);\">, on display at </span><em style=\"color: rgb(136, 136, 136);\">Live, Laugh, Labor: Thoughts on Usefulness and Other Myths</em><span style=\"color: rgb(136, 136, 136);\"> at The Cleve Carney Museum of Art, 2025.</span></p><p><br></p><p><br></p><p><strong>CGN: Oh, wow.</strong></p><p><br></p><p><strong>AC: </strong>I was like, this is the epitome of compromise! I had to build a structure so that it could hang that way safely.&nbsp;</p><p>&nbsp;</p><p><strong>CGN: I would say just put it on the ground if that’s what you want to do. It’s interesting that there are still very fixed ideas about the way that art should be displayed.</strong></p><p>&nbsp;</p><p><strong>AC: </strong>That preparator part of it, that’s what I’m all about. I was having that conversation about what physically supports the work or what conceptually supports it in the way that it’s shown.&nbsp;</p><p>&nbsp;</p><p><strong>CGN: Have you always been a writer? How do your art and writing practices work together?&nbsp;</strong></p><p><br></p><p><strong>AC: </strong>I can’t say that I’m a writer, it’s probably the same way that it can feel weird to call yourself an artist. But I feel like I’ve always been relatively good at writing. The first time I ever did any kind of professional writing was contributing,&nbsp;a long time ago, to a website called eHow. The editors would send me a title, and then I would have to research how to do that thing. Then I would write out step-by-step instructions for how to do that.&nbsp;</p><p><br></p><p>I think that’s how I had to make myself think through my conceptual practice—I had to do the research, coagulate that into some kind of document, and then I would have stream-of-consciousness conversations with myself. “Why are we interested in this? Why would we make it this way? What would I want to talk about if someone were to ask me about this?” It’s almost like I was pre-interviewing myself.&nbsp;</p><p><br></p><p>I think the writing is just another way for me to process that idea before I put in all of the time and energy to actually accomplish it.&nbsp;</p><p><br></p><p><strong>CGN: What are you working on right now? What projects do you have coming up?</strong></p><p><br></p><p><strong>AC: </strong>The biggest project that I have right now is my house. My family and I suffered a major house fire on New Year’s Day. We’ve been displaced since then and are navigating rebuilding our house. It was a total loss.&nbsp;</p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961830/kekfqzf9f87fq48juogh.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist, </span><em style=\"color: rgb(136, 136, 136);\">Single-Use Fireplace</em><span style=\"color: rgb(136, 136, 136);\">, 2025. Photo: Mikey Mosher.</span></p><p><br></p><p>&nbsp;</p><p><strong>CGN: I’m so sorry to hear that.&nbsp;</strong></p><p><br></p><p><strong>AC: </strong>Thank you. We’re all okay, but it’s been a really tumultuous year. I moved my studio into a storefront last summer, and so most of my, at least relatively recent, work is safe, and I still have all of my materials, but my home life is starting over. I just had my first full year at this space, and it’s got a little gallery built out in the front called Coming Soon. It’s beautiful with floor-to-ceiling windows on Division and Central Park. I’ve been inviting people into the space to try things out.</p><p>&nbsp;</p><p>After teaching the ceramics class, I came into a bunch of nice slip casting molds, and I’m making some really playful, weird, ceramic stuff. I want to be open and not put too much pressure on myself. Having a big studio by myself is very expensive, so it’s easy to want to make it feel like it’s worth it. But if for now all I can do is make it a resource for other people, then that will be the thing I do. Be less selfish, but more selfish with my time. Saying I can’t do that, or I don’t want to do that. It’s not my nature to say no—I’m such a yes man. I’m learning how to be a yes man for myself.&nbsp;</p><p><br></p><p><strong>CGN: That makes sense after going through something so traumatic.</strong></p><p>&nbsp;</p><p><strong>AC:</strong> I have an amazing support system. Our friends started a GoFundMe. It was incredible. I’m so humbled and floored by how held I felt by Chicago. I can’t help but throw a little shout out to my Chicago people. I can see how people’s lives get totally ruined by this kind of tragedy. I feel so lucky. Chicago definitely showed its love back.&nbsp;</p><p><br></p><p><strong>CGN: For your project Coming Soon, are you bringing in other artists?</strong></p><p><br></p><p><strong>AC: </strong>My philosophy is that I want to be involved as little as possible. I am thinking about it more as a hosted than curated space. I’m actively soliciting proposals or ideas for workshops, meetings, book clubs—I’m down for making it a resource, whatever that means. I don’t want to over-think it, I want it to be an intuitive and organic thing, which is why I call it Coming Soon—it can be a placeholder for anything. It’s exciting. Taking my hands off the reins is a good exercise for me.</p><p><br></p><p><a href=\"https://www.andicrist.com/\" rel=\"noopener noreferrer\" target=\"_blank\">andicrist.com</a></p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961831/gno5dhliwfnzpuaim78s.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Andi Crist, </span><em style=\"color: rgb(136, 136, 136);\">Extension Cords</em><span style=\"color: rgb(136, 136, 136);\">, Glazed stoneware, chrome, Sizes vary 2021-present. Photo: Mikey Mosher</span></p><p><br></p><p><br></p>","published_at":"2026-09-10 01:00:00","state":"published","slug":"andi-crist-the-art-of-the-pun","type":null,"meta_description":"","text":null,"created_at":"2026-09-09 13:50:32.441","updated_at":"2026-09-09 13:50:32.441","category_id":3,"highlighted":false,"searchable":"'20':224B,338B '2007':219B '2010':639B '2021':17B,2614B '2023':607B '2024':106B '2025':897B,1789B,2169B '2026':30B '69':1238B 'abl':579B 'absorb':413B 'absurd':1412B 'ac':198B,313B,387B,637B,921B,964B,1261B,1533B,1793B,1853B,1905B,2120B,2181B,2427B,2506B 'access':1053B 'accomplish':2103B 'acknowledg':1337B,1450B 'across':1667B 'activ':2534B 'actual':1141B,1402B,2102B 'ago':1959B 'alabama':82B,169B,278B,287B,319B,330B 'alison':40B 'allow':1063B,1643B 'almost':337B,2069B 'along':939B 'alreadi':1001B 'also':1111B,1145B,1323B 'alway':555B,1892B,1937B 'amaz':2431B 'andi':1A,8B,37B,42B,182B,602B,893B,1236B,1764B,2163B,2605B 'andicrist.com':2604B 'anoth':1112B,1292B,1303B,1468B,2083B 'anyth':1697B,2588B 'argument':1041B 'around':859B,1713B 'art':4A,75B,84B,101B,145B,161B,209B,238B,241B,273B,366B,385B,464B,465B,618B,821B,845B,860B,971B,1217B,1235B,1309B,1692B,1714B,1738B,1788B,1849B,1899B 'artist':126B,181B,258B,270B,481B,560B,604B,696B,771B,800B,1032B,1044B,1159B,1227B,1243B,1285B,1304B,1324B,1347B,1374B,1396B,1621B,1628B,1930B,2505B 'artwork':838B 'ask':194B,1448B,1465B,2063B 'attempt':1128B 'audienc':963B 'autotel':667B 'back':323B,1274B,2493B 'background':564B,615B 'banana':1239B 'beauti':2259B 'becom':455B 'believ':1050B 'big':262B,2323B 'biggest':968B,2122B 'birmingham':81B,168B,213B 'block':1432B 'block-styl':1431B 'board':1025B 'book':2542B 'breakout':1627B 'bring':2502B 'build':71B,674B,1806B 'built':2249B 'bunch':425B,2292B 'butcher':1429B 'call':666B,1927B,1963B,2254B,2578B 'came':2289B 'capit':974B 'care':68B 'career':399B 'carney':908B,1785B 'carpent':392B 'carri':350B 'cast':2296B 'ceil':2264B 'central':2269B 'ceram':369B,515B,2286B,2306B 'ceramicist':123B 'cgn':27B,163B,195B,306B,361B,611B,898B,928B,1240B,1461B,1790B,1817B,1889B,2105B,2173B,2417B,2494B 'cheeki':1107B 'chicago':97B,117B,217B,335B,1620B,2454B,2467B,2488B 'chicagoan':312B 'children':1480B 'chose':1523B 'chrome':14B,2611B 'citi':348B,1626B 'class':85B,517B,2287B 'cleve':907B,1784B 'clever':1121B 'clock':1472B,1768B 'club':2543B 'coagul':2020B 'coalit':1622B 'collabor':1356B 'colleg':104B 'columbia':103B,645B 'come':1066B,2118B,2255B,2498B,2580B 'communiti':210B,298B,586B 'complic':1268B,1343B 'compromis':1802B 'conceptu':125B,459B,1879B,2012B 'connect':206B,960B,1187B 'conscious':2035B 'consid':1225B 'continu':281B 'contribut':855B,1298B,1339B,1955B 'controversi':1563B 'convers':57B,798B,858B,1656B,1709B,1870B,2036B 'copi':34B 'cord':11B,2608B 'could':1399B,1611B,1665B,1812B 'cover':1688B 'craft':469B 'craftsperson':477B 'craftswoman':411B 'crazi':1749B 'creat':1197B 'creativ':156B,419B 'credit':242B 'crist':2A,9B,38B,43B,77B,183B,603B,894B,1237B,1765B,2164B,2606B 'critic':969B 'critiqu':942B,1577B,1725B 'crossword':1139B 'cultur':1249B 'curat':688B,801B,2530B 'curious':1520B 'cycl':601B 'dad':389B 'day':2145B 'deepli':69B 'defens':1061B 'definit':234B,2489B 'demeanor':47B 'depict':1530B 'desir':292B 'devour':83B 'didn':1586B 'differ':427B,508B 'difficult':744B 'discuss':136B 'displac':2149B 'display':1727B,1771B,1852B 'distinct':1265B 'divis':2267B 'document':2026B 'doesn':1694B 'drew':373B 'drop':1060B 'easi':2333B 'easili':978B 'econom':818B 'editor':1966B 'effort':887B 'ego':1162B 'ehow':1964B 'element':460B 'end':589B,990B,1751B 'energi':2100B 'engag':46B 'enjoy':1711B 'enorm':1307B 'environ':173B 'epitom':1800B 'essenti':1456B 'eventu':708B,839B 'ever':192B,1947B 'everi':324B 'everybodi':926B 'everyth':872B 'evid':49B 'excit':1729B,2591B 'exercis':2601B 'exhibit':805B,904B 'exist':1002B,1460B 'exot':1425B 'expand':296B 'expens':2329B 'experi':141B,636B,751B,1254B 'expertis':1297B 'explor':457B,1246B 'extens':10B,2607B 'extrem':1417B 'fabric':149B,379B,551B 'fact':1583B,1662B 'fair':895B 'fall':29B 'famili':315B,2133B 'familiar':304B 'feed':600B,842B 'feel':1069B,1924B,1933B,2339B,2485B 'felt':2452B 'figur':697B 'finish':432B,512B 'fire':2140B 'fireplac':2168B 'first':52B,737B,1944B,2236B 'five':1470B,1766B 'fix':1843B 'floor':1641B,1687B,2262B,2447B 'floor-to-ceil':2261B 'foothold':1017B 'forthcom':63B 'fountain':1512B 'friend':357B,2435B 'front':1271B,2253B 'fu':1442B 'fuel':867B 'full':1314B,2237B 'fun':1741B 'funni':188B,1098B 'gain':710B 'galleri':568B,665B,731B,767B,2248B 'gather':815B 'gave':289B 'generous':58B 'get':531B,625B,724B,1037B,1074B,1130B,1701B,2476B 'give':1014B 'glaze':12B,2609B 'go':322B,446B,2422B 'gofundm':2438B 'good':1940B,2600B 'got':549B,2245B 'grad':1381B 'graduat':250B,643B 'grasp':1136B 'grew':78B,165B 'ground':1763B,1826B 'halfway':1755B,1760B 'hand':892B,2594B 'handicraft':540B 'handl':837B 'handler':146B,619B 'hang':1590B,1813B 'hardwood':1426B 'hear':795B,2179B 'heart':1167B,1537B 'held':2450B 'help':694B,958B,2458B 'hey':1351B 'hierarchi':1247B,1279B 'high':92B,246B 'hobbyist':395B 'hold':1087B 'holocaust':733B 'home':2227B 'host':2528B 'hous':1273B,1276B,2131B,2139B,2157B 'humbl':2445B 'humor':938B,953B,1054B 'idea':1371B,1844B,2090B,2538B 'identifi':309B,341B 'illinoi':115B,131B 'imag':1504B,1532B 'impact':263B 'import':754B,1012B,1335B,1655B 'incorpor':937B 'incred':410B,2441B 'industri':1308B 'inform':812B 'inlaid':1420B 'instal':701B 'institut':132B,1251B 'instruct':1993B 'intellectu':983B,1052B,1120B 'interact':1344B 'interest':1837B,2042B 'interview':23B,2075B 'intuit':2570B 'invit':725B,2274B 'involv':1330B,2515B 'isn':1163B 'issu':31B 'jeff':609B 'job':865B 'joke':1076B,1209B,1540B 'joy':1125B 'kid':239B 'kind':1006B,1105B,1950B,2024B,2481B 'know':714B,832B 'know-how':831B 'knowledg':1295B 'labor':155B,920B,944B,1281B,1775B 'ladder':606B,1245B,1263B,1376B 'landscap':1546B 'languag':1199B 'larg':1511B 'larger':764B 'last':2203B 'laugh':360B,911B,916B,919B,922B,1774B 'learn':438B,520B,760B,2408B 'learner':574B 'least':2211B 'less':2370B 'level':534B,1102B 'librari':1488B 'life':2228B 'like':252B,556B,577B,1070B,1081B,1132B,1350B,1440B,1715B,1796B,1934B,2070B,2340B 'line':882B 'littl':2247B,2462B,2517B 'live':228B,317B,345B,648B,910B,915B,918B,1773B,2475B 'lo':912B 'logan':654B 'long':881B,1957B 'look':1115B 'loss':2162B 'lot':494B,810B,994B,1393B,1517B,1575B,1633B 'love':327B,917B,930B,1179B,1185B,2492B 'lucki':2487B 'm':571B,1519B,1863B,1912B,2175B,2300B,2401B,2407B,2443B,2533B,2545B 'made':792B,1373B,1423B 'major':2138B 'make':76B,371B,386B,463B,485B,492B,502B,591B,632B,806B,851B,992B,1083B,1181B,1317B,1327B,1369B,1691B,2007B,2048B,2301B,2337B,2354B,2419B,2548B 'man':2405B,2414B 'mani':891B 'master':476B 'mat':1483B 'materi':2224B 'matter':748B 'mayb':200B,331B,1033B 'mean':2554B 'meant':693B 'media':509B 'medium':1528B 'meet':2541B 'method':380B 'methodolog':869B 'mfa':110B 'mikey':20B,2171B,2617B 'mind':1660B 'minim':683B 'minut':54B 'mode':500B 'model':417B 'mold':370B,524B,2297B 'mom':404B,415B 'mosher':21B,2172B,2618B 'move':95B,215B,2197B 'much':440B,1147B,1290B,1444B,2317B 'multidisciplinari':138B 'multipli':545B 'museum':729B,734B,738B,909B,1786B 'music':90B 'myth':1781B 'natur':2396B 'navig':2154B 'necessarili':431B 'negat':529B 'neither':1220B 'never':203B 'new':1625B,2142B 'nice':2294B 'nobodi':190B 'o':1471B,1767B 'object':1681B 'observ':66B 'obvious':1022B 'offic':1507B 'oh':196B,1791B 'okay':2187B 'one':235B,240B,965B 'open':2312B 'order':483B 'organ':2572B 'output':547B 'outsid':299B 'over':982B 'over-think':2560B 'overbuilt':1418B 'parent':1192B,1223B 'park':1508B,1516B,2270B 'part':25B,1149B,1673B,1706B,1856B 'particip':1703B 'partner':658B 'peac':1503B 'peopl':490B,1015B,1064B,1190B,1204B,1316B,1321B,1332B,1610B,1644B,2275B,2360B,2468B,2473B 'perfect':935B 'perlman':610B 'person':359B,827B,1049B,1152B,1293B 'philosophi':2508B 'photo':19B,608B,2170B,2616B 'physic':1413B,1552B,1873B 'piec':1264B,1469B 'place':1023B 'placehold':2586B 'plaid':1434B 'play':89B,954B,1482B,2304B 'point':176B,628B 'polit':1734B 'posit':527B 'possibl':2519B 'practic':139B,367B,450B,846B,1310B,1902B,2013B 'pre':2074B 'pre-interview':2073B 'prepar':147B,621B,775B,1855B 'present':18B,2615B 'pressur':2318B 'probabl':1917B 'process':803B,884B,2088B 'produc':523B 'product':516B,536B 'profession':480B,1952B 'professor':407B 'project':2114B,2123B,2497B 'propos':2536B 'psycholog':401B 'pun':7A,1196B 'purchas':32B 'purpos':1009B 'pushback':1635B,1723B 'put':1822B,2093B,2315B 'puzzl':1140B 'qualiti':354B 'question':189B 'race':1421B 'rais':1193B 'rather':537B 're':777B,785B,794B,2185B 'real':1008B 'realli':193B,197B,753B,786B,1172B,1363B,1387B,1439B,1602B,2193B,2303B 'rebuild':2155B 'receiv':108B 'recent':903B,2213B 'refer':498B,998B 'reflect':1257B 'reilli':41B 'rein':2597B 'relat':1939B,2212B 'relationship':72B,1200B,1269B,1288B,1390B 'remind':1491B 'repres':1266B,1388B 'reput':712B 'requir':244B,504B,886B 'research':1978B,2019B 'resembl':1478B 'reson':488B 'resourc':684B,2357B,2551B 'result':878B 'right':640B,2111B,2127B 'role':951B 'rug':1476B,1494B,1525B,1608B,1682B 'ruin':2478B 'safe':1816B,2216B 'satisfact':1134B 'sausag':790B 'say':1562B,1820B,1909B,2378B,2398B 'school':93B,247B,1382B 'sculptor':122B 'see':787B,871B,1496B,2471B 'self':599B 'self-feed':598B 'selfish':2371B,2374B 'send':1968B 'sens':2420B 'serious':1156B 'seven':253B 'shape':174B,1255B 'share':581B 'shout':2463B 'show':689B,1616B,1629B,1753B,2490B 'shown':1888B 'side':780B 'sinc':226B,2150B 'singl':2166B 'single-us':2165B 'size':15B,2612B 'skill':583B,1453B 'slip':2295B 'social':353B 'solicit':2535B 'someon':2060B 'someth':486B,1173B,1567B,2424B 'somewher':1473B,1769B 'song':87B 'soon':2256B,2499B,2581B 'sorri':913B,2177B 'sort':1731B 'south':231B 'southern':344B,358B 'space':670B,707B,783B,1206B,1739B,2241B,2278B,2531B 'spar':1712B 'squar':655B 'start':663B,687B,723B,841B,2230B,2436B 'step':1990B,1992B 'step-by-step':1989B 'still':316B,1841B,2219B 'stonewar':13B,2610B 'storefront':651B,2202B 'straddl':778B 'stream':2033B 'stream-of-consci':2032B 'stripe':1422B 'structur':1404B,1458B,1808B 'student':519B 'studi':99B 'studio':2199B,2324B 'stuff':2307B 'style':1433B 'subject':747B 'subscrib':36B 'success':1301B 'suffer':2136B 'summer':2204B 'super':205B 'support':1403B,1457B,1874B,1880B,2432B 'surfac':1101B 'surround':256B,1513B 'sweep':1040B 'swift':1057B 'system':2433B 'take':1154B,2592B 'talk':1572B,2057B 'tapestri':1600B 'taught':1229B 'teach':129B,283B,513B,2284B 'teacher':274B 'technolog':134B 'thank':2182B 'theater':566B 'theme':1260B 'thing':428B,999B,1091B,1182B,1202B,1318B,1361B,1414B,1983B,2281B,2366B,2573B 'think':153B,525B,612B,985B,1233B,1678B,2000B,2009B,2078B,2522B,2562B 'thought':889B,941B,1029B,1776B 'throw':2460B 'tickl':1720B 'time':61B,661B,1095B,1499B,1945B,1958B,2098B,2377B 'titl':900B,932B,1971B 'togeth':1904B 'tool':680B 'top':1435B 'total':1719B,2161B,2477B 'touch':835B 'tragedi':2483B 'train':276B,1027B 'traumat':2426B 'travers':1553B,1670B 'tri':294B,423B,436B,2280B 'tumultu':2194B 'turn':1409B,1596B 'type':377B,383B,719B,863B 'uic':1384B 'understand':1079B,1207B,1216B 'univers':113B 'unusu':706B 'use':677B,1778B,2167B 'utilitarian':1684B,1736B 'valu':158B,946B,1252B 'vari':16B,365B,2613B 'varieti':506B 've':554B,1341B,1936B,2147B,2272B 'view':178B 'visual':100B 'voraci':573B 'walk':1612B,1646B,1666B 'wall':1594B,1758B 'want':849B,1354B,1366B,1463B,1548B,1560B,1588B,1603B,1832B,2055B,2309B,2335B,2388B,2512B,2558B,2565B 'warehous':1313B 'warm':45B 'warn':896B 'way':543B,1058B,1113B,1213B,1815B,1847B,1884B,1920B,2051B,2084B 'websit':1962B 'weird':1925B,2305B 'west':653B 'whatev':2552B 'window':2265B 'without':1068B 'woodwork':121B,368B,396B 'wool':1475B 'work':142B,269B,285B,496B,557B,569B,592B,633B,703B,721B,727B,740B,768B,772B,852B,949B,996B,1084B,1142B,1242B,1328B,1485B,1580B,1618B,1876B,1903B,2109B,2214B 'workplac':1248B 'workshop':2540B 'world':162B,765B,822B,875B 'worst':679B 'worth':2343B 'would':1224B,1819B,1967B,1975B,1986B,2030B,2046B,2053B 'wow':1792B 'write':1901B,1942B,1953B,1987B,2080B 'writer':1895B,1914B 'wrote':86B 'yeah':199B 'year':225B,325B,339B,453B,2143B,2195B,2238B 'yes':2404B,2413B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788961816/q8i9yimdkrhqptwlczmp.jpg","editor_pick":true},{"id":13766,"title":"Anticipating a Season of Art: Five to Talk to – Debra Kerr","excerpt":"","body":"<p>Fall offers a full slate of exhibitions across galleries and museums throughout the Midwest.&nbsp;Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next.</p><p><br></p><p><em>The following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition&nbsp;</em><a href=\"https://835ba3.myshopify.com/\" rel=\"noopener noreferrer\" target=\"_blank\"><em>click here.&nbsp;</em></a></p><p><br></p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789516769/izokunnmrufdyjbjnypk.jpg\"></p><h4><em>Debra Kerr –&nbsp;</em></h4><h4><em>CEO, Intuit Art Museum</em></h4><p><br></p><p>“Intuit Art Museum’s renovated, expanded spaces give audiences the chance to connect with art through daily art-making, third Thursday Art After Work, group Slow Looks designed to provide a mindful experience with a single work and upcoming conversations with sculptor Bill Brady (Oct. 3) and Dr. Mary Trent (Oct. 15), who curated our current exhibition on the role of scrapbook-making in Henry Darger’s art.&nbsp;</p><p><br></p><p>On view is the thought-provoking <em>Monumental: The Sculpture of Dr. Charles Smith</em>, which encourages guests to consider the lack of historical representation of African Americans and Black people in America. Dr. Smith’s memorials champion Black history and stories of everyday life he sees missing in mainstream narratives.&nbsp;</p><p><br></p><p>This fall we’re opening an exhibition of paintings by Karla Wong, an artist who immigrated from Oaxaca and who explores themes of life and death, gender identity and self-discovery.”</p><p><br></p><p><a href=\"https://art.org\" rel=\"noopener noreferrer\" target=\"_blank\">Intuit Art Museum</a></p>","published_at":"2026-09-09 00:30:00","state":"published","slug":"anticipating-a-season-of-art-five-to-talk-to-debra-kerr","type":null,"meta_description":"","text":null,"created_at":"2026-09-15 23:59:29.662","updated_at":"2026-09-15 23:59:29.662","category_id":3,"highlighted":false,"searchable":"'15':146B '2026':76B '3':140B 'across':19B 'african':189B 'america':195B 'american':190B 'anticip':1A,60B 'appear':71B 'art':5A,92B,95B,108B,112B,116B,163B,247B 'art-mak':111B 'artist':39B,227B 'audienc':102B 'behind':26B 'bill':137B 'black':192B,201B 'bradi':138B 'bring':41B 'ceo':90B 'cgn':73B 'champion':200B 'chanc':104B 'charl':176B 'click':86B 'communiti':33B 'connect':106B 'consid':182B 'convers':69B,134B 'copi':81B 'curat':148B 'current':150B 'daili':110B 'darger':161B 'death':239B 'debra':10A,88B 'design':122B 'discoveri':245B 'dr':142B,175B,196B 'edit':85B 'encourag':179B 'everyday':206B 'excit':54B 'exhibit':18B,151B,220B 'expand':99B 'experi':127B 'explor':234B 'fall':12B,75B,215B 'five':6A,50B,68B 'follow':63B 'fresh':42B 'full':15B 'galleri':20B 'gender':240B 'give':101B 'group':119B 'guest':180B 'henri':160B 'histor':186B 'histori':202B 'ident':241B 'immigr':229B 'insid':51B 'intuit':91B,94B,246B 'karla':224B 'kerr':11A,89B 'lack':184B 'life':207B,237B 'look':121B 'magazin':77B 'mainstream':212B 'make':113B,158B 'mani':29B 'mari':143B 'memori':199B 'midwest':25B 'mind':126B 'miss':210B 'monument':171B 'museum':22B,93B,96B,248B 'narrat':213B 'next':61B 'oaxaca':231B 'oct':139B,145B 'offer':13B 'one':66B 'open':218B 'paint':222B 'peopl':30B,193B 'perspect':43B 'preview':64B 'print':84B 'provid':124B 'provok':170B 'public':46B 're':217B 'receiv':79B 'renov':98B 'represent':187B 'role':154B 'scene':28B 'scrapbook':157B 'scrapbook-mak':156B 'sculptor':136B 'sculptur':173B 'season':3A 'see':209B 'self':244B 'self-discoveri':243B 'singl':130B 'slate':16B 'slow':120B 'smith':177B,197B 'space':100B 'spoke':48B 'stori':204B 'support':38B 'talk':8A 'theme':235B 'third':114B 'thought':169B 'thought-provok':168B 'throughout':23B 'thursday':115B 'tireless':36B 'trent':144B 'upcom':133B 'view':165B 'wong':225B 'work':35B,118B,131B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788406120/wgkj5rkg0rq42watsxad.jpg","editor_pick":true}]}