{"article":{"id":582,"title":"Art to See and Give for the Holidays","excerpt":" A round up of some unique holiday art experiences and gift giving sources this year","body":"<html><head></head><body><p><i>By GINNY VAN ALYEA</i><br>&nbsp;</p><p>With the holiday season in full swing, we came up with an artistic round-up of under-the-radar things to experience as well as share with loved ones in the next few weeks. Beyond just taking selfies with the Art Institute's wreathed lions (though we love them), or, more likely, frantically attempting to cross off your growing list of to-dos, there is a lot of art to see (and of course buy!) which adds creativity and a unique spirit to your holidays.&nbsp;</p><p>Seeking out and appreciating art, and the artists who make it, can give you a special chance to enjoy culture and art this time of year. In this age of shop-from-your-couch from the world's mega companies, buying tickets to area museums and visiting local galleries and studios is an important way to support our vital, creative neighbors who do something independent every day of the year.&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417729/xlgbeolz1aeiynudrxav.png\"><figcaption>Art and Faith of the Creche at LUMA</figcaption></figure><p class=\"lead\"><strong>Seasonal Art for the Holidays</strong></p><p>This winter, the Loyola University Museum of Art will showcase two exhibitions that are festive reasons to visit this small museum in the heart of downtown.&nbsp;</p><p><i>Art and Faith of the Crèche: The Collection of James and Emilia Govan </i>is a perennial favorite. Each year LUMA shares how artists across the globe depict the nativity with clothes, architecture, and figures from their native lands.</p><p>Chicago artist David Lee Csicsko will be featured in <i>The Art of the Season: David Lee Csicsko</i>. In addition to showcasing 20 new color prints, a selection of Csicsko’s black and white series&nbsp;<i>Saints in the Garden</i>&nbsp;(1990- 1997) will be on view.</p><p>On Friday, <strong>November 30</strong> there is a free, public reception for both shows, 5:30-7:30pm. On Tuesday, <strong>December 4</strong> Csicsko will give a talk from 6-7pm at the museum where he will discuss the inspiration, motivation, and process for creating his prints. On <strong>December 8</strong>, you can work with the artist to make your own greeting cards to send to friends and family (1–3pm at LUMA)</p><p><a href=\"https://www.chicagogallerynews.com/organizations/loyola-university-museum-of-art-luma--2\"><strong>Loyola University Museum of Art (LUMA)</strong></a></p><p>820 N. Michigan Ave. Chicago, IL 60611</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417730/nrjoigmww3klxt7t7o8j.jpg\"><figcaption>Mrs. James Ward Thorne.&nbsp;<i>E-14: English Drawing Room of the Victorian Period, 1840–70</i>&nbsp;(detail), about 1937. Gift of Mrs. James Ward Thorne.</figcaption></figure><p class=\"lead\"><strong>Stunning Details in Miniature</strong></p><p>There is no shortage of festivity at the Art Institute of Chicago, but make sure to visit the Thorne Rooms this season, as they are once again getting their seasonal trimmings. Among the most elaborate is the English Drawing Room of the Victorian Period, the only room with a Christmas tree. Now a ubiquitous feature of the season, the Christmas tree, or&nbsp;<i>tannenbaum</i>, was only brought to England from Germany in 1840 with the marriage of Prince Albert to Queen Victoria. The Thorne Room tree and accoutrements are based on a famous engraving of the royal couple and their children surrounding a trimmed and toy-bedecked tree, an image that would forever popularize this holiday fixture.&nbsp;</p><p>Other ornamented rooms include:&nbsp;</p><ul><li>The Virginia Entrance Hall with mistletoe, wreath, and garland</li><li>The French Provincial Bedroom with shoes, or sabots, lined up before the fireplace, a crèche, and puzzle</li><li>The modern-era California Hallway with an Otto Natzler mid-century menorah and box with a dreidel</li><li>The English Great Hall of the Tudor period with a wassailing bowl, yule log, and an essential part of the costuming for that period’s singing and dancing revelers—a mummer’s mask</li></ul><p><a href=\"https://www.artic.edu/exhibitions/9128/holiday-thorne-rooms\"><strong>The Art Institute of Chicago</strong></a></p><p>111 S. Michigan Ave., Chicago, IL 60603</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417731/zzc4wqxfqxhfuz2jeyte.jpg\"><figcaption>Mies van der Rohe's McCormick House</figcaption></figure><p class=\"lead\"><strong>Mies for the Holidays</strong></p><p>The Elmhurst Art Museum's exhibit, <i>McCormick House 1952-59,</i> showcases the recent restoration of Mies van der Rohe’s McCormick House at the museum. Captivating visitors are a series of rooms with classic 1950s furniture inspired by historical photographs of the residence of Robert Hall McCormick III and Isabella Gardner (1952-59), as a means of honoring the original architect and his clients.&nbsp;The exhibition's architects have added more warmth to the historic home through seasonal holiday decor with a minimal, Mid-century focus. &nbsp;</p><p>A family Holiday Party takes place <strong>December 8</strong> from 1-4pm for this month's family day. Enjoy hot cocoa, cookies and hands-on art activities along with a surprise visit from Santa at 2 pm.</p><p><a href=\"https://www.chicagogallerynews.com/organizations/elmhurst-art-museum\"><strong>Elmhurst Art Museum</strong></a></p><p>150 Cottage Hill Rd., Elmhurst, IL 60126</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417732/sdvfnyshnlfteb9lglgo.jpg\"><figcaption>Cornelia Arts Building features more than 40 resident artists.</figcaption></figure><p class=\"lead\"><strong>Meet Your (Gift) Maker</strong></p><p>The Cornelia Arts Building hosts open studios throughout the year, but their December event (on <strong>November 30</strong> from 6-10pm) is a great chance to meet over 40 resident artists in their studios, view hallway guest artist exhibitions, enjoy local food trucks, and of course consider purchasing a work of art directly from the maker. If you need a new year's resolution, make a commitment to bring a friend along to an open studio or gallery night in 2019.&nbsp;</p><p><a href=\"https://www.chicagogallerynews.com/events/cornelia-arts-building-december-open-studios\"><strong>Cornelia Arts Building</strong></a></p><p>1800 W. Cornelia, Chicago, IL 60657</p><p><br>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417732/wjngtabzppmoawekxfdg.jpg\"><figcaption>WMG artists Sandra Bridges, Pamela Callahan and Fran Bull</figcaption></figure><p class=\"lead\"><strong>The Smaller the Better</strong></p><p>Woman Made Gallery marked its 26th Anniversary this year, and in celebration they are hosting a Small Works Exhibition, with an open house taking place <strong>Saturday, December 8</strong>, from 12-4pm. WMG's goal is to cultivate, promote, and support the work of female-identified artists by providing exhibition opportunities, professional development, and public programs that invite discussion about what feminism means today. A visit to their relatively new Pilsen space offers a chance to connect with member artists and also purchase their work.&nbsp;</p><p><a href=\"https://www.chicagogallerynews.com/events/small-works-members-show-2018\"><strong>Woman Made Gallery</strong></a></p><p>2150 S Canalport #4A-3, Chicago, IL 60608</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417733/kmag4euaskhoiddfrucl.gif\"><figcaption>Balloon Dog Salt and Pepper Shakers ($24.95); Andy Warhol sock set ($56.00); Art in Chicago ($65.00)</figcaption></figure><p class=\"lead\"><strong>If It's Art Can We Just Buy More?</strong></p><p>We love shopping at the Museum of Contemporary Art Store all year long, but we feel like we can spend more freely when we're buying things for someone else. I know I don't need a Jeff Koons-inspired set of salt and pepper shakers, or a box of Andy Warhol socks, but someone else does and I bet they will be surprised when they receive them! And of course if you're a member you get a discount.&nbsp;</p><p>Also, 2018 has been a remarkable year for art in Chicago, largely in part because of Art Design Chicago, the expansive cultural collaboration that took place at hundreds of spaces and institutions throughout the area all year. The book about ADC is for sale at the MCA. Picture your gift recipient reading it in their Andy Warhol (or Keith Haring!) socks... &nbsp;While sprinkling salt and pepper on something.&nbsp;</p><p><a href=\"https://www.mcachicagostore.org\"><strong>Museum of Contemporary Art Chicago (MCA) Store</strong></a></p><p>220 E. Chicago Ave., Chicago, IL 60611</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417734/xtktcnl5wuge4mfy3a1k.jpg\"><figcaption>CPC's 29th annual small print exhibition and holiday sale&nbsp;</figcaption></figure><p class=\"lead\"><strong>Go Crazy for Prints</strong></p><p>The Chicago Printmakers Collaborative's 29th Annual International Small Print Exhibition and Holiday Sale is always popular because it's just such a fun and lively event and a chance to see artists actually at work on the presses. It's also a very well-timed occasion to buy art for everyone you know. Kicking off this weekend on <strong>December 1 and 2</strong>, more than 80 artists will have work for sale covering the walls until it's sold. &nbsp;Enjoy some hot spiced cider, artist-made snacks and start collecting affordable prints from the walls while artists attempt to keep up with the mass buying frenzy. Also featuring an artist-made selection of gifts including hand-printed textiles, greeting cards, books, broadsides, pendants and t-shirts.</p><p><a href=\"https://www.chicagogallerynews.com/events/29th-annual-international-small-print-exhibition-and-holiday-sale\"><strong>Chicago Printmakers Collaborative</strong></a></p><p>4912 N. Western, Chicago, IL 60625</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417735/s6zn7lanyc0pjqub6umi.jpg\"><figcaption>Holidays from another era are recalled at the Driehaus Museum</figcaption></figure><p class=\"lead\"><strong>Give An Art History Time Capsule</strong></p><p>A membership to a museum is always a fantastic idea, and this season The Driehaus Museum is enticing gift-givers and new members to share one of Chicago's most unique museums as a gift all year long, since they are offering a 20% discount (with code HOLIDAY). The museum offers an immersive historical and architectural experience to everyone who visits, since the building itself is a restored Gilded Age home that features a permanent collection of period objects and design. In 2019 the museum will be offering a new focus on contemporary art that will tie to the museum's place in history.&nbsp;</p><p>Several festive events for the season are taking place at the museum through mid-December, such as tours of the museum and neighboring historical sites as well as a tea at the Drake Hotel. Santa will make an appearance some time as well. And of course the gift shop offers unique ideas too.&nbsp;</p><p><a href=\"https://www.chicagogallerynews.com/organizations/richard-h-driehaus-museum\"><strong>The Driehaus Museum</strong></a></p><p>Nickerson Mansion, 40 E. Erie, Chicago, IL 60611</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417736/xjmdmktovjnwdve45sug.jpg\"><figcaption>MoCP's Book Bazaar</figcaption></figure><p class=\"lead\"><strong>If You Don't Give Art, Give a Book</strong></p><p>When I particularly covet an artist's work but there is no way in the universe I could ever afford to own a piece, the next best thing is first to meet the artist and then to own a beautiful book about the artist's work. On Thursday,<strong> December 6</strong>, from 5–7&nbsp;pm the Museum of Contemporary Photography (MoCP) will host a special celebration of photography books. Photographers of note, including Barbara Diener, Jess T. Dugan, Dave Jordano, Laura Letinsky, Cecil McDonald, Jr., Melissa Pinney, and Michael Schmelling, will be at the MoCP to discuss and sign their newly released books.&nbsp;</p><p><a href=\"https://www.chicagogallerynews.com/events/holiday-photo-book-bazaar-3ffaad0b-2f21-468e-ae4c-24517ba728e3\"><strong>MoCP</strong></a></p><p>Columbia College Chicago<br>600 S. Michigan, Chicago, IL 60605</p><p>&nbsp;</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417737/i4lrzsnz5sflbrpsdg6y.jpg\"><figcaption>Gene Skala, <i>Shadows and Tall Trees</i></figcaption></figure><p class=\"lead\"><strong>Everything I Need to Know, I Learned in Kindergarten</strong></p><p>If you can't buy it, make it! On Saturday, <strong>December 8</strong> (You're not frantic yet! You can still be organized!) Hofheimer Gallery in Ravenswood is hosting a Holiday Gouache Workshop. The gallery is offering the public the chance to make a holiday picture using gouache. No previous experience required. Learn basic techniques from exhibiting artists. Paint, materials, and refreshments provided. The event is free and all are welcome.&nbsp;</p><p><a href=\"https://www.chicagogallerynews.com/events/holiday-gouache-workshop\"><strong>Hofheimer Gallery</strong></a></p><p>4823 N. Damen, Chicago, IL 60625</p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417738/c1tmyfi6wrduovb2iihi.jpg\"></figure><p class=\"lead\"><strong>Inspire Someone to Become an Art Collector</strong></p><p>Chicago Artists Coalition's Chartwell Collectors Circle, Chartwell Insurance Services and Chubb Personal Insurance, is a dynamic group of both emerging and established collectors who share a strong interest in art and supporting Chicago’s role as an arts capital. As a special CAC membership level, Collectors Circle offers an exclusive calendar of events that broadens members’ knowledge about contemporary arts and culture. The group is regularly invited to exclusive members-only events throughout the year, primarily private collection tours and artist studio tours. Members also receive invitations to VIP events at the Chicago Artists Coalition, including the Benefit Auction Preview at Christie's (held in the spring) and THE ANNUAL Preview Reception (in the fall), amongst other programs. They also receive special access passes to EXPO Chicago, and other Chicago art events throughout the year. $175 per year for individual or $250 per year for household.&nbsp;</p><p><a href=\"http://chicagoartistscoalition.org/programs/chartwell-collectors-circle-0?utm_medium=email&amp;utm_campaign=CAC%20December%202018%20Newsletter&amp;utm_content=CAC%20December%202018%20Newsletter+CID_98e053997d760d8c34849a92b926c439&amp;utm_source=campaign%20monitor&amp;utm_term=Read%20more%20about%20Collectors%20Circle%20Membership\"><strong>CAC Chartwell Collectors Circle</strong></a></p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417739/vuh5i8hg1ik1wwwnp0hl.gif\"></figure><p class=\"lead\"><strong>The Gift of Information</strong></p><p>Time to toot our own horn! Share a <a href=\"https://www.chicagogallerynews.com/print-subscriptions\">print subscription</a> to CGN for 3 issues for $20 a year.&nbsp;</p><p>If you sign up by December 10 and <a href=\"info@chicagogallerynews.com\">get in touch</a> with us, we will mail a 2018 CGN Arts Guide or our fall magazine with a gift certificate to announce your 2019 gift subscription. The new edition will arrive in January.&nbsp;</p><p>CGN has been spreading the spirt of art since the winter of 1982/83, and what began as a four page pamphlet to promote 16 galleries is now a 160 page annual arts guide, a summer as well as fall magazine featuring art news and interviews, and a comprehensive website telling you everything you need to know about art everyday in Chicago and the near-Midwest.&nbsp;</p><p><i>Chicago Gallery News (CGN)</i></p><p>Tel 312 649 0064</p><p>&nbsp;</p><p>We add new events and exhibitions to the <a href=\"https://www.chicagogallerynews.com/events\">CGN Calendar</a> every day, so check it out to discover more holiday art events as well as plan for a new year of art in 2019.&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p></body></html>","published_at":"2018-11-27 00:00:00","state":"published","slug":"artistic-holiday-experiences","type":"NewsPost","meta_description":"","text":null,"created_at":"2018-11-13 20:28:55.887194","updated_at":"2019-01-08 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136);\">18\" x 16\" x 1 3/4\"</span></p><p><span style=\"color: rgb(136, 136, 136);\">colored pencil on archival paper, framed with museum glass</span></p><p><span style=\"color: rgb(136, 136, 136);\">photo credit: Nathan Keay</span></p><p><br></p><p><br></p><p><br></p><p>By SUSAN GESCHEIDLE</p><p><br></p><p>Duncan Robert Anderson has long been a steady presence in the Chicago art scene, carrying an identity that is impossible to miss. He stands well over six feet and is consistently dressed in black from head to toe, complete with boots and a signature wide-brimmed cowboy hat. His silhouette has remained unchanged since he arrived from East Tennessee in 1998, save for his long hair slowly turning grey. Since we first met back in 2002, I have never once seen him out of this attire. Yet whether encountering him at gallery openings or during visits to the Museum of Contemporary Art Chicago, where he works as building operations manager, that imposing visual style is always balanced by an easy, genuine warmth and impeccable manners rooted in his Appalachian upbringing. It’s an unpretentious demeanor that has earned him a quiet, lasting respect across the community.</p><p><br></p><p>Anderson is best known as a dedicated artist and a vital behind-the-scenes force at the MCA. His current solo exhibition, <em>Messengers and Oracles</em>, at the West Town Chamber of Commerce, offers a welcome look into his personal and creative practice. Featuring nineteen drawings, the exhibition focuses heavily on memory and how we are shaped by places and people. The majority of the works were already sold, despite being exhibited outside of a traditional commercial gallery space. Opening night also celebrated the release of his beautiful monograph of the same name, which is now officially available for purchase at the MCA Store. The artwork leans into Anderson’s Appalachian roots, bringing his childhood background into a direct conversation with his decades of lived experience in Chicago.</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791908055/rayhnjclo0ruoorpzkxk.jpg\"></p><p><em style=\"color: rgb(136, 136, 136);\">Stormlight</em></p><p><span style=\"color: rgb(136, 136, 136);\">24\" x 20\" x 1 3/4\"</span></p><p><span style=\"color: rgb(136, 136, 136);\">colored pencil on archival paper, framed with museum glass</span></p><p><span style=\"color: rgb(136, 136, 136);\">photo credit: Nathan Keay</span></p><p><br></p><p>Anderson’s geography isn't just a straight line from the South to the Midwest, though. His marriage has introduced a deep Japanese influence to his life, adding another layer to the work. You can see this cultural mix directly in some of the drawings, portraits of anonymous Japanese figures set against a backdrop of familiar Chicago architecture and cityscapes.</p><p>While Anderson’s drawings have always stemmed from his own life and memories, this newest body of work has a profound focus on loss and grief. The exhibition serves as a tribute to his mother, as Anderson recently reached the exact age she was at her passing. This enduring grief is compounded by the consecutive losses of his dog Smokey, his artistic brother-in-arms Tony Fitzpatrick, and his art hero Don Meckley between 2025 and 2026. In light of these profound losses, his signature technique of mark-making on black paper feels especially fitting, giving these deeply personal images a darker, more forlorn feel.</p><p><br></p><p>Anderson's process makes perfect sense when you understand a love for German Expressionism that dates back to his childhood. In the spirit of that movement, his technique of coloring on black paper makes the bright colors jump, letting his animals emerge directly out of the deep shadows. You can see this dramatic mood across his landscapes and cityscapes—whether capturing weathered old houses, the dark silhouette of the John Hancock Center, or the towering form of the Willis Tower.</p><p><br></p><p>Anderson notes he is a \"huge fan of Symbolism and Romanticism,\" blending those traditions with \"a bit of dream-like revelation and vision\" to create a magical world of his own. He imagines solitary animals as protectors keeping watch over the people and places he has lost. Although only a few pieces on display feature human figures, many drawings are filled with bears, elk, wolves, birds, and dogs. By dropping these creatures directly into man-made settings, he creates a strange visual tension—granting the animals a powerful presence that disrupts an otherwise quiet human environment.</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791908056/qdwc0lceoxzowrdenxfv.jpg\"></p><p><em style=\"color: rgb(136, 136, 136);\">The Hospital Escape</em></p><p><span style=\"color: rgb(136, 136, 136);\">24\" x 20\" x 1 3/4\"</span></p><p><span style=\"color: rgb(136, 136, 136);\">colored&nbsp;pencil&nbsp;on archival paper, framed with museum glass</span></p><p><span style=\"color: rgb(136, 136, 136);\">photo credit: Nathan Keay</span></p><p><br></p><p>Many of these drawings focus on a single, isolated figure. <em>The Hospital Escape</em> (18” x 15”) features a massive elk standing under a glowing streetlamp. This powerful image hints at a wild animal breaking free from an institutional space and stepping out into the city, tapping into timeless themes of survival and freedom.</p><p><br></p><p><em>Storm Light</em> (18” x 15”) shifts into a quieter, more tense atmosphere, focusing on the weathered Victorian house where Anderson lived in the attic while a student at East Tennessee State University. Warm sunlight hits the front steps and grass, bathing the home in a serene beauty that contrasts with the dark, stormy sky. Perched on the peak of the roof is a massive black heron with its wings spread wide—completely dominating the structure as both a menacing hunter and a fierce, protective shield: an oracle keeping watch.</p><p><br></p><p>The mood shifts with<em> The Pact </em>(18” x 15”), created in memory of Fitzpatrick. A well-worn tombstone stands in an overgrown cemetery with a wolf sleeping peacefully in front of it. Rather than feeling ominous or macabre, the image carries a serene beauty, and the sleeping animal brings a gentle ease to Fitzpatrick's passing. Through this peaceful presence at the grave, Anderson cuts through the heavy grief of the exhibition with a rare moment of comfort.</p><p><br></p><p><em>The Silent City</em> (18” x 15”) blends his two worlds through an intentional ambiguity. Featuring a female face rendered in deep purple and adorned with traditional hair ornaments, an anonymous Japanese figure looks directly at the viewer with a calm expression against the dark silhouette of the Willis Tower. Anderson notes she “may or may not be a ghost or emissary,” juxtaposing her against the landmark to seamlessly connect his current life with his family’s heritage.</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791908057/gyuv6oytspfzwatqxxgv.jpg\"></p><p><em style=\"color: rgb(136, 136, 136);\">Sunday Morning</em></p><p><span style=\"color: rgb(136, 136, 136);\">20\" x 18\" x 1 3/4\"</span></p><p><span style=\"color: rgb(136, 136, 136);\">colored pencil on paper, framed with museum glass</span></p><p><span style=\"color: rgb(136, 136, 136);\">photo credit: Nathan Keay</span></p><p><br></p><p><br></p><p>A direct tribute to his mother is <em>Sunday Morning</em> (18” x 15”). Dressed in her Sunday best—a coat, scarf, gloves, and pumps—she stands against a soft blue glow as a white owl swoops toward her. The lights of the John Hancock Center glow as the iconic building rises in the background against a crimson and orange sky. This stunning juxtaposition brings her memory directly into the urban landscape he has inhabited for decades.</p><p><br></p><p>An atmospheric touch to the show is a collaborative sound loop by Paul Deuth. Anderson designed the audio to match the mood of what is on the walls, with Deuth shaping the sounds to be \"dark, magical, and other-worldly.\" It is a beautiful blend of sight and sound that completely pulls the room together. Ultimately, the exhibition stands as a quiet reminder of profound artwork built on real human issues, ignoring the fleeting, superficial trends that too often dictate the whims of the contemporary art world.&nbsp;</p><p><br></p><p>#</p><p><br></p><p><em>Messengers and Oracles</em> runs through October 23, 2026.</p><p><a href=\"https://www.westtownchamber.org\" rel=\"noopener noreferrer\" target=\"_blank\">West Town Chamber of Commerce</a> | 1819 W. Chicago Ave., Chicago, IL</p><p><br></p><p>Open Monday through Friday, 9:00 AM to 5:00 PM.</p><p><br></p><p>Meet the artist for a special book signing on Saturday, October 17, from noon to 4:00 PM.</p><p><a href=\"https://www.instagram.com/DuncanRobertAnderson/\" rel=\"noopener noreferrer\" target=\"_blank\">@DuncanRobertAnderson</a></p><p><br></p>","published_at":"2026-10-13 11:01:52.088","state":"published","slug":"duncan-robert-anderson-messengers-and-oracles","type":null,"meta_description":"","text":null,"created_at":"2026-10-13 16:14:17.525","updated_at":"2026-10-13 16:14:17.525","category_id":4,"highlighted":false,"searchable":"'00':1200B,1204B,1222B '1':15B,313B,680B,999B '15':710B,752B,845B,921B,1024B '16':13B '17':1217B '18':11B,708B,750B,843B,919B,997B,1022B '1819':1189B '1998':94B '20':311B,678B,995B '2002':109B '2025':463B '2026':465B,1183B '23':1182B '24':309B,676B '3/4':16B,314B,681B,1000B '4':1221B '5':1203B '9':1199B 'across':177B,549B 'ad':355B 'adorn':939B 'age':429B 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29, 2026. </span></p><p><br></p><p><br></p><p>By GINNY VAN ALYEA</p><p><br></p><p>“Now in Chicago, we have a tradition of significant public sculptures, not without controversy,” Professor Tony Jones CBE observed during an August 29 conversation with Scottish sculptor Andy Scott OBE at the Driehaus Museum.</p><p><br></p><p>Hosted by Chicago Scots, the evening brought together artists, preservation specialists and members of Chicago’s Scottish community for a dinner and discussion about the cultural and economic importance of public art. It also recognized the restoration underway at the Robert Burns monument in Garfield Park, a gift to Chicago from its Scottish community in 1906.</p><p><br></p><p>Gary Maclean, National Chef of Scotland, prepared an exceptional three-course tasting menu with whisky pairings. Following dinner in the museum’s newly-restored auditorium, Jones and Scott turned to the work behind public sculpture, from securing funding and solving engineering problems to seeing an artwork become part of a community’s identity.</p><p><br></p><p>Jones and Scott met during Scott's student years at the Glasgow School of Art, which Jones then led. A sculptor himself, Jones later served as president of the School of the Art Institute of Chicago and is a Chicago Scots board member.</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791349528/rvcpupuficqwkyfty9to.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">A view of Scott's The Kelpies in Falkirk, Scotland</span></p><p><br></p><p><br></p><p>Scott is best known for&nbsp;<em>The Kelpies</em>, two 100-foot steel horse heads in Falkirk, Scotland, inspired by the Clydesdales that worked along the canals and on the land. Chicago audiences encountered their maquettes on the lakefront during the 2012–13 Chicago Sculpture International exhibition.</p><p><br></p><p>Chicago, of course, offered an example of what ambitious public art could accomplish. Scott recalled using the city’s large-scale artworks as inspiration and to give his client team confidence in the project that became&nbsp;<em>The Kelpies</em>. That confidence was tested, he says. Scott described an eight-and-a-half-year process, prolonged by political impasses and funding difficulties. Some coverage became hostile. As the sculptures began to rise, however, opinions shifted in their favor.</p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791349529/lxnkb4dn3emvbqf3gx9k.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Scott during fabrication of the Kelpies</span></p><p><br></p><p><br></p><p>“You need to tough it out,” he shared.</p><p><br></p><p>At one point, financial pressures prompted suggestions to reduce the sculptures to roughly a third of their intended size, or build only one horse head. Scott and his wife, Hanneke, resisted.</p><p><br></p><p>“We drew a line in the sand and said absolutely not,” he recalled.</p><p><br></p><p>The finished sculptures became a tourism landmark and appeared in campaigns promoting Britain, including advertisements in China and at a London airport. In April 2025, Falkirk Council reported that The Helix, the park home to&nbsp;<em>The Kelpies</em>, had welcomed one million visitors in the preceding year, helping attract business to the area. Over a decade since their construction there are measurable benefits directly attributed to the Kelpies, including a tourism boost to Falkirk of 73% and 1,380 local annual jobs. Falkirk's population is just 40,000 residents. </p><p><br></p><p>For Scott, the response extended beyond visitor numbers. He pointed to “that passion and ownership and pride” among people who had embraced the sculptures.</p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791349529/nswajfhnhzutlhgwqope.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Queen Elizabeth and Prince Philip visited the Kelpies when the Queen officially opened the&nbsp;Queen&nbsp;Elizabeth&nbsp;II Canal in 2017.</span></p><p><br></p><p><br></p><p>Jones described a similar sense of attachment in Chicago. Recalling the opening of Jaume Plensa's Crown Fountain, he noted how quickly children adopted its shallow pool, learning to anticipate the water pouring from the faces on its towers.</p><p><br></p><p>“It was an amazing moment that we could never have predicted,” he said.</p><p><br></p><p>Jones went on to highlight the numbers that back up the impact of Millennium Park and its public art on the City of Chicago. From 2003-2026 the estimated impact is $2.5 billion. The Kelpies have not been in existence quite as long but their impact will last for decades to come. </p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791349530/qsgbquwhl41cwjzefzxn.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Jones shared a photo of the parking lot that Millennium Park and its public art replaced. </span></p><p><br></p><p>*</p><p><br></p><p>Public art was the theme of the evening, and not just because an internationally known artist from Scotland was in Chicago to discuss the Kelpies. The Chicago Scots have their own long history of supporting art that is part of the community. Chicago Scots, founded in 1845 as the Illinois Saint Andrew Society, joined other Scottish organizations in supporting William Grant Stevenson’s Robert Burns monument more than a century ago. Today, the organization is raising funds to supplement the Chicago Park District’s restoration budget and support ongoing maintenance of the ode to Scotland's national poet here in <span style=\"color: rgb(13, 13, 13);\">has a long history in Garfield Park.</span></p><p><br></p><p>Conservator and sculptor Andrzej Dajnowski, who attended the dinner, is in the process of recreating four stolen bronze relief panels that once belonged on the sculpture, as Burns’s missing quill. <span style=\"color: rgb(13, 13, 13);\">Dajnowski will quite literally help put a pen back into the poet's hand soon. </span></p><p><br></p><p>Andrew Schneider, the Park District’s director of historic assets, described its long-term stewardship partnership with Chicago Scots as the first of its kind in the district’s history and one that connects the creation of new landmarks with the responsibility of caring for those Chicago already has so that the public may enjoy art and its impact for the ages. </p><p><br></p><p>#</p><p><br></p><p><em>Publisher's note: Ginny Van Alyea has served on the Chicago Scots Board of Governors since 2009 and also attended the Glasgow School of Art in 2001.</em></p><p><br></p>","published_at":"2026-10-07 00:00:00","state":"published","slug":"from-chicago-to-scotland-the-reach-of-public-art","type":null,"meta_description":"","text":null,"created_at":"2026-10-07 05:05:31.263","updated_at":"2026-10-07 05:05:31.263","category_id":4,"highlighted":false,"searchable":"'-2026':622B '000':498B '1':487B '100':238B '13':270B '1845':710B '1906':121B '2.5':627B '2001':906B '2003':621B '2009':896B '2012':269B '2017':543B '2025':435B '2026':27B '29':26B,54B '380':488B '40':497B '73':485B 'absolut':407B 'accomplish':287B 'adopt':567B 'advertis':425B 'age':879B 'ago':734B 'airport':432B 'along':252B 'alreadi':865B 'also':99B,898B 'alyea':31B,885B 'amaz':586B 'ambiti':283B 'among':517B 'andi':15B,59B 'andrew':715B,817B 'andrzej':774B 'annual':490B 'anticip':573B 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rel=\"noopener noreferrer\" target=\"_blank\">Not Just Another Pretty Face</a> (NJAPF). This special experience and exhibition began in the mid-1990s and occurs only every three years.</p><p><br></p><p>Not Just Another Pretty Face uses a matchmaking program to connect local patrons with artists. During this experience, patrons and artists choose each other, and the artist creates artwork specifically for that patron. Works range from traditional to experimental, depending on the artist chosen and the desires of the patron. At the end of the experience, the pieces are unveiled in an exhibition later this year before being purchased and taken home by the patron.</p><p><br></p><p>This matchmaking process differs from traditional art purchasing. Instead of collectors looking for works that already exist, purchasing them, and moving on, they become part of the artistic process and the work’s origin. Once matched, patrons meet with artists to discuss what they like and what they hope for from the final work, and the artist melds those desires with their own style.</p><p><br></p><p>The process cultivates a sense of generosity between artist and patron as they mutually share themselves and allow each other into their individual worlds. It facilitates lasting relationships that do not often develop naturally in gallery spaces and plays an important role in establishing broader financial support for the artistic community.</p><p><br></p><p>Director of Development Eric Thompson has been with Hyde Park Art Center since 2023, making this his second iteration of NJAPF. As this year’s program nears completion, Thompson offered insight into how the experience comes together.</p><p><br></p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744923/iltm7ht7zujlikhhpjid.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">A commission being unveiled at Hyde Park Art Center</span></p><p><br></p><p><br></p><p><strong>Jackie Lewis: What is the process for artists and patrons to sign up for this experience?</strong></p><p><br></p><p><strong>Eric Thompson:</strong> For the artists, our team begins reaching out to invite them to participate about 18 months before the unveiling. For this iteration, conversations began in late spring 2025. They provide information on their artistic process, image examples of their work, and their commission rate. Our team then publicizes this information on our website and presents the artists at various salons throughout the city.</p><p><br></p><p>Several supporters of the Art Center host NJAPF salons and invite their own guests. Potential patrons learn about the artists and the project at large and express interest with our team. From there, we work to get the commission started!</p><p><br></p><p><strong>JL: Once artists and patrons are chosen, what does the matchmaking process look like? Is there any process beyond the salons?</strong></p><p><br></p><p><strong>Eric Thompson: </strong>Much of the process happens after the salons. Patrons and the Hyde Park Art Center staff discuss artists who have piqued their interest. The HPAC staff sets up studio visits with the artists, giving the patron and artist a chance to meet, learn about each other, and discuss a possible commission. Sometimes artists may meet with multiple patrons through the project, and patrons will visit multiple studios before making a decision. Once a patron and artist agree to work together, the artist begins the work.</p><p><br></p><p><strong>JL: What is your role in the process? How does HPAC support both the artists and the patrons?</strong></p><p><br></p><p><strong>Eric Thompson:</strong> NJAPF is a win-win-win situation for all parties. The patron has the opportunity to meet amazing Chicago artists, receives a unique commissioned work, and has that piece included in a public exhibition at the Art Center. The artist receives payment for the work, has the opportunity to expand their network of collectors, and often pushes their own practice through this process. The Art Center also benefits, as half of the commission serves as a tax-deductible donation that supports our mission to sustain Chicago art and artists.</p><p><br></p><p><strong>JL: What aspect of NJAPF do you think has the greatest impact on the Chicago art community?</strong></p><p><br></p><p><strong>Eric Thompson: </strong>The project itself embodies the mission of the Art Center: it is designed for artists in Chicago to flourish. I think the greatest impact from the program’s ten iterations is the access it has created between artists and patrons. Relationships have been built. It is all about connection—a personal connection to the art and the connection between the artist and the patron. As a staff member, it is a wonderful thing to observe.</p><p><br></p><p><br></p><p class=\"ql-align-center\">*</p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744924/hrzsontqcaqfvocwlay0.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Sarah Nishiura, </span><em style=\"color: rgb(136, 136, 136);\">Inching</em></p><p><br></p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744925/h0b8mudpvkr54bss2yvp.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">D. Lammie-Hanson, </span><em style=\"color: rgb(136, 136, 136);\">Agility to Surrender,</em><span style=\"color: rgb(136, 136, 136);\"> 14k gold on Acrylic&nbsp;(wood panel)</span></p><p><br></p><p><br></p><p><strong><em>A Word From the Artists</em></strong></p><p><br></p><p><em>For a deeper understanding of the experience, artists D. Lammie-Hanson and Sarah Nishiura shared their own perspectives. Both have completed commissions for NJAPF in the past and are currently creating work for this year’s iteration.</em></p><p><br></p><p><strong>JL: How did you first learn about NJAPF, and how did you become involved?</strong></p><p><br></p><p><strong>Sarah Nishiura:</strong> I have been teaching and exhibiting with the Hyde Park Art Center for over 15 years now, and I think it was through this affiliation that I was first invited to participate in NJAPF. I was lucky enough to receive two commissions the first year that I participated, and I think this success led to repeat invitations through the years.</p><p><br></p><p><strong>D. Lammie-Hanson:</strong> I learned about NJAPF through an email invitation from Hyde Park Art Center. After I responded that I was interested, they placed me in their rotation to be presented to their patrons.</p><p><br></p><p><strong>JL: How has working with NJAPF affected your artistic career? Did it fit within your practice?</strong></p><p><br></p><p><strong>Sarah Nishiura: </strong>My favorite thing about NJAPF is the opportunity to step outside my usual practice to try something different. Many of the commissions I have done in the past have involved working with materials given to me by the patron. This presents technical challenges that I wouldn’t normally take on, but I learn so much from stepping outside my comfort zone every few years. I have had continued relationships with patrons, and I have appreciated seeing the commissioned pieces in their homes. There is nothing better than seeing your work be part of someone’s life.</p><p><br></p><p><strong>D. Lammie-Hanson: </strong>The patron trusted me to interpret their direction through my own lens. They gave me the subject and overall intent, and I stayed grounded by making creative choices around composition and focus that matched their goals while keeping my personal approach. Because metalpoint/silverpoint isn’t a widely known medium, working with NJAPF and Hyde Park Art Center helped me present my process to a wider audience. It also strengthened my broader portfolio by giving my work a strong platform and context.</p><p><br></p><p><strong>JL: What was your experience working with a patron? How did it differ from your usual process?</strong></p><p><br></p><p><strong>Sarah Nishiura: </strong>The two patrons came by my studio, and we immediately found we had a lot in common and a lot to talk about. We shared some of our favorite artists, our experiences with travel, our love of craft and nature, and from these conversations they came up with great ideas for jumping-off points for the commission. At the same time, they let me know they really wanted me to have the freedom to go in any direction I wanted with the final piece. This experience only differed from my usual process because it began with conversations with other people rather than the conversation that usually happens in my own head!</p><p><br></p><p><strong>D. Lammie-Hanson: </strong>The patron visited my studio while I was an artist in residence at Little Black Pearl, and we discussed his vision. He chose my silverpoint-on-black/metalpoint technique, and we developed the direction together. This differed from my usual process because I don’t usually enjoy doing commissions, but I enjoyed working with Hyde Park Art Center through this program. After we aligned on the creative direction for the artwork, the patron gave me the freedom to carry out the piece according to my own vision.</p><p><br></p><p><strong>JL: Since you have participated in NJAPF before, what made you decide to do it again?</strong></p><p><br></p><p><strong>Sarah Nishiura:</strong> I love HPAC, and I feel like this is a great program that allows me to support their mission while also giving me a wonderful opportunity to work with collectors I might never meet otherwise. It is a win-win!</p><p><br></p><p><strong>D. Lammie-Hanson: </strong>I enjoyed the opportunity to work with Hyde Park Art Center again. I submitted my interests without knowing which new collectors would be interested, but I was willing to take the chance, and I’m glad I did.</p><p><br></p><p class=\"ql-align-center\">*</p><p><br></p><p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744926/umy0i4utfyykeobpumou.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Unveiling party attendees at Hyde Park Art Center</span></p><p><br></p><p><br></p><p><strong><em>From the Collectors</em></strong></p><p><br></p><p><em>To understand more about another side of the program, Ginny Van Alyea, CGN’s publisher and a past participant of NJAPF, shared her perspective as a patron who commissioned a work by artist Mel Watkin several years ago.</em></p><p><br></p><p><strong>JL: Before NJAPF, did you consider yourself an art collector? Had you ever commissioned a work before?</strong></p><p><br></p><p><strong>GV: </strong>NJAPF appealed to my husband and me because we had bought art separately and together, but we hadn’t commissioned anything. My parents gave us the commission as a wedding gift, so it was especially meaningful.</p><p><br></p><p><strong>JL: Before meeting with the artist, did you have a specific idea for the artwork you wanted?</strong></p><p><br></p><p><strong>GV:</strong> We looked through a lot of artwork before deciding whose work would be the best fit. There were so many choices, but we liked Mel Watkin’s particular focus. It felt like a good fit for creating something that spoke to both of us and our families when we got married.</p><p><br></p><p><strong>JL: What was your experience working with the artist like? Did it feel collaborative?</strong></p><p><br></p><p><strong>GV</strong>: Working with Mel on a piece that was just for us was so cool. We sent images, ideas, and references back and forth. We met for coffee. We gave a little feedback but also listened to what she suggested. It was definitely a collaborative experience, but ultimately it was still the artist who made the art.</p><p><br></p><p><strong>JL: Have you continued your relationship with your paired artist?</strong></p><p><br></p><p><strong>GV</strong>: Yes! A few years later, for a milestone birthday, I commissioned Mel again to make two more works: one about our daughter and one about our son. Now all three works hang together at home.</p><p><br></p><p><strong>JL: Is there anything else you’d like to add about the experience?</strong></p><p><br></p><p><strong>GV: </strong>I know many collectors who have participated in the program more than once, and I can see us doing it again someday. It’s a wonderful chance to work with a local artist while also setting the parameters—like price and size—up front, which is another unique benefit of the program. It’s also terrific to support HPAC and local artists at the same time. While there are some big artist names in the program, NJAPF is also a wonderful way to discover emerging artists.</p><p><br></p><p class=\"ql-align-center\">*</p><p><br></p><p>This year’s unveiling reception will take place on December 11, 2026, from 6:00–8:00 p.m. at Hyde Park Art Center. Following the reception, the artwork will remain on display and will be accompanied by a catalogue documenting the entire process for patrons, artists, and visitors alike.</p><p><br></p><p>The success of NJAPF has extended beyond Chicago, with similar exhibitions adapted in Boise, Indianapolis, Philadelphia, and Salt Lake City. To date, the program has generated more than $2 million in sales. Half of the proceeds go directly to participating artists, while the other half supports Hyde Park Art Center’s programs and mission. With more than 400 works commissioned by over 300 new and established collectors, NJAPF has cultivated an ecosystem of patronage that enables artists to thrive.</p><p><br></p><p>By embracing and encouraging the idea of patronage in contemporary art, NJAPF has built a community of people who value not only finished works of art, but also the creative process behind them. If you missed your opportunity to participate this year, consider becoming a patron for the next iteration.</p><p><br></p><p>More details at <a href=\"https://www.hydeparkart.org/njapf-2026/\" rel=\"noopener noreferrer\" target=\"_blank\">hydeparkart.org/njapf-2026/</a></p>","published_at":"2026-09-18 08:02:07.343","state":"published","slug":"art-matchmaking-hyde-park-art-centers-not-just-another-pretty-face-returns-this-fall","type":null,"meta_description":"","text":null,"created_at":"2026-09-18 15:22:07.165","updated_at":"2026-09-18 15:22:07.165","category_id":4,"highlighted":false,"searchable":"'/metalpoint':1274B '/njapf-2026/':2007B '00':1838B,1840B '11':1834B '14k':751B '15':830B '18':339B '1990s':64B '2':1901B '2023':274B '2025':352B '2026':1835B '300':1935B '400':1930B '6':1837B '8':1839B 'access':698B 'accompani':1859B 'accord':1329B 'acryl':754B 'adapt':1884B 'add':1733B 'affect':918B 'affili':840B 'agil':748B 'ago':1483B 'agre':527B 'align':1310B 'alik':1872B 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