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Douglas Dawson Gallery is a serene art destination hidden behind a steel entry wall off of Morgan St. in the heart of the Chicago's meat packing district. When you walk up the stone walkway under the cover of the wood trellis you are aware that you are about to enter a gallery unlike any other in the city. The gallery turns 30 at the end of this year, and for the occasion gallery directors and partners Doug Dawson and Wally Bowling spent some time over tea one rainy summer morning to talk about running a contemporary gallery that deals in ethnographic art and ancient artifacts. Unique challenges face them as they try to reach the next generation of collectors while managing new realities of sourcing and authenticity, but the two have relied on experience and perspective to get them where they are today. - GV
\r\n","body":"Douglas Dawson Gallery is a serene art destination hidden behind a steel entry wall off of Morgan St. in the heart of the Chicago's meat packing district. When you walk up the stone walkway under the cover of the wood trellis you are aware that you are about to enter a gallery unlike any other in the city. The gallery turns 30 at the end of this year, and for the occasion gallery directors and partners Doug Dawson and Wally Bowling spent some time over tea one rainy summer morning to talk about running a contemporary gallery that deals in ethnographic art and ancient artifacts. Unique challenges face them as they try to reach the next generation of collectors while managing new realities of sourcing and authenticity, but the two have relied on experience and perspective to get them where they are today. - GV
Doug Dawson credits his entry into the gallery business to a potent combination of naïveté and terror. 30 years ago, when he moved to Chicago from a political collective in northeast Iowa, Dawson had never been in an art gallery. He admits, \u001cI very naïvely decided to open one. In retrospect it all seems like great strategizing, but in fact it was dumb luck. His timing was also fortunate, since he happened to rent a River North loft space in 1983 when the area was just beginning to buzz. Dawson reflects he was delighted to find himself suddenly in the middle of what was fast becoming the hot contemporary art neighborhood of Chicago.
Today, the gallery has been in the West Loop for seven years. Dawson has seen many changes since opening the gallery three decades ago, but one constant has been the gallery's focus on tribal art. When he first opened he used a contemporary gallery model to hold openings and complementary activities like lectures, as well as thematic exhibitions. Dawson credits this structure with helping him reach a larger, more energized audience of contemporary collectors than just those who collected tribal art. The contemporary juxtaposition, he explains, means that someone who encounters an ancient piece doesn't have to have expert knowledge about Burkina Faso; it doesn't matter if you've never heard of the Ashanti tribe. A new context can dispel insecurities, and, Dawson says, help fill in the gaps later.
To continue to offer new contexts and to keep things fresh, the gallery occasionally showcases contemporary art, working with artists who see the ancient work in new ways – a strategy Dawson explains complements other pieces in the gallery. He says, \u001c\"As much as we need to keep our clients interested we need to keep ourselves interested. In dollars it s a small part of the business, but in interest it generates a lot. It's harder and harder to do shows just on ethnographic art, so this helps fill our openings calendar as well as put older works in a new light.\" Many of Dawson s collectors are also interested in minimalism, conceptual art, even antiques, so parallels are easily found.
Dawson and Bowling cross boundaries in other practical ways as well. Dawson explains, \"We participate in contemporary art fairs –\u0013 we actually prefer them to tribal art fairs. If you interview our collectors most will tell you they're contemporary art collectors. Collecting tribal art has a long and dynamic history that surprises many people. As Dawson says, \"In fact, early French artists were collectors of this material too –\u0013 they were affirmed and inspired by it. Their own art was ratified by it. Interestingly there has been\u0013 a major paradigm change in that relationship. If you look at French artists in 1915 they were looking at tribal art and seeing in it issues they were dealing with in their own art. Today it's just flipped completely - it's understood and evaluated by looking first at 20th Century art. People come in and say 'That looks just like a Giacometti,' for instance. That's how it's validated.\"
All these overlapping interests would seem to indicate a broad audience for tribal art, but Dawson admits that engaging a young audience with this material can be challenging today. He says, \"\u001cThere's less interest in non-western culture. Young people don't travel like our generation did. There's a kind of ambivalence now. And tribal art certainly isn't cool. Someone can spend $200,000 on a pre-Columbian textile, for example, take it home, put it on the wall, have a party, and 98% of the people there will have no idea what it is, let alone how much they've spent. It doesn't make the kind of impact that contemporary art can for people who collect by the numbers. You can't brand it.\"
Another challenge that affects Dawson's market, as well as the antiques market he says, is what he sees going on with interior design. He notes, \"All dealers are loathe to admit that's a really major engine in the art world but it is. Trends in interior design now seem very conservative, very corporate. We hear young people aren't really using interior designers anymore. They buy a loft and put in a TV screen bigger than the house we grew up in, a Crate & Barrel sofa and lots of electronic toys. That's kind of it.\" When asked to think about how much best-selling furniture and art at chain stores appeals to these same transient younger people, Dawson discussed how so many pieces are in fact inspired by, if not copies of, originals from far flung countries or long ago eras. As he sees it, \"If people feel they can obtain an apothecary coffee table that looks like it came from a remote village in South East Asia with the click of a button – and free shipping – why would they seek out a well-traveled dealer who's actually gone to the trouble to procure the real thing from a real village?\" Dealers, and individuals, he points out, used to have to travel much more to pursue such treasures. But Bowling adds that even if you travelled that way, especially on your own, you wouldn't necessarily buy such things anymore. He says, \"So it's kind of a catch-22. When we used to travel more, it was more readily available. You'd get excited about pieces in-situ. People just got excited about the third world, but now it all looks very western. Villagers are wearing t-shirts shipped from the US. There are no ceramics. Instead, you see Michael Jackson's face printed everywhere. It's a different perception of the world now, generally.\"
The number of younger collectors who frequent the gallery is small, but Bowling cites a handful who are new to tribal art. He believes, \u001c\"If you know you want to collect something, pre-Columbian ceramics are amazing. A lot of people think because of the age, prices must be out of reach; we do have to reflect the market, but if you look at what goes at the major auction houses today, these things are much less than contemporary counterpoints, and they have some history.\"
Dawson thinks any younger collector should first be curious. He advises, \"Don't expect to buy right away, but do look and wonder on any kind of level – aesthetic, technical, historical. When we were younger we used to go to so many galleries and just see and absorb. He is frustrated by art students who come in but don't really look at pieces in the gallery. He's lectured classes in the space, only to have no one come back, and he wonders where they are getting their messages. \u001cFor me the ideal is being curious and asking questions, wondering about the people who made these things.\u0013 It broadens my idea of human experience. That's what art is. I think it's important people know about the world.\"
A museum experience is naturally a quite different from the one a gallery provides, especially in a field like tribal art. Locally, Dawson looks to the Art Institute and its excellent collection. He says the head of the department that deals with tribal art is probably the best in the United States, but it still remains a department that has a very low profile in Chicago. He says, \u001c\"There s no energized community around this material here. That affects business. There are some other dealers in Chicago who are participating in the same market that we are, but no one is doing international shows and seeking the same national level. I'm not demeaning anyone, but it would be nice if there were more galleries dealing in this kind of art in order to give people something to compare.\"
These awareness challenges are all the more reason that visitors should be attracted to Dawson's space and unique field. In the gallery visitors encounter prime examples of tribal art as well as moving insights into world history. Bowling, a trained architect himself, points out that the space was designed to look like the houses their clients might have. Small rooms and spaces allow you to discover things. He says, \"There's an intimacy that you don't get in a museum. You can look at a piece here and respond in your own setting.\" Dawson says visitors are invited to come in, touch things, ask an expert questions. It's a rare point of access.
Dawson and Bowling have gone to great distances to give clients that kind of up-close access, traveling the globe to art fairs and remote destinations to bring the best of the world s tribal art to collectors. Their specialty also involves regularly going through hoops. One of the primary obstacles demonstrates how recent issues of our own security have resulted in newer challenges off dealing in tribal art. Dawson says, \"The Patriot Act really has become sort of a nightmare in the art business, where everything is suspect. Dealing with the Federal Government, the Department of Fish and Wildlife and U.S. Customs –\u0013 to get a clarification of what you can and cannot do, it's become almost impossible.\"
Dawson and Bowling say they travel a lot less than they used to, partly because of the recession, and partly because they haven't needed to replace inventory as often. Bowling says they do more domestic travel and less foreign, and that the overseas trips they do take now are more for pleasure. Still, they manage to travel about a quarter of the year, but art fairs largely dictate their schedule and destinations. Recent ventures to South America, Asia, and throughout Africa would make any globetrotter envious. Trips usually involve seeing contacts, visiting museums, and staying up to date with other collections.
Travel is often not when acquisitions are actually made, since as Dawson points out, objects are almost never come from the country of origin. He explains, \"\u001cWe buy things that have impeccable provenance and authenticity, and to do that we must spend a lot of time going through a great deal of steps. We have a good museum business, and it's more and more difficult to sell to museums now because of concerns about provenance and authenticity. For instance, we're more likely to look to buy things from this country or Europe than we are from Mexico or Peru or Indonesia.\"
Authenticity is a serious matter, particularly since Dawson has a strong museum business. \"\u001cNot long ago,\" Dawson says, \"we had a large prehistoric African terra cotta figure and the head had been broken off. In that world of African archeological ceramics there's a lot of forgery - mixing of pieces and reconstructing things. The client wanted to be sure we had the right head for the body. We sent it to a firm in suburban Chicago for a host of tests, like thermoluminescence, which determines when a ceramic was submitted to a certain temperature. Both the head and the body came out equally correct in that test. Then, they ground up samples from both parts and those came out perfectly. They X-rayed. Then, they drilled into a point where the ceramic hadn't gotten hot enough to carbonize organic material, and they found animal hair that had been used as a bonding agent. These pieces are 2,500 years old. They pulled a hair out of the head, and a hair out of the body and did DNA tests. The hairs came from the same female goat. Ultimately they said it was highly likely – the most definitive statement they'll make – that the two parts were made at the same time, from the same lump of clay, by the same person. We will go that far to determine authenticity.\"
Regarding their base in Chicago, Dawson says it's a double-edged sword: \"We do have some Second City syndrome here, where people will prefer to buy things in New York or Paris, particularly in the art world, since that has a sort of cachè. That said we have been here for 30 years. Chicago is a great city that draws a lot of people in for numerous events.\" He admits to a familiar dealer quandary, \"We couldn't survive in Chicago just on Chicago. It's because we've developed a national reputation that we can do what we do here. But I think that's true of everyone. That's what keeps everyone open in this city.\" Dawson says that above all they've enjoyed a great run in Chicago. Most of the obstacles they've faced have in fact been in place from the beginning, and here they still are after three decades. He concludes, \"For our space, this is a protected manufacturing district, so we are able to have this sculpture gallery and to make the gallery a destination. Obviously we could not have all of this in too many other cities.\"
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Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke with five insiders about what excites them now and what they anticipate next.
The following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition click here.
“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.
I have an upcoming solo show with VSG Contemporary 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.
Also, it wouldn’t be right if I left out my excitement for this upcoming season of Chicago sports.”
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961823/s3lp0uull2s8mvd8funj.jpg\")
Andi Crist, Extension Cords, Glazed stoneware, chrome, Sizes vary 2021-present. Photo: Mikey Mosher
This interview is part of CGN's Fall 2026 issue. Purchase a copy or subscribe.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961824/mghrpnghxd9j9ko2dsjt.jpg\")
Andi Crist
BY ALISON REILLY
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.
CGN: You grew up in Birmingham, Alabama. How did that environment shape your point of view as an artist?
Andi Crist: That’s such a funny question. Nobody’s ever really asked.
CGN: Oh, really?
AC: 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.
CGN: Do you identify as a Chicagoan?
AC: 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].
CGN: You have a varied art practice—woodwork, ceramics, mold making. What drew you to those types of fabrication methods and that type of art making?
AC: 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?
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.
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.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961825/zzejqwibga5f5wk6einh.jpg\")
Andi Crist, Artist’s Ladder, 2023. Photo: Jeff Perlman
CGN: Thinking about your background as an art handler and preparator—how did you get to the point where you were making work about that experience?
AC: 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.
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.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961826/uv5bysb5fbne30gr5czh.jpg\")
Andi Crist, Fair Warning, 2025.
CGN: The title of your recent exhibition at the Cleve Carney Museum—Live, Laugh, Lo—sorry, not Live, Laugh, Love—Live, Laugh, Labor.
AC: [Laughs] That’s what everybody does.
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?
AC: 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.
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.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961828/gnotyfijabr7e15kb6hm.jpg\")
Andi Crist, 69 Bananas
CGN: Your work, Artist’s Ladder, explores hierarchies, workplace cultures, and institutional values. What experiences shaped your reflections on these themes?
AC: 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?
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 Artist’s Ladder 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.
CGN: I want to ask you about another piece, Five O’Clock Somewhere, 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.
AC: To me 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. 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.
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.
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.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961829/r1zylkwfw9rkw191skdl.jpg\")
Andi Crist, Five O’Clock Somewhere, on display at Live, Laugh, Labor: Thoughts on Usefulness and Other Myths at The Cleve Carney Museum of Art, 2025.
CGN: Oh, wow.
AC: I was like, this is the epitome of compromise! I had to build a structure so that it could hang that way safely.
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.
AC: 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.
CGN: Have you always been a writer? How do your art and writing practices work together?
AC: 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, 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.
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.
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.
CGN: What are you working on right now? What projects do you have coming up?
AC: 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.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961830/kekfqzf9f87fq48juogh.jpg\")
Andi Crist, Single-Use Fireplace, 2025. Photo: Mikey Mosher.
CGN: I’m so sorry to hear that.
AC: 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.
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.
CGN: That makes sense after going through something so traumatic.
AC: 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.
CGN: For your project Coming Soon, are you bringing in other artists?
AC: 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.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961831/gno5dhliwfnzpuaim78s.jpg\")
Andi Crist, Extension Cords, Glazed stoneware, chrome, Sizes vary 2021-present. Photo: Mikey Mosher
Fall offers a full slate of exhibitions across galleries and museums throughout the Midwest. Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke with five insiders about what excites them now and what they anticipate next.
The following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition click here.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1789516769/izokunnmrufdyjbjnypk.jpg\")
“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.
On view is the thought-provoking Monumental: The Sculpture of Dr. Charles Smith, 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.
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.”