{"article":{"id":650,"title":"Life After Art School: Making Transitions and Transactions – Part II","excerpt":"","body":"<html><head></head><body><p><i>Life After Art School is an interview series by a former CGN Intern. The first part was written in 2014.&nbsp;</i></p><p><i>This five-year follow-up is broken up into three parts:&nbsp;</i></p><p><a href=\"https://www.chicagogallerynews.com/news/2019/2/life-after-art-school-five-years-later\"><i>• Life After Art School: Five Years Later</i></a></p><p><a href=\"https://www.chicagogallerynews.com/news/2019/2/life-after-art-school-making-transitions-and-transactions\"><i>• Life After Art School: Making Transitions and Transactions – Part I</i></a></p><p><i>• Life After Art School: Making Transitions and Transactions – Part II (included below)</i></p><p>&nbsp;</p><p>By MEGAN BONKE</p><p><i>As was the case when I wrote the first Life After Art School article for CGN in 2014, I talked to other artists to get their perspectives.&nbsp;</i></p><p><i>My first follow-up interview was with French artist David Twose (read </i><a href=\"https://www.chicagogallerynews.com/news/2019/2/life-after-art-school-making-transitions-and-transactions\"><i>here</i></a><i>).</i></p><p><i>I tried my best not to shy away from questions about financial challenges, and I hope my own story as well as the thoughts and answers from another artist helps others move closer to an understanding of life as a professional artist.&nbsp;</i></p><p><i>My second interview is with a current art student, Wendolyn Sterkel, who has also taken a leap, switching from a traditional, public university to attending art school. Sterkel, originally from Omaha, Nebraska, is the first in her family to go to college. She is currently a student at the School of the Art Institute of Chicago (SAIC).&nbsp;</i></p><p>&nbsp;</p><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721418018/d9lah8kxzysk6c79jjr2.gif\"><figcaption>Wendolyn Sterkel</figcaption></figure><p class=\"lead\">&nbsp;</p><p class=\"lead\">Wendolyn Sterkel, 22, current student at SAIC</p><p>&nbsp;</p><p><strong>Megan Bonke: When did you decide you wanted to be an artist?</strong></p><p>Wendolyn Sterkel: About three years ago I was at community college. I was just about to transfer over the University of Nebraska Lincoln, and I had switched my major from journalism my first year to business my second year, and finally my advisor came up to me and said, “You need to pick a major before you get into the university.” At the time I had taken maybe two art classes — just very basic curriculum kind of stuff — and I said to him, “You know, I’m going to do art.” He responded, “Wendy you’ve only taken two art classes and those were the basic ones.” I said, “Yeah I think I’m just going to do art.” He said, “Are you sure? This is a really big commitment here.” And I said, “Just put down art. We’ll figure it out.”&nbsp;</p><p>And from there I’ve stuck with it. Choosing my major was really spontaneous for me.</p><p><strong>MB: Were you interested in art when you were younger?</strong></p><p>WS: I was on and off, and my mom always told me that it seemed like a hobby. She encouraged me to get more into writing. My mom said, “Look you can be a journalist and actually make money and have a career.” I tried it, and I think after doing it for so long, I got tired of it. But I’ve always had an interest in art.</p><p><strong>MB: What are you currently studying?</strong></p><p>WS: I’m getting my Bachelor in Fine Art at SAIC, focusing primarily in sculpture, such as ceramics. I love to work with clay.</p><p><strong>MB: How many years have to been in college?</strong></p><p>WS: Five.</p><p><strong>MB: How many years do you have left?</strong></p><p>WS: Hopefully one, maybe one and a half, but at least one.</p><p><strong>MB: When did you switch to SAIC? How many years did you have under your belt?</strong></p><p>WS: I had four. So this is my first year, and currently my second semester, at SAIC. I spent two years at community college, followed by two years at the University of Nebraska Lincoln, and I should have two total at SAIC.</p><p><strong>MB: What has been the greatest lesson learned from school/art school?</strong></p><p>WS: I don’t know if I’ve learned anything so far...</p><p><strong>MB: That’s a lesson too.</strong></p><p>WS: It really is about real world knowledge. You can go to school, ace all of your classes, but in the end if you don’t have the experience, it’s not going to get your anywhere. You may have a degree, but if you don’t have jobs, it’s not going to work.</p><p><strong>MB: Do you think anything critical is missing from your curriculum?</strong></p><p>WS: Oh yeah. I wish there was a class on how to be an artist out in the real world, for instance, how do I figure out how to write cover letters and artist descriptions. At least to my knowledge there is no class that teaches you solely how to sell your art or how to be a successful artist out in the real world. That’s the big one. They do teach you how to work, conceptually, but in the end that may not sell your art all the time.</p><p><strong>MB: But you are going to art school. What do you hope to learn while you’re there?</strong></p><p>WS: I just really hope I can learn how to actually make it out in the real world. I guess I want to learn how I could do what I want to do and make a living out of it. That would be amazing. I hope school will teach me that. I’ve had to hustle so far, and it seems like my jobs outside of school have taught me that better.</p><p><strong>MB: What kinds of subsidies/benefits/scholarships have you received for school?</strong></p><p>WS: I have received multiple grants that I’ve had to apply for through university, SAIC, and community college. I have FAFSA. I also have smaller scholarships through the school or third parties and a bunch of loans: a lot of the subsidized and unsubsidized loans.</p><p><strong>MB: So what percentage is covered by scholarships and grants and how much is covered by loans?</strong></p><p>WS: I’d say about 15-20% are scholarships and grants that I don’t have to pay back. Then I’d say FAFSA and the loans pay for 70%.</p><p><strong>MB: So what has been involved in applying for these subsidies/benefits/scholarships?</strong></p><p>WS: Every year I have to apply for the FASFA. That’s means gathering my mother’s taxes and my taxes and filling out this these very extensive forms to ultimately show, 'Hey we’re still not making any money. I still need to borrow money from you guys.' That’s been a hassle, because my mom doesn’t know how to do it. I’m the first generation (first person) to go to college in family. My mom had no idea how to deal with this. So going into my freshman year of college, I had to figure that all out. Now it’s become more routine. I still have to make sure I meet regular deadlines, which is very stressful when I have to get all her tax stuff and all my stuff kind of synchronized. It’s a lot.</p><p><strong>MB: Specifically what kind of financial burdens have you noticed since becoming an art student?</strong></p><p>WS: Supplies. I understand they can’t always supply us. When it comes down to it and you’re trying to make a project and use good material, so it will look decent, you’re going to have to spend the money. I think the most I’ve ever spent in one class was about $300-$400. And unfortunately those were supplies I never had to use again. I &nbsp;spent $200 on paint, which did not include the canvas or the stretchers or brushes or the paint thinner. Then you run out, and they expect you to have more and more and more money for more materials. I’ve spend $300-$400 on a class easily. It can be a big waste. It sucks because I’ve tried to sell it back to other students, and I end up kind of giving it away.</p><p><strong>MB: What about living in the city of Chicago?</strong></p><p>WS: In Nebraska, I was able to have a part time job, go to school, have a social life, and still be able to pay my bills on time. That was easy. As you continue with any school, you have to put in more hours, you get a lot more schoolwork, and you have less time to work a job outside of school. I’m currently in the dorms. I had to take out more loans to afford that so I wouldn’t have to be stressed my first year of Chicago and fail out. Looking at next year, my friends want to move in together. Luckily my roommate, who I’m actually going to move in with next year, her mother is a real estate agent. She is going to buy a condo and rent it out to us. Still rent is going to be $800 to $1000 a month. It’s going to be really hard, and I’m stressed out. I’ve been trying to figure out a job that will correlate with school and still leave me time for projects, which are going to become way more intense. I told my roommates if we could pay $600, I would be the happiest person ever. My roommates are able to work full time jobs, and I’m the only student. Luckily they are able to work with me, and I think that we’ll be able to come to a middle ground.</p><p><strong>MB: What do you do to currently manage your finances?</strong></p><p>WS: I do promo modeling during the summer. Essentially, I get booked for a gig, they train me for 15 minutes, and I have to be on my feet eight to ten hours at a time; but I get paid $30-40 an hour which is amazing. I love it. I did it in Nebraska, and that’s how I would make my money in the summer. Currently, I have two jobs. I work for Color Cocktail Factory and I work for community center in Homan Square, which is only once a week. I’m hoping I can either I can pick up more shifts during the summer, or worse comes to worst, I will apply for a bar job somewhere. I usually will work about two to three jobs during the summer to save up so I won't be as stressed when school starts.</p><p><strong>MB: How many hours do you work during the school year?</strong></p><p>WS: During the school year, 15–20, and that’s really pushing it. I like to keep it fewer than 15 if that is physically possible. Not having to pay bills or rent right now is really easy. Once I get into an apartment, I’m worried about how I’m going to manage those hours and pay bills and find time to work on projects.</p><p><strong>MB: Do think it’s more challenging for you than other students?</strong></p><p>WS: Some students are able to take their schoolwork with them to work. There was a time I was the assistant manager at a bar, and when it was slow I would allow the servers to work on their homework. They would write their papers and do their homework on their computers. I can’t take my stuff anywhere. I can’t come in with a bag of clay and start molding any of my projects on the bar counter or lug around my welding stuff. It really does depend on your medium.&nbsp;</p><p><strong>MB: Do you think your workload is fair?</strong></p><p>WS: Back in Nebraska, I was the only art student amongst all my friends. They were communications, marketing, and psych majors and during finals week they maybe studied three or four hours and call it good. I would be in my room all night working on a project. Because I had projects due or critiques, I would stay in the studio until three in the morning for four nights straight. You have to put the time in because you can physically see what you did. You need 30 maybe 40 hours for a really solid project. It seems unfair, but it’s the life I chose.</p><p><strong>MB: So what are you currently working on?</strong></p><p>WS: Artistically — like nothing at all. The only studio class I’m taking right now is designed objects. At the moment, I’m trying to get my art history out of the way. I was also missing a science credit because they didn’t accept my science credit from my community college. I am taking a 400 level sculpture class “Just for Justice”, but it’s a conceptual, activist class. At the end of the year we have to have ten pictures of a project that we would do. We’re not actually making anything. We have to plan a community project to address a controversial issue, which I am very interested in doing, but I am more of a physical person. I got into the class thinking it would be more physical, and I was a bit disappointed to see that it wasn’t. But I’ll learn something, and maybe I can bring it into my own work and create a piece from it.</p><p><strong>MB: So what are some of your biggest fears and concerns after you graduate?</strong></p><p>WS: Oh God. Here is the panic attack coming.</p><p>I would love to teach for a while. I don’t want to get stuck. I know teachers right now are getting paid very little and they are mistreated horribly. They are the starting point of everything for kids…our future.</p><p>I would love to be able to actually sell my art. I would to like to see if I could sell it and make a living off of it, but at the same time the art community seems is very exclusive and you really need to know the right people. That’s my biggest fear, that I won’t actually be able to do that. But I love teaching; I really do. I love working with children so much. In the end if that’s my fall back, I think I’ll be content.</p><p><strong>MB: What do you plan to do for your first year after school?</strong></p><p>WS: I’d like to teach a little bit and then go back to grad school. That opens up a lot, and I could teach college classes. Grad school is definitely on my list, but I think that I need a break from six years of school and only having a Bachelors Degree. I need a break before people are asking me if I am doctor or something.</p><p><strong>MB: Do you have any bigger future plans?</strong></p><p>WS: No, actually. I’ve never had a future plan on what I even wanted to do. I changed my major three times. I’m not even sure what I’m going to do with this. It makes me horribly stressed, but it also makes me very happy. I know I haven’t hated my life since doing it. In the end, money is money. It comes and it goes, but I’m doing something I like, and I’m paying for all of this out of my own pocket. I’m not putting any strain on my family, which is really a nice feeling. I’m just going to keep going and see what happens.</p></body></html>","published_at":"2019-02-25 11:00:00","state":"published","slug":"life-after-art-school-making-transitions-and-transactions-part-ii","type":"NewsPost","meta_description":"","text":null,"created_at":"2019-02-22 21:03:46.628969","updated_at":"2019-05-16 19:38:26.193739","category_id":4,"highlighted":false,"searchable":"'-20':949B '-40':1590B '1000':1442B '15':948B,1568B,1711B,1726B '20':1712B '200':1211B '2014':30B,93B '22':220B '30':1589B,1972B '300':1196B,1251B '40':1974B '400':1197B,1252B,2055B '600':1494B '70':972B '800':1440B 'abl':1299B,1316B,1505B,1520B,1532B,1788B,2234B,2290B 'accept':2043B 'ace':636B 'activist':2067B 'actual':442B,808B,1406B,2091B,2236B,2288B,2414B 'address':2102B 'advisor':279B 'afford':1371B 'agent':1420B 'ago':242B 'allow':1816B 'also':172B,903B,2034B,2455B 'alway':415B,469B,1148B 'amaz':841B,1595B 'amongst':1895B 'anoth':144B 'answer':142B 'anyth':614B,682B,2093B 'anywher':659B,1842B 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'younger':405B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721767392/sfc4hle97ijenrexbbbm.gif","editor_pick":false,"category_name":"Features"},"related":[{"id":14390,"title":"Duncan Robert Anderson: Messengers and Oracles","excerpt":"","body":"<p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791908054/pegcztkiciiefinhhjcm.jpg\"></p><p><em style=\"color: rgb(136, 136, 136);\">Stargazer (I remember you)</em></p><p><span style=\"color: rgb(136, 136, 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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