{"article":{"id":1536,"title":"Re-discovering the East in the West: Ukrainian Institute of Modern Art","excerpt":"","body":"

Installation view of the UIMA permanent collection

BY ANNA DOBROWOLSKI

Armed with my art gallery guide, mask, and hand sanitizer, I headed out West. West Town, that is. On my mission to rediscover art in a recuperating city, I serendipitously came across the gleamingly white façade of the Ukrainian Institute of Modern Art. Docent Elena Smolynets caught me peeking through the door: “Yes, we are open!” No reservation necessary, I sauntered in. Not only is the UIMA open, it’s also preparing to celebrate 50 years of robust existence.

President Motria Melnyk, curator Adrienne Kochman, and Smolynets—three women who help keep UIMA’s legacy in the heart of Chicago’s Ukrainian Village alive—spoke with me about the UIMA’s history and plans for the future.

Pre-pandemic, the UIMA had an ongoing rotation every six months displaying select works from their permanent collection, which currently houses around 1,200 objects ranging from photography and artifacts to kinetic sculpture. To date the UIMA earned a reputation for having one of the largest collections of Ukrainian art, globally, housing work by Soviet era Ukrainian Non-Conformists such as Alexander Archipenko, Alexis Gritchenko, Mychajlo Andreenko, and other artists of Ukrainian descent. Notably, it features art created by the first generation of artists ever to exhibit with the UIMA, including work by two of its founders: sculptor Konstantin Milonadis and sculptor/painter Mychajlo Urban. It also boasts a growing collection of Chicago-based artists, such as Martin Hurtig, Morris Barazani and Roland Ginzel. Soon (in September) we will be able to appreciate their collection in the context of UIMA’s fast-approaching 50th anniversary.

Mykhajlo Urban, *Pulsating Form*, 1969 Acrylic, light bulbs, steel plates, Gift of Dr. Philip and Mrs. Falk

Now, playing catch up with a pandemic-caused backlog of shows slated for 2020, they are leaving exhibitions up longer for visitors to enjoy in person. During my visit, the permanent collection that would usually inhabit the east gallery space was replaced by 38 paintings from Work, People, Art (WPA): selections from the Works Progress Administration collection of the Illinois State Museum. The label introducing the exhibits of WPA, a child program of President FDR’s New Deal, invites us to “consider whose work and perspectives are missing.” Contrary to all talk about ‘unprecedented times’, there is an uncanny parallel between the work of artists commissioned by the WPA, and the art produced eight decades later. Though there are similarities in context, we are challenged to look deeper and be better: art—then and now— is on the frontline, responding to a shift in values spurred by crisis, social fractures, and economic strife.

Stepping into the west gallery one could relish in Not Afraid, a dual exhibition featuring the abstract, textural sculptural work of Gina Lee Robbins and the bold, expressionist paintings of Janice Elkins. These two self-taught artists hailing form Oak Park regale in the uncertain, and their uninhibited approach to their practice falls in line with the attitudes of the institute’s founding artists.

The U in UIMA

Since its genesis, the UIMA existed as an alternative venue for artists. Following WWII, Konstantin Milonadis and Mychajlo Urban emigrated from Ukraine and met while taking courses at the School of the Art Institute under the GI Bill. While they shared a Ukrainian background, what really drew them together was their love for art that did not fit the status-quo. These artists were experimenting with minimalism, geometric abstraction, and even kinetic media—and it was not just a phase. At the time, they were conscious that these modes of expression were not openly practiced in Ukraine. Curator Adrienne Kochman adds, “When they were working in the late 60s and 70s, Ukraine was still part of the Soviet Union. In the Ukrainian Republic, at least officially, it was forbidden to pursue Western aesthetic modes, such as abstraction, or they would suffer dire consequences such as loss of income or jobs. The official aesthetic, at least in the late 60s, was Soviet socialist realism.” Many of the literary, artistic, and cultural figures who pushed back faced persecution, imprisonment, or death. This “fueled the need to have a safe haven for artists who wanted to work this kind of aesthetic mode outside of Ukraine.”

In Chicago, these artists wanted to explore these ‘modern’ styles without the limitations imposed by larger, often more traditional institutions and sanctioned “academic” styles. To the artists, “Major art institutions like AIC were conservative, and the general feeling was one of ‘If you waited for them to change, they wouldn’t.’”

So, the artists carved out a space for themselves through makeshift art organizations such as the Lion’s Club. The UIMA as we know it was founded through the initiative of prominent doctor and active community member Dr. Achilles and Vera Chreptowsky, and lionhearted artists Konstantin Milonadis and Mychajlo Urban. Thanks to Dr. Achilles and Vera Chreptowsky, who became the patrons, and the efforts of volunteers, the UIMA metamorphosed into a proper institution.

From the onset, the founders were interested in establishing a permanent collection. What started as a way to promote Ukrainian artists born in America or abroad, rapidly evolved into an institution that welcomes all walks of art— and has so for the past 50 years. Of the works they have acquired over the years, Adriene Kochman mentions that “Most donors of the artwork to the collection purchased it directly from the artist, or UIMA did through fundraising and grants specifically awarded for an organization to purchase artwork for its permanent collection. Some of course, were donated directly by the artist.” It is a dream for those studying provenance, and a testament to the close relationship between the artist community and UIMA.

For the 50th anniversary, Kochman hopes to fill both galleries with art from the permanent exhibition so that we can appreciate its scope. Looking ahead, they will continue to welcome all contemporary artists, regardless of nationality: “We will always support Chicago artists! If you have a proposal, please submit it,” says Kochman.

Recent Developments

‘Survived first pandemic’ is just another tick off the list that makes UIMA relevant today in Chicago’s art scene. When the art world was upended over a year ago; staff remained in high spirits. On March 5th, after a mandate caused the institute to shut its doors to the public, they moved their permanent collections to a virtual exhibition space. President Motria, seizing the moment to get creative while taking stock of their collection, created “Corona Story,” to playfully present the artwork set to the upbeat instrumental version of Gloria Gaynor’s classic “I Will Survive.” In addition to uploading videos on the museum’s history to their website, she also created a downloadable activity book for children, complete with QR codes linking to the actual art.

In our Zoom call, she describes her motivation and vision for the Institute, which includes opening up an educational program for young artists. “The founders of the institute not only envisioned an art museum, but also an institution for learning and teaching. Our dream is to incorporate a children’s art center. As an educator, I feel it is important to give young students the opportunities to explore, discover, learn, and express their appreciation and talent for art, enabling them to become life-long art advocates.” says Motria.

Official plans for the 50th anniversary will be announced soon. As ever, plans are tentative, but they will find a way to celebrate and thank all those who made the 50 years possible—artists, patrons, visitors, volunteers. Looking forward, Motria says, “We wait for the day when art exhibition openings, musical concerts, distinguished speakers events, conversations, laughter and energy fills our galleries again.”

For more information about UIMA visit their website

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Stargazer (I remember you)

18\" x 16\" x 1 3/4\"

colored pencil on archival paper, framed with museum glass

photo credit: Nathan Keay

By SUSAN GESCHEIDLE

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.

Anderson is best known as a dedicated artist and a vital behind-the-scenes force at the MCA. His current solo exhibition, Messengers and Oracles, 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.

Stormlight

24\" x 20\" x 1 3/4\"

colored pencil on archival paper, framed with museum glass

photo credit: Nathan Keay

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.

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.

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.

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.

The Hospital Escape

24\" x 20\" x 1 3/4\"

colored pencil on archival paper, framed with museum glass

photo credit: Nathan Keay

Many of these drawings focus on a single, isolated figure. The Hospital Escape (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.

Storm Light (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.

The mood shifts with The Pact (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.

The Silent City (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.

Sunday Morning

20\" x 18\" x 1 3/4\"

colored pencil on paper, framed with museum glass

photo credit: Nathan Keay

A direct tribute to his mother is Sunday Morning (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.

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.

Messengers and Oracles runs through October 23, 2026.

West Town Chamber of Commerce | 1819 W. Chicago Ave., Chicago, IL

Open Monday through Friday, 9:00 AM to 5:00 PM.

Meet the artist for a special book signing on Saturday, October 17, from noon to 4:00 PM.

@DuncanRobertAnderson

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Professor Tony Jones and artist Andy Scott in the Driehaus Museum's Murphy Auditorium on August 29, 2026.

By GINNY VAN ALYEA

“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.

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.

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.

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.

A view of Scott's The Kelpies in Falkirk, Scotland

Scott is best known for The Kelpies, 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.

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 The Kelpies. 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.

Scott during fabrication of the Kelpies

“You need to tough it out,” he shared.

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.

“We drew a line in the sand and said absolutely not,” he recalled.

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 The Kelpies, 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.

For Scott, the response extended beyond visitor numbers. He pointed to “that passion and ownership and pride” among people who had embraced the sculptures.

Queen Elizabeth and Prince Philip visited the Kelpies when the Queen officially opened the Queen Elizabeth II Canal in 2017.

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.

“It was an amazing moment that we could never have predicted,” he said.

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.

Jones shared a photo of the parking lot that Millennium Park and its public art replaced.

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 has a long history in Garfield Park.

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. Dajnowski will quite literally help put a pen back into the poet's hand soon.

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.

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.

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Collectors and artists attend the Not Just Another Pretty Face unveiling at the Hyde Park Art Center.

By JACQUELINE LEWIS

This year, Hyde Park Art Center is hosting the latest installment of Not Just Another Pretty Face (NJAPF). This special experience and exhibition began in the mid-1990s and occurs only every three years.

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.

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.

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.

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.

A commission being unveiled at Hyde Park Art Center

Jackie Lewis: What is the process for artists and patrons to sign up for this experience?

Eric Thompson: 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.

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!

JL: Once artists and patrons are chosen, what does the matchmaking process look like? Is there any process beyond the salons?

Eric Thompson: 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.

JL: What is your role in the process? How does HPAC support both the artists and the patrons?

Eric Thompson: 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.

JL: What aspect of NJAPF do you think has the greatest impact on the Chicago art community?

Eric Thompson: 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.

Sarah Nishiura, Inching

D. Lammie-Hanson, Agility to Surrender, 14k gold on Acrylic (wood panel)

A Word From the Artists

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.

JL: How did you first learn about NJAPF, and how did you become involved?

Sarah Nishiura: 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.

D. Lammie-Hanson: 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.

JL: How has working with NJAPF affected your artistic career? Did it fit within your practice?

Sarah Nishiura: 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.

D. Lammie-Hanson: 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.

JL: What was your experience working with a patron? How did it differ from your usual process?

Sarah Nishiura: 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!

D. Lammie-Hanson: 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.

JL: Since you have participated in NJAPF before, what made you decide to do it again?

Sarah Nishiura: 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!

D. Lammie-Hanson: 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.

Unveiling party attendees at Hyde Park Art Center

From the Collectors

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.

JL: Before NJAPF, did you consider yourself an art collector? Had you ever commissioned a work before?

GV: 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.

JL: Before meeting with the artist, did you have a specific idea for the artwork you wanted?

GV: 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.

JL: What was your experience working with the artist like? Did it feel collaborative?

GV: 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.

JL: Have you continued your relationship with your paired artist?

GV: 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.

JL: Is there anything else you’d like to add about the experience?

GV: 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.

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.

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.

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.

More details at hydeparkart.org/njapf-2026/

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