{"article":{"id":1479,"title":"Taking the Temperature in 2021: How Is It Actually Going in Chicago's Art World?","excerpt":"","body":"<html><head></head><body><figure class=\"image\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417661/htd50vdhqvxk7bstbrur.gif\"><figcaption>Haig Aivazian: <i>All of the Lights,</i> installation view, February–March 2021, The Renaissance Society at the University of Chicago, Photo: Useful Art Services<br>&nbsp;</figcaption></figure><p>By GINNY VAN ALYEA</p><p><i>Last fall we asked some local art world figures what their </i><a href=\"https://www.chicagogallerynews.com/news/2020/9/mirror-mirror-on-the-gallery-wall-after-this-year-who-can-predict-2021\"><i>2021 Art World Predictions</i></a><i> might be. At the time I saw two main scenarios that could shape this year: Life with a vaccine, and life without. Fortunately, we are now several months into a remarkable vaccine development effort and rollout, holding tight to all the cautious optimism we can summon. With this progress in mind, I wanted to check in again with the local art community to see how things are actually going.&nbsp;</i></p><p><i>As in the fall my questions seek everyone’s candid response to how they have been faring and to get their best guess at what’s next. Responses are grouped by topic. I am grateful to those who candidly shared their collective wisdom and hopes for the future as we move through another year.</i></p><p>&nbsp;</p><p class=\"lead\">On 2021 vs 2020</p><p class=\"lead\">How are things going for you so far this year?&nbsp;</p><p>&nbsp;</p><p><strong>Catherine Edelman, Catherine Edelman Gallery: </strong>It’s been a very sobering year, as the pandemic forced me to rethink the gallery model.</p><p><strong>Tom McCormick, McCormick Gallery</strong>:<strong> </strong>This year so far is a continuation of last, which was outstanding. We finished the year on par with any normal, good year, even with the gallery essentially closed. Almost all sales were out of town and I became a one-man shipping juggernaut. The FedEx store reserved a private parking spot for me (kidding). Demand for certain work, especially from our estates and most especially by women, is through the roof and we cannot meet demand.&nbsp;</p><p><strong>Julia Nucci Kelly, Asst. Dir. for Marketing &amp; Communications Krannert Art Museum, University of Illinois: </strong>KAM has been open since February. Much of our staff is still working from home, but unlike last year, we’re able to have our major student art exhibitions (MFA and BFA) in person. That feels like progress. KAM is addressing multiple pandemics — not just COVID, but political division, racism and violence, and struggles for our environment — as much as we can through art, including exhibitions like <i>Homemade, with Love: More Living Room</i> that creates and holds space for Black girls, women, and femmes in the museum, providing space to gather and support one another with art space to create. In the community, we’re hosting <i>Pandemics as a Portal to Change</i>, a virtual community exhibition that gathers creative writing, visual art, music, and performance centered on hope, encouraging artists of all kinds to envision what we can make better beyond these struggles and pain.</p><p><strong>Kathleen Waterloo, artist: </strong>2021 has been a whirling continuum of 2020, which proved to be one of my busiest years as an artist. I was very fortunate just prior to COVID-19 to open a solo exhibition in River North at Addington Gallery. The following week Mayor Lightfoot put the city in lockdown. My studio is isolated, so I was able to continue working almost daily on projects while maintaining social distancing. Currently I’m juggling works for a solo exhibition late 2021 at Circa Gallery in Minneapolis, in addition to a few commissions. As an artist during this bizarre time in our society, I am feeling very blessed.</p><p><strong>Karsten Lund, Curator:</strong> I don’t have a simple answer, but I’ve felt grounded by my work at the Renaissance Society throughout everything. I’m grateful to be at a nimble, resilient institution, and it has been energizing to be working very closely with a number of artists during the past year, even if most of our conversations have been over Zoom.</p><p>At the Ren, we’ve been still able to do a lot, even against such headwinds. I keep returning to the fact that we have a strong close-knit team, and even before the pandemic our museum has been designed to really channel our resources towards our program and artist’s projects, which has made all the difference in a hard year like this.&nbsp;</p><p>&nbsp;</p><p class=\"lead\">WORKING – OR NOT WORKING – WITH CLIENTS</p><p class=\"lead\">Have you been able to engage relatively well with current and new clients or patrons?&nbsp;</p><p>&nbsp;</p><p><strong>Catherine Edelman: </strong>Many of our regular clients have stayed home, unwilling to venture to the gallery. But e-blasts, Zooms, etc. have helped us maintain a connection. Now that we are open by appointment only, new clients have emerged. I think the fact that they can have a private experience has been very powerful.</p><p><strong>Tom McCormick: </strong>Yes. One advantage to doing this for nearly 50 years is that you know a lot of people and they know you. A good reputation is the best thing one can develop, full stop, to weather any storm.</p><p><strong>Julia Nucci Kelly: </strong>Yes — our community has embraced the idea that the museum can be a safe in-person activity, and we know KAM plays a role in wellness both on campus and in Champaign-Urbana. Through our virtual programs, we’ve been able to engage a far broader geography vs. in person only. We know virtual programs are a different experience, but we are coming to understand that they supplement what we do in person and make arts programming more accessible.</p><p><strong>Kathleen Waterloo: </strong>Thanks to email, cell phones, the internet, and Zoom I’ve been able to engage with current and new clients in addition to gallerists quite well. Most are familiar with my work already, so communicating size, color preferences, budget, etc. are fairly easy to discuss. Digital images of a site, wall location, and surrounding space further helps a successful end result.&nbsp;</p><p><strong>Karsten Lund: </strong>Some projects, such as publications, can adapt relatively easily to working from home. We finished a 400-page book with LaToya Ruby Frazier this winter, which I still draw inspiration from. Now I’m working on a monograph with Kevin Beasley coming out later this year.&nbsp;</p><p>It’s required accepting a lot of uncertainty and brought new challenges, for sure, but I’ve also opened three exhibitions this year, at least for more limited in-person audiences. That includes solo shows by Haig Aivazian and Jill Magid, and in ways that speaks volumes to their own resilience, both artists produced ambitious new works.&nbsp;</p><p>We’ve taken this as a time to experiment too. As we’ve shifted to online talks and virtual exhibition tours, and also debuted a new digital platform, Renaissance TV, we’ve had viewers tuning in from many different countries, with great attendance. We will carry that forward and keep exploring these expanded possibilities for a global audience, or those who can’t visit us, even as we return to in-person programming.</p><p>&nbsp;</p><p class=\"lead\">IT’S STILL HARD...</p><p class=\"lead\">What challenges remain for you and your business/space since the pandemic began last spring?&nbsp;</p><p>&nbsp;</p><p><strong>Catherine Edelman: </strong>Creating engagement. Art fairs were a critical part of our business model. It’s been a challenge to introduce new work/artists without that network.&nbsp;</p><p><strong>Tom McCormick: </strong>Even though we are selling well I feel sorry for our contemporary artists (as opposed to the dead ones) as their exhibitions are not well attended. Even when attendance does not equate to sales it is still a great time for friends, family and interested collectors to see the stuff, and COVID has put a lid on a lot of that,</p><p><strong>Julia Nucci Kelly: </strong>I think holding our communities together and supporting one another are our biggest tasks ahead. We’re working hard to make every aspect of the museum’s work accessible to all, and our Curator of Academic Programs Liza Sylvestre is a leader for our staff in that area. We’re also looking forward to when we can do robust school and family programming again as well, so charting the path forward and doing it together in a way that is inclusive and just is an important challenge for us to meet head on.</p><p><strong>Kathleen Waterloo: </strong>Since many galleries temporarily went online and others, sadly, closed their doors due to COVID-19’s economic impact, a few galleries now show my work online only. My work is best viewed in person. If a potential client is only viewing my work digitally some things get lost in the translation – the translucency of the encaustic medium, intimate details that are lost due to the small scale of a cell phone or computer screen, and the experience of seeing the artwork itself which is an ‘object’ in its own right.&nbsp;</p><p><strong>Karsten Lund: </strong>Certain challenges have been unavoidable but we were able to work around them, such as the fact that artists mostly haven’t been able to come on site to install. But more importantly, I think we need to be responsive to the widely varied challenges and hardships different people are facing this year, whether artists, our audiences, or our collaborators. Care feels like an important word and a way of being, more than ever, now and into the future. I continue asking myself how as curators we can meet our moment and what are the best ways we can support artists’ work as our larger contexts shift and so many pressures continue.</p><p>&nbsp;</p><figure class=\"image image-style-side\"><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1721417662/qoaswcuammt86rewbt45.gif\"><figcaption>Kathleen Waterloo, <i>Texter Road Revisited</i>, 2020, Encaustic on panel18” x 18”, courtesy Addington Gallery. Photo by Tom Van Eynde</figcaption></figure><p class=\"lead\">WHAT ABOUT ARTISTS?</p><p class=\"lead\">How are your artists – or your contemporaries – doing?&nbsp;</p><p>&nbsp;</p><p><strong>Catherine Edelman: </strong>I started a monthly Zoom meeting with my artists, in an effort to bring everyone together. It’s been an amazing experience for everyone, as we work together to advance the mission of CEG.</p><p><strong>Kathleen Waterloo: </strong>Ex-studiomates and artist friends stay in touch and we give each other critiques, opinions, moral support and pep talks. We like each other’s social media posts. It’s all been vital during the past year. Early during COVID–19 some artists were locked out of their studio buildings for months – a devastating blow. Those who had studio access and continued working did so diligently; it was the fuel needed to keep them going mentally. Most were prolific. Now many of us are also prepared to face the future with a toughened stamina, honed during this pandemic. I’ve seen a few artists, not previously working, who have emerged from isolation producing new and ridiculously stunning work that comes from being either on lockdown, in fear, actually sick, or recovering from 24/7 child care and home schooling – a situation which has affected many artists and non-artists alike. They are exploding with creativity and waiting impatiently to rock the town.&nbsp;</p><p><strong>Tom McCormick: </strong>The dead ones are still dead, but thriving in the market! My living artists, mostly from Chicago, seem to be getting on OK, at least they are not complaining to me.</p><p><br>&nbsp;</p><p class=\"lead\"><i>IF THE GLASS IS HALF FULL IS IT ONLY BECAUSE YOU’VE BEEN DRINKING?</i></p><p class=\"lead\">What are you optimistic about?&nbsp;</p><p>&nbsp;</p><p><strong>Catherine Edelman: </strong>December in Miami. I believe collectors are hungry to see art in person, and the art fairs in Miami will be a barometer of the return to some semblance of normalcy.</p><p><strong>Amy L. Powell, Krannert:</strong> We are excited to reunite with objects and continue to build community in our spaces. In addition to <i>A Question of Emphasis: Louise Fishman Drawing </i>opening this fall with questions of queer feminist drawing and abstraction, we’re opening <i>Crip*</i>, a group exhibition and symposium curated by Liza Sylvestre that addresses disability and intersectional thinking. Things cannot “go back to normal,” and we are excited to center artists and our audiences to figure out ways of transformation, together. We’re optimistic about the lessons we learned for virtual content and programming, and hope to take those forward.</p><p><strong>Kathleen Waterloo: </strong>Galleries, museums and even art fairs will fully reopen their doors in the near future. Perhaps a few precautionary measures from COVID–19 will remain, but I’m eager to see public space become just that again, with people able to become the social animals they are. I’m still concerned about the galleries that cannot, or won’t, reopen and will only have an online presence. I recognize that for many that digital business model works, and it might be here to stay. The virtual world has been a lifeline for many attempting to keep the arts afloat. I’m hopeful that physical galleries are also here to stay. Fund the arts now – visual, dance, theater, music, film – let’s get them back on their feet.</p><p><strong>Karsten Lund: </strong>I draw so much optimism from artists, and this year is no exception. As much as ever, I’ve been reminded of how they help us see the world differently, almost in real time in some cases. LaToya Ruby Frazier, Haig Aivazian, and Jill Magid’s projects will all stay with me in that way.</p><p>Maybe most of all though, this feels like a moment when so many things have the potential to be recalibrated, for museums and other institutions and in our individual lives. Change feels possible when it comes to systemic racism, inequality, accessibility, and our looming climate crisis, though that work will have to carry on long beyond this year.</p><p><strong>Tom McCormick: </strong>Oh, I’m very optimistic about everything. While many, many people were devastated economically by COVID, many collectors and others with financial means have been willing to spend more than ever. This will surely level out once things return to some sort of normal, but something good is always just around the corner.&nbsp;</p><p>That from Mr. Rose Tinted Glasses!&nbsp;</p><p>&nbsp;</p></body></html>","published_at":"2021-05-14 12:00:00","state":"published","slug":"taking-the-temperature-in-2021-how-is-it-actually-going-in-chicago-s-art-world","type":"NewsPost","meta_description":"","text":null,"created_at":"2021-05-14 17:57:23.782172","updated_at":"2021-05-14 17:58:30.342175","category_id":4,"highlighted":false,"searchable":"'-19':489B,1358B '18':1558B '19':1657B,1989B '2020':184B,468B,1553B '2021':5A,26B,54B,182B,461B,540B '24/7':1749B '400':976B '50':781B 'abl':334B,518B,637B,704B,856B,909B,1444B,1459B,2006B 'abstract':1903B 'academ':1283B 'accept':1009B 'access':894B,1276B,1676B,2191B 'activ':831B 'actual':9A,125B,1744B 'adapt':966B 'addington':499B,1560B 'addit':547B,918B,1884B 'address':353B,1918B 'advanc':1609B 'advantag':775B 'affect':1759B 'afloat':2065B 'ahead':1262B 'aivazian':17B,1044B,2137B 'alik':1766B 'almost':250B,522B,2126B 'alreadi':929B 'also':1023B,1086B,1298B,1701B,2073B 'alway':2259B 'alyea':42B 'amaz':1600B 'ambiti':1061B 'ami':1864B 'anim':2011B 'anoth':179B,407B,1257B 'answer':576B 'appoint':750B 'area':1295B 'around':1447B,2261B 'art':14A,37B,49B,55B,118B,308B,340B,376B,409B,434B,891B,1160B,1843B,1848B,1971B,2064B,2079B 'artist':442B,460B,480B,554B,615B,680B,1059B,1196B,1454B,1490B,1536B,1569B,1573B,1588B,1620B,1659B,1720B,1761B,1765B,1794B,1935B,2102B 'artwork':1424B 'ask':46B,1517B 'aspect':1270B 'asst':302B 'attempt':2060B 'attend':1106B,1209B,1212B 'audienc':1037B,1121B,1492B,1938B 'back':1926B,2090B 'baromet':1855B 'beasley':1000B 'becam':259B 'becom':2000B,2008B 'began':1153B 'believ':1837B 'best':148B,800B,1374B,1531B 'better':452B 'beyond':453B,2206B 'bfa':344B 'biggest':1260B 'bizarr':557B 'black':392B 'blast':735B 'bless':566B 'blow':1671B 'book':978B 'bring':1593B 'broader':861B 'brought':1015B 'budget':935B 'build':1666B,1878B 'busi':1168B,2041B 'busiest':476B 'business/space':1149B 'campus':843B 'candid':136B,165B 'cannot':296B,1924B,2022B 'care':1496B,1751B 'carri':1109B,2203B 'case':2132B 'catherin':195B,197B,716B,1156B,1578B,1831B 'cautious':99B 'ceg':1613B 'cell':900B,1413B 'center':438B,1934B 'certain':279B,1436B 'challeng':1017B,1143B,1174B,1334B,1437B,1480B 'champaign':847B 'champaign-urbana':846B 'chang':424B,2181B 'channel':673B 'chart':1315B 'check':112B 'chicago':12A,34B,1797B 'child':1750B 'circa':542B 'citi':508B 'client':700B,713B,722B,753B,916B,1381B 'climat':2195B 'close':249B,610B,658B,1352B 'close-knit':657B 'collabor':1495B 'collect':168B 'collector':1229B,1838B,2228B 'color':933B 'come':878B,1001B,1461B,1736B,2186B 'commiss':551B 'communic':306B,931B 'communiti':119B,415B,427B,816B,1252B,1879B 'complain':1809B 'comput':1416B 'concern':2017B 'connect':743B 'contemporari':1195B,1576B 'content':1956B 'context':1541B 'continu':227B,520B,1516B,1547B,1678B,1876B 'continuum':466B 'convers':625B 'corner':2263B 'could':69B 'countri':1103B 'courtesi':1559B 'covid':358B,488B,1235B,1357B,1656B,1988B,2226B 'creat':387B,412B,1158B 'creativ':431B,1771B 'crip':1907B 'crisi':2196B 'critic':1164B 'critiqu':1630B 'curat':569B,1281B,1521B,1913B 'current':530B,710B,913B 'daili':523B 'danc':2082B 'dead':1201B,1782B,1786B 'debut':1087B 'decemb':1833B 'demand':277B,298B 'design':670B 'detail':1402B 'devast':1670B,2223B 'develop':90B,804B 'differ':688B,873B,1102B,1483B,2125B 'digit':942B,1090B,1387B,2040B 'dilig':1682B 'dir':303B 'disabl':1919B 'discuss':941B 'distanc':529B 'divis':361B 'door':1354B,1977B 'draw':988B,1892B,1901B,2097B 'drink':1825B 'due':1355B,1406B 'e':734B 'e-blast':733B 'eager':1995B 'earli':1654B 'easi':939B 'easili':968B 'econom':1360B,2224B 'edelman':196B,198B,717B,1157B,1579B,1832B 'effort':91B,1591B 'either':1739B 'email':899B 'embrac':818B 'emerg':755B,1726B 'emphasi':1889B 'encaust':1399B,1554B 'encourag':441B 'end':956B 'energ':605B 'engag':706B,858B,911B,1159B 'environ':369B 'envis':447B 'equat':1215B 'especi':281B,287B 'essenti':248B 'estat':284B 'etc':737B,936B 'even':244B,620B,642B,662B,1129B,1184B,1210B,1970B 'ever':1509B,2112B,2241B 'everi':1269B 'everyon':134B,1594B,1603B 'everyth':590B,2217B 'ex':1617B 'ex-studiom':1616B 'except':2108B 'excit':1870B,1932B 'exhibit':341B,378B,428B,494B,538B,1026B,1083B,1205B,1910B 'expand':1116B 'experi':766B,874B,1072B,1420B,1601B 'explod':1769B 'explor':1114B 'eynd':1566B 'face':1486B,1704B 'fact':651B,759B,1452B 'fair':938B,1161B,1849B,1972B 'fall':44B,130B,1895B 'famili':1226B,1309B 'familiar':925B 'far':192B,224B,860B 'fare':143B 'fear':1743B 'februari':24B,318B 'fedex':267B 'feel':348B,564B,1191B,1497B,2157B,2182B 'feet':2093B 'felt':580B 'feminist':1900B 'femm':396B 'figur':51B,1940B 'film':2085B 'financi':2232B 'finish':234B,974B 'fishman':1891B 'follow':502B 'forc':210B 'fortun':80B,484B 'forward':1111B,1300B,1318B,1964B 'frazier':982B,2135B 'friend':1225B,1621B 'fuel':1686B 'full':805B,1817B 'fulli':1974B 'fund':2077B 'futur':174B,1514B,1706B,1981B 'galleri':199B,215B,220B,247B,500B,543B,731B,1345B,1364B,1561B,1967B,2020B,2071B 'gallerist':920B 'gather':403B,430B 'geographi':862B 'get':146B,1390B,1801B,2088B 'ginni':40B 'girl':393B 'give':1627B 'glass':1814B,2269B 'global':1120B 'go':10A,126B,188B,1691B,1925B 'good':242B,796B,2257B 'grate':161B,593B 'great':1105B,1222B 'ground':581B 'group':156B,1909B 'guess':149B 'haig':16B,1043B,2136B 'half':1816B 'hard':691B,1141B,1266B 'hardship':1482B 'haven':1456B 'head':1339B 'headwind':645B 'help':739B,953B,2120B 'hold':94B,389B,1250B 'home':327B,725B,972B,1753B 'homemad':380B 'hone':1711B 'hope':171B,440B,1960B,2068B 'host':418B 'hungri':1840B 'idea':820B 'illinoi':312B 'imag':943B 'impact':1361B 'impati':1774B 'import':1333B,1468B,1500B 'in-person':828B,1034B,1134B 'includ':377B,1039B 'inclus':1328B 'individu':2179B 'inequ':2190B 'inspir':989B 'instal':22B,1465B 'institut':600B,2175B 'interest':1228B 'internet':903B 'intersect':1921B 'intim':1401B 'introduc':1176B 'isol':514B,1728B 'jill':1046B,2139B 'juggernaut':265B 'juggl':533B 'julia':299B,811B,1245B 'kam':313B,351B,835B 'karsten':567B,958B,1434B,2094B 'kathleen':458B,895B,1341B,1548B,1614B,1965B 'keep':647B,1113B,1689B,2062B 'kelli':301B,813B,1247B 'kevin':999B 'kid':276B 'kind':445B 'knit':659B 'know':786B,793B,834B,868B 'krannert':307B,1867B 'l':1865B 'larger':1540B 'last':43B,229B,330B,1154B 'late':539B 'later':1003B 'latoya':980B,2133B 'leader':1289B 'learn':1953B 'least':1030B,1805B 'lesson':1951B 'let':2086B 'level':2245B 'lid':1239B 'life':73B,78B 'lifelin':2057B 'light':21B 'lightfoot':505B 'like':349B,379B,693B,1498B,1638B,2158B 'limit':1033B 'live':384B,1793B,2180B 'liza':1285B,1915B 'local':48B,117B 'locat':948B 'lock':1661B 'lockdown':510B,1741B 'long':2205B 'look':1299B 'loom':2194B 'lost':1391B,1405B 'lot':641B,788B,1011B,1242B 'louis':1890B 'love':382B 'lund':568B,959B,1435B,2095B 'm':532B,592B,993B,1994B,2015B,2067B,2213B 'made':685B 'magid':1047B,2140B 'main':66B 'maintain':527B,741B 'major':338B 'make':451B,890B,1268B 'man':263B 'mani':718B,1101B,1344B,1545B,1697B,1760B,2038B,2059B,2163B,2219B,2220B,2227B 'march':25B 'market':305B,1791B 'mayb':2151B 'mayor':504B 'mccormick':218B,219B,772B,1183B,1780B,2210B 'mean':2233B 'measur':1986B 'media':1643B 'medium':1400B 'meet':297B,1338B,1524B,1585B 'mental':1692B 'mfa':342B 'miami':1835B,1851B 'might':58B,2046B 'mind':108B 'minneapoli':545B 'mission':1611B 'model':216B,1169B,2042B 'moment':1526B,2160B 'monograph':997B 'month':85B,1583B,1668B 'moral':1632B 'most':1455B,1795B 'move':177B 'mr':2266B 'much':319B,371B,2099B,2110B 'multipl':354B 'museum':309B,399B,667B,823B,1273B,1968B,2172B 'music':435B,2084B 'near':780B,1980B 'need':1472B,1687B 'network':1181B 'new':712B,752B,915B,1016B,1062B,1089B,1177B,1730B 'next':153B 'nimbl':598B 'non':1764B 'non-artist':1763B 'normal':241B,1928B,2254B 'normalci':1863B 'north':497B 'nucci':300B,812B,1246B 'number':613B 'object':1429B,1874B 'oh':2211B 'ok':1803B 'one':262B,406B,473B,774B,802B,1202B,1256B,1783B 'one-man':261B 'onlin':1079B,1348B,1369B,2032B 'open':316B,491B,748B,1024B,1893B,1906B 'opinion':1631B 'oppos':1198B 'optim':100B,2100B 'optimist':1829B,1948B,2215B 'other':1350B,2230B 'outstand':232B 'page':977B 'pain':457B 'pandem':209B,355B,419B,665B,1152B,1714B 'panel18':1556B 'par':238B 'park':272B 'part':1165B 'past':618B,1652B 'path':1317B 'patron':715B 'peopl':790B,1484B,2005B,2221B 'pep':1635B 'perform':437B 'perhap':1982B 'person':346B,830B,865B,888B,1036B,1136B,1377B,1845B 'phone':901B,1414B 'photo':35B,1562B 'physic':2070B 'platform':1091B 'play':836B 'polit':360B 'portal':422B 'possibl':1117B,2183B 'post':1644B 'potenti':1380B,2167B 'powel':1866B 'power':770B 'precautionari':1985B 'predict':57B 'prefer':934B 'prepar':1702B 'presenc':2033B 'pressur':1546B 'previous':1722B 'prior':486B 'privat':271B,765B 'produc':1060B,1729B 'program':678B,852B,870B,892B,1137B,1284B,1310B,1958B 'progress':106B,350B 'project':525B,682B,961B,2142B 'prolif':1695B 'prove':470B 'provid':400B 'public':964B,1998B 'put':506B,1237B 'queer':1899B 'question':132B,1887B,1897B 'quit':921B 'racism':362B,2189B 're':333B,417B,1264B,1297B,1905B,1947B 'real':2128B 'realli':672B 'recalibr':2170B 'recogn':2035B 'recov':1747B 'regular':721B 'relat':707B,967B 'remain':1144B,1991B 'remark':88B 'remind':2116B 'ren':632B 'renaiss':28B,587B,1092B 'reopen':1975B,2026B 'reput':797B 'requir':1008B 'reserv':269B 'resili':599B,1057B 'resourc':675B 'respons':137B,154B,1475B 'result':957B 'rethink':213B 'return':648B,1132B,1858B,2249B 'reunit':1872B 'revisit':1552B 'ridicul':1732B 'right':1433B 'river':496B 'road':1551B 'robust':1306B 'rock':1776B 'role':838B 'rollout':93B 'roof':293B 'room':385B 'rose':2267B 'rubi':981B,2134B 'sad':1351B 'safe':827B 'sale':252B,1217B 'saw':64B 'scale':1410B 'scenario':67B 'school':1307B,1754B 'screen':1417B 'see':121B,1231B,1422B,1842B,1997B,2122B 'seek':133B 'seem':1798B 'seen':1717B 'sell':1188B 'semblanc':1861B 'servic':38B 'sever':84B 'shape':70B 'share':166B 'shift':1077B,1542B 'ship':264B 'show':1041B,1366B 'sick':1745B 'simpl':575B 'sinc':317B,1150B,1343B 'site':946B,1463B 'situat':1756B 'size':932B 'small':1409B 'sober':205B 'social':528B,1642B,2010B 'societi':29B,561B,588B 'solo':493B,537B,1040B 'someth':2256B 'sorri':1192B 'sort':2252B 'space':390B,401B,410B,951B,1882B,1999B 'speak':1052B 'spend':2238B 'spot':273B 'spring':1155B 'staff':322B,1292B 'stamina':1710B 'start':1581B 'stay':724B,1622B,2050B,2076B,2145B 'still':324B,636B,987B,1140B,1220B,1785B,2016B 'stop':806B 'store':268B 'storm':810B 'strong':656B 'struggl':366B,455B 'student':339B 'studio':512B,1665B,1675B 'studiom':1618B 'stuff':1233B 'stun':1733B 'success':955B 'summon':103B 'supplement':883B 'support':405B,1255B,1535B,1633B 'sure':1019B,2244B 'surround':950B 'sylvestr':1286B,1916B 'symposium':1912B 'system':2188B 'take':1A,1962B 'taken':1066B 'talk':1080B,1636B 'task':1261B 'team':660B 'temperatur':3A 'temporarili':1346B 'texter':1550B 'thank':897B 'theater':2083B 'thing':123B,187B,801B,1389B,1923B,2164B,2248B 'think':757B,1249B,1470B,1922B 'though':1185B,2155B,2197B 'three':1025B 'thrive':1788B 'throughout':589B 'tight':95B 'time':62B,558B,1070B,1223B,2129B 'tint':2268B 'togeth':1253B,1322B,1595B,1607B,1945B 'tom':217B,771B,1182B,1564B,1779B,2209B 'topic':158B 'touch':1624B 'toughen':1709B 'tour':1084B 'toward':676B 'town':256B,1778B 'transform':1944B 'translat':1394B 'transluc':1396B 'tune':1098B 'tv':1093B 'two':65B 'unavoid':1440B 'uncertainti':1013B 'understand':880B 'univers':32B,310B 'unlik':329B 'unwil':726B 'urbana':848B 'us':740B,1128B,1336B,1699B,2121B 'use':36B 'vaccin':76B,89B 'van':41B,1565B 'vari':1479B 've':579B,634B,854B,907B,1022B,1065B,1076B,1095B,1716B,1823B,2114B 'ventur':728B 'view':23B,1375B,1384B 'viewer':1097B 'violenc':364B 'virtual':426B,851B,869B,1082B,1955B,2052B 'visit':1127B 'visual':433B,2081B 'vital':1649B 'volum':1053B 'vs':183B,863B 'wait':1773B 'wall':947B 'want':110B 'waterloo':459B,896B,1342B,1549B,1615B,1966B 'way':1050B,1325B,1504B,1532B,1942B,2150B 'weather':808B 'week':503B 'well':708B,840B,922B,1189B,1208B,1313B 'went':1347B 'whether':1489B 'whirl':465B 'wide':1478B 'will':2236B 'winter':984B 'wisdom':169B 'without':79B,1179B 'women':289B,394B 'won':2024B 'word':1501B 'work':280B,325B,521B,534B,584B,608B,695B,698B,928B,970B,994B,1063B,1265B,1275B,1368B,1372B,1386B,1446B,1537B,1606B,1679B,1723B,1734B,2043B,2199B 'work/artists':1178B 'world':15A,50B,56B,2053B,2124B 'write':432B 'x':1557B 'year':72B,180B,194B,206B,222B,236B,243B,331B,477B,619B,692B,782B,1005B,1028B,1488B,1653B,2105B,2208B 'yes':773B,814B 'zoom':629B,736B,905B,1584B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721767415/lkj1kvhbuptgnvqki9yu.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 'alreadi':247B 'also':261B 'although':623B 'alway':149B,393B 'ambigu':929B 'anderson':3A,35B,180B,288B,328B,389B,424B,495B,575B,767B,901B,965B,1102B 'anim':535B,610B,662B,727B,885B 'anonym':375B,945B 'anoth':356B 'appalachian':162B,290B 'architectur':385B 'archiv':20B,318B,685B 'arm':453B 'arriv':89B 'art':45B,135B,458B,1174B 'artist':187B,449B,1208B 'artwork':285B,1154B 'atmospher':759B,1089B 'attic':771B 'attir':119B 'audio':1105B 'avail':277B 'ave':1192B 'back':107B,511B 'backdrop':381B 'background':295B,1065B 'balanc':150B 'bath':788B 'bear':638B 'beauti':267B,794B,881B,1132B 'behind':192B 'behind-the-scen':191B 'best':182B,1029B 'bird':641B 'bit':591B 'black':66B,480B,526B,812B 'blend':586B,922B,1133B 'blue':1041B 'bodi':403B 'book':1212B 'boot':73B 'break':728B 'bright':530B 'brim':79B 'bring':292B,886B,1075B 'brother':451B 'brother-in-arm':450B 'build':141B,1061B 'built':1155B 'calm':955B 'captur':555B 'carri':47B,878B 'celebr':262B 'cemeteri':860B 'center':566B,1056B 'chamber':210B,1186B 'chicago':44B,136B,307B,384B,1191B,1193B 'childhood':294B,514B 'citi':739B,918B 'cityscap':387B,553B 'coat':1031B 'collabor':1096B 'color':17B,315B,524B,531B,682B,1001B 'comfort':915B 'commerc':212B,1188B 'commerci':256B 'communiti':179B 'complet':71B,819B,1139B 'compound':439B 'connect':984B 'consecut':442B 'consist':63B 'contemporari':134B,1173B 'contrast':796B 'convers':299B 'cowboy':80B 'creat':600B,655B,846B 'creativ':221B 'creatur':647B 'credit':27B,325B,692B,1010B 'crimson':1068B 'cultur':365B 'current':200B,986B 'cut':902B 'dark':560B,799B,959B,1123B 'darker':491B 'date':510B 'decad':302B,1087B 'dedic':186B 'deep':349B,541B,936B 'deepli':487B 'demeanor':168B 'design':1103B 'despit':249B 'deuth':1101B,1117B 'dictat':1168B 'direct':298B,367B,537B,648B,949B,1014B,1078B 'display':629B 'disrupt':667B 'dog':446B,643B 'domin':820B 'dramat':547B 'draw':225B,372B,391B,634B,698B 'dream':594B 'dream-lik':593B 'dress':64B,1025B 'drop':645B 'duncan':1A,33B 'duncanrobertanderson':1224B 'earn':171B 'eas':889B 'easi':153B 'east':91B,776B 'elk':639B,714B 'emerg':536B 'emissari':976B 'encount':122B 'endur':436B 'environ':672B 'escap':675B,707B 'especi':483B 'exact':428B 'exhibit':202B,227B,251B,415B,909B,1146B 'experi':305B 'express':956B 'expression':508B 'face':933B 'famili':990B 'familiar':383B 'fan':581B 'featur':223B,630B,711B,930B 'feel':482B,494B,872B 'feet':60B 'femal':932B 'fierc':830B 'figur':377B,632B,704B,947B 'fill':636B 'first':105B 'fit':484B 'fitzpatrick':455B,850B,891B 'fleet':1162B 'focus':228B,409B,699B,760B 'forc':195B 'forlorn':493B 'form':570B 'frame':22B,320B,687B,1005B 'free':729B 'freedom':747B 'friday':1198B 'front':784B,867B 'galleri':125B,257B 'gentl':888B 'genuin':154B 'geographi':330B 'german':507B 'gescheidl':32B 'ghost':974B 'give':485B 'glass':25B,323B,690B,1008B 'glove':1033B 'glow':718B,1042B,1057B 'grant':660B 'grass':787B 'grave':900B 'grey':102B 'grief':413B,437B,906B 'hair':99B,942B 'hancock':565B,1055B 'hat':81B 'head':68B 'heavi':905B 'heavili':229B 'heritag':992B 'hero':459B 'heron':813B 'hint':723B 'hit':782B 'home':790B 'hospit':674B,706B 'hous':558B,765B 'huge':580B 'human':631B,671B,1158B 'hunter':827B 'icon':1060B 'ident':49B 'ignor':1160B 'il':1194B 'imag':489B,722B,877B 'imagin':608B 'impecc':157B 'impos':145B 'imposs':52B 'influenc':351B 'inhabit':1085B 'institut':732B 'intent':928B 'introduc':347B 'isn':331B 'isol':703B 'issu':1159B 'japanes':350B,376B,946B 'john':564B,1054B 'jump':532B 'juxtapos':977B 'juxtaposit':1074B 'keay':29B,327B,694B,1012B 'keep':613B,835B 'known':183B 'landmark':981B 'landscap':551B,1082B 'last':175B 'layer':357B 'lean':286B 'let':533B 'life':354B,398B,987B 'light':467B,749B,1051B 'like':595B 'line':336B 'live':304B,768B 'long':37B,98B 'look':216B,948B 'loop':1098B 'loss':411B,443B,471B 'lost':622B 'love':505B 'macabr':875B 'made':652B 'magic':602B,1124B 'major':242B 'make':478B,498B,528B 'man':651B 'man-mad':650B 'manag':143B 'mani':633B,695B 'manner':158B 'mark':477B 'mark-mak':476B 'marriag':345B 'massiv':713B,811B 'match':1107B 'may':968B,970B 'mca':198B,282B 'meckley':461B 'meet':1206B 'memori':231B,400B,848B,1077B 'menac':826B 'messeng':4A,203B,1176B 'met':106B 'midwest':342B 'miss':54B 'mix':366B 'moment':913B 'monday':1196B 'monograph':268B 'mood':548B,838B,1109B 'morn':994B,1021B 'mother':422B,1018B 'movement':520B 'museum':24B,132B,322B,689B,1007B 'name':272B 'nathan':28B,326B,693B,1011B 'never':112B 'newest':402B 'night':260B 'nineteen':224B 'noon':1219B 'note':576B,966B 'octob':1181B,1216B 'offer':213B 'offici':276B 'often':1167B 'old':557B 'omin':873B 'open':126B,259B,1195B 'oper':142B 'oracl':6A,205B,834B,1178B 'orang':1070B 'ornament':943B 'other-world':1126B 'otherwis':669B 'outsid':252B 'overgrown':859B 'owl':1046B 'pact':842B 'paper':21B,319B,481B,527B,686B,1004B 'pass':434B,893B 'paul':1100B 'peac':865B,896B 'peak':805B 'pencil':18B,316B,683B,1002B 'peopl':240B,617B 'perch':802B 'perfect':499B 'person':219B,488B 'photo':26B,324B,691B,1009B 'piec':627B 'place':238B,619B 'pm':1205B,1223B 'portrait':373B 'power':664B,721B 'practic':222B 'presenc':41B,665B,897B 'process':497B 'profound':408B,470B,1153B 'protect':831B 'protector':612B 'pull':1140B 'pump':1035B 'purchas':279B 'purpl':937B 'quiet':174B,670B,1150B 'quieter':756B 'rare':912B 'rather':870B 'reach':426B 'real':1157B 'recent':425B 'releas':264B 'remain':85B 'rememb':9B 'remind':1151B 'render':934B 'respect':176B 'revel':596B 'rise':1062B 'robert':2A,34B 'romantic':585B 'roof':808B 'room':1142B 'root':159B,291B 'run':1179B 'saturday':1215B 'save':95B 'scarf':1032B 'scene':46B,194B 'seamless':983B 'see':363B,545B 'seen':114B 'sens':500B 'seren':793B,880B 'serv':416B 'set':378B,653B 'shadow':542B 'shape':236B,1118B 'shield':832B 'shift':753B,839B 'show':1093B 'sight':1135B 'sign':1213B 'signatur':76B,473B 'silent':917B 'silhouett':83B,561B,960B 'sinc':87B,103B 'singl':702B 'six':59B 'sky':801B,1071B 'sleep':864B,884B 'slowli':100B 'smokey':447B 'soft':1040B 'sold':248B 'solitari':609B 'solo':201B 'sound':1097B,1120B,1137B 'south':339B 'space':258B,733B 'special':1211B 'spirit':517B 'spread':817B 'stand':56B,715B,856B,1037B,1147B 'stargaz':7B 'state':778B 'steadi':40B 'stem':394B 'step':735B,785B 'store':283B 'storm':748B 'stormi':800B 'stormlight':308B 'straight':335B 'strang':657B 'streetlamp':719B 'structur':822B 'student':774B 'stun':1073B 'style':147B 'sunday':993B,1020B,1028B 'sunlight':781B 'superfici':1163B 'surviv':745B 'susan':31B 'swoop':1047B 'symbol':583B 'tap':740B 'techniqu':474B,522B 'tennesse':92B,777B 'tens':758B 'tension':659B 'theme':743B 'though':343B 'timeless':742B 'toe':70B 'togeth':1143B 'tombston':855B 'toni':454B 'touch':1090B 'toward':1048B 'tower':569B,574B,964B 'town':209B,1185B 'tradit':255B,588B,941B 'trend':1164B 'tribut':419B,1015B 'turn':101B 'two':924B 'ultim':1144B 'unchang':86B 'understand':503B 'univers':779B 'unpretenti':167B 'upbring':163B 'urban':1081B 'victorian':764B 'viewer':952B 'vision':598B 'visit':129B 'visual':146B,658B 'vital':190B 'w':1190B 'wall':1115B 'warm':780B 'warmth':155B 'watch':614B,836B 'weather':556B,763B 'welcom':215B 'well':57B,853B 'well-worn':852B 'west':208B,1184B 'whether':121B,554B 'whim':1170B 'white':1045B 'wide':78B,818B 'wide-brim':77B 'wild':726B 'willi':573B,963B 'wing':816B 'wolf':863B 'wolv':640B 'work':139B,245B,360B,405B 'world':603B,925B,1128B,1175B 'worn':854B 'x':12B,14B,310B,312B,677B,679B,709B,751B,844B,920B,996B,998B,1023B 'yet':120B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1791908052/e1f3oyqrc8nrc9kbbo1q.jpg","editor_pick":true},{"id":14192,"title":"From Chicago to Scotland: The Reach of Public Art","excerpt":"","body":"<p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1791349527/a7ui3ah39gnbkyppsaun.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Professor Tony Jones and artist Andy Scott in the Driehaus Museum's Murphy Auditorium on August 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 'appear':419B 'april':434B 'area':462B 'art':9A,97B,191B,209B,285B,614B,662B,665B,699B,873B,904B 'artist':14B,74B,679B 'artwork':169B,297B 'asset':826B 'attach':550B 'attend':777B,899B 'attract':458B 'attribut':474B 'audienc':260B 'auditorium':23B,148B 'august':25B,53B 'back':604B,810B 'becam':311B,339B,414B 'becom':170B 'began':344B 'behind':156B 'belong':793B 'benefit':472B 'best':232B 'beyond':505B 'billion':628B 'board':218B,892B 'boost':481B 'britain':423B 'bronz':788B 'brought':72B 'budget':749B 'build':387B 'burn':107B,728B,798B 'busi':459B 'campaign':421B 'canal':254B,541B 'care':861B 'cbe':49B 'centuri':733B 'chef':125B 'chicago':2A,34B,68B,80B,115B,212B,216B,259B,271B,275B,552B,619B,684B,690B,706B,744B,835B,864B,890B 'children':566B 'china':427B 'citi':292B,617B 'client':304B 'clydesdal':249B 'come':647B 'communiti':83B,119B,174B,705B 'confid':306B,315B 'connect':851B 'conserv':771B 'construct':468B 'controversi':45B 'convers':55B 'could':286B,590B 'council':437B 'cours':133B,277B 'coverag':338B 'creation':853B 'crown':560B 'cultur':91B 'dajnowski':775B,802B 'decad':465B,645B 'describ':321B,545B,827B 'difficulti':336B 'dinner':86B,140B,779B 'direct':473B 'director':823B 'discuss':88B,686B 'district':746B,821B,845B 'drew':399B 'driehaus':19B,64B 'econom':93B 'eight':324B 'eight-and-a-half-year':323B 'elizabeth':525B,539B 'embrac':521B 'encount':261B 'engin':164B 'enjoy':872B 'estim':624B 'even':71B,671B 'exampl':280B 'except':130B 'exhibit':274B 'exist':635B 'extend':504B 'fabric':355B 'face':579B 'falkirk':228B,244B,436B,483B,492B 'favor':352B 'financi':370B 'finish':412B 'first':839B 'follow':139B 'foot':239B 'found':708B 'fountain':561B 'four':786B 'fund':161B,335B,740B 'garfield':110B,769B 'gari':122B 'gift':113B 'ginni':29B,883B 'give':302B 'glasgow':188B,901B 'governor':894B 'grant':724B 'half':327B 'hand':815B 'hannek':396B 'head':242B,391B 'helix':441B 'help':457B,806B 'highlight':600B 'histor':825B 'histori':696B,767B,847B 'home':444B 'hors':241B,390B 'host':66B 'hostil':340B 'howev':347B 'ident':176B 'ii':540B 'illinoi':713B 'impact':607B,625B,641B,876B 'impass':333B 'import':94B 'includ':424B,478B 'inspir':246B,299B 'institut':210B 'intend':384B 'intern':273B,677B 'jaum':557B 'job':491B 'join':717B 'jone':12B,48B,149B,177B,193B,199B,544B,596B,648B 'kelpi':226B,236B,313B,358B,447B,477B,531B,630B,688B 'kind':842B 'known':233B,678B 'lakefront':266B 'land':258B 'landmark':417B,856B 'larg':295B 'large-scal':294B 'last':643B 'later':200B 'learn':571B 'led':195B 'line':401B 'liter':805B 'local':489B 'london':431B 'long':638B,695B,766B,830B 'long-term':829B 'lot':655B 'maclean':123B 'mainten':753B 'maquett':263B 'may':871B 'measur':471B 'member':78B,219B 'menu':135B 'met':180B 'millennium':609B,657B 'million':451B 'miss':800B 'moment':587B 'monument':108B,729B 'murphi':22B 'museum':20B,65B,143B 'nation':124B,760B 'need':360B 'never':591B 'new':855B 'newli':146B 'newly-restor':145B 'note':563B,882B 'number':507B,602B 'obe':61B 'observ':50B 'ode':756B 'offer':278B 'offici':535B 'one':368B,389B,450B,849B 'ongo':752B 'open':536B,555B 'opinion':348B 'organ':720B,737B 'ownership':514B 'pair':138B 'panel':790B 'park':111B,443B,610B,654B,658B,745B,770B,820B 'part':171B,702B 'partnership':833B 'passion':512B 'pen':809B 'peopl':518B 'philip':528B 'photo':651B 'plensa':558B 'poet':761B,813B 'point':369B,509B 'polit':332B 'pool':570B 'popul':494B 'pour':576B 'preced':455B 'predict':593B 'prepar':128B 'preserv':75B 'presid':203B 'pressur':371B 'pride':516B 'princ':527B 'problem':165B 'process':329B,783B 'professor':10B,46B 'project':309B 'prolong':330B 'promot':422B 'prompt':372B 'public':8A,41B,96B,157B,284B,613B,661B,664B,870B 'publish':880B 'put':807B 'queen':524B,534B,538B 'quick':565B 'quill':801B 'quit':636B,804B 'rais':739B 'reach':6A 'recal':289B,410B,553B 'recogn':100B 'recreat':785B 'reduc':375B 'relief':789B 'replac':663B 'report':438B 'resid':499B 'resist':397B 'respons':503B,859B 'restor':102B,147B,748B 'rise':346B 'robert':106B,727B 'rough':379B 'said':406B,595B 'saint':714B 'sand':404B 'say':319B 'scale':296B 'schneider':818B 'school':189B,206B,902B 'scot':69B,217B,691B,707B,836B,891B 'scotland':4A,127B,229B,245B,681B,758B 'scott':16B,60B,151B,179B,182B,223B,230B,288B,320B,353B,392B,501B 'scottish':57B,82B,118B,719B 'sculptor':58B,197B,773B 'sculptur':42B,158B,272B,343B,377B,413B,523B,796B 'secur':160B 'see':167B 'sens':548B 'serv':201B,887B 'shallow':569B 'share':366B,649B 'shift':349B 'signific':40B 'similar':547B 'sinc':466B,895B 'size':385B 'societi':716B 'solv':163B 'soon':816B 'specialist':76B 'steel':240B 'stevenson':725B 'stewardship':832B 'stolen':787B 'student':184B 'suggest':373B 'supplement':742B 'support':698B,722B,751B 'tast':134B 'team':305B 'term':831B 'test':317B 'theme':668B 'third':381B 'three':132B 'three-cours':131B 'today':735B 'togeth':73B 'toni':11B,47B 'tough':362B 'tourism':416B,480B 'tower':582B 'tradit':38B 'turn':152B 'two':237B 'underway':103B 'use':290B 'van':30B,884B 'view':221B 'visit':529B 'visitor':452B,506B 'water':575B 'welcom':449B 'went':597B 'whiski':137B 'wife':395B 'william':723B 'without':44B 'work':155B,251B 'year':185B,328B,456B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1791349459/y53hynoohi5koky7zhte.jpg","editor_pick":true},{"id":14060,"title":"Art Matchmaking: Hyde Park Art Center’s Not Just Another Pretty Face Returns This Fall","excerpt":null,"body":"<p><img src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744922/bg6tksld7p6rk2cmp3xc.jpg\"></p><p><span style=\"color: rgb(136, 136, 136);\">Collectors and artists attend the Not Just Another Pretty Face unveiling at the Hyde Park Art Center.</span></p><p><span style=\"color: rgb(136, 136, 136);\"><span class=\"ql-cursor\"></span></span></p><p><br></p><p>By JACQUELINE LEWIS</p><p><br></p><p>This year, Hyde Park Art Center is hosting the latest installment of <a href=\"https://www.hydeparkart.org/njapf-2026/\" 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 'allow':227B,1365B 'alreadi':161B 'also':623B,1097B,1372B,1655B,1772B,1792B,1816B,1979B 'alyea':1457B 'amaz':574B 'anoth':10A,23B,50B,73B,1450B,1784B 'anyth':1522B,1727B 'appeal':1503B 'appreci':1004B 'approach':1070B 'around':1058B 'art':1A,5A,31B,40B,152B,271B,305B,392B,464B,593B,621B,644B,662B,674B,720B,826B,891B,1085B,1303B,1406B,1441B,1492B,1513B,1677B,1845B,1921B,1962B,1977B 'artist':18B,85B,91B,97B,113B,173B,185B,202B,218B,259B,314B,327B,358B,381B,407B,430B,468B,483B,488B,503B,526B,532B,550B,576B,596B,646B,680B,703B,726B,761B,769B,920B,1159B,1255B,1478B,1543B,1615B,1673B,1687B,1770B,1799B,1809B,1823B,1869B,1913B,1949B 'artwork':99B,1317B,1552B,1562B,1851B 'aspect':649B 'attend':19B 'attende':1437B 'audienc':1095B 'back':1642B 'becom':169B,812B,1995B 'began':59B,348B,1225B 'begin':330B,533B 'behind':1983B 'benefit':624B,1786B 'best':1570B 'better':1015B 'beyond':446B,1879B 'big':1808B 'birthday':1697B 'black':1260B,1273B 'bois':1886B 'bought':1512B 'broader':254B,1100B 'built':709B,1965B 'came':1133B,1175B 'career':921B 'carri':1325B 'catalogu':1862B 'center':6A,32B,41B,272B,306B,393B,465B,594B,622B,675B,827B,892B,1086B,1304B,1407B,1442B,1846B,1922B 'cgn':1458B 'challeng':972B 'chanc':490B,1428B,1764B 'chicago':575B,643B,661B,682B,1880B 'choic':1057B,1576B 'choos':92B 'chose':1268B 'chosen':114B,434B 'citi':387B,1892B 'coffe':1648B 'collabor':1620B,1665B 'collector':16B,156B,610B,1381B,1417B,1445B,1493B,1741B,1939B 'come':296B 'comfort':989B 'commiss':299B,367B,426B,501B,580B,629B,784B,857B,951B,1007B,1187B,1295B,1474B,1497B,1521B,1528B,1699B,1932B 'common':1146B 'communiti':260B,663B,1967B 'complet':288B,783B 'composit':1059B 'connect':81B,714B,717B,723B 'consid':1489B,1994B 'contemporari':1961B 'context':1110B 'continu':997B,1681B 'convers':347B,1173B,1227B,1234B 'cool':1635B 'craft':1167B 'creat':98B,701B,793B,1592B 'creativ':1056B,1313B,1981B 'cultiv':212B,1942B 'current':792B 'd':744B,770B,876B,1026B,1242B,1393B,1730B 'date':1894B 'daughter':1710B 'decemb':1833B 'decid':1345B,1564B 'decis':521B 'deduct':635B 'deeper':764B 'definit':1663B 'depend':110B 'design':678B 'desir':117B,205B 'detail':2003B 'develop':242B,263B,1278B 'differ':149B,947B,1123B,1218B,1283B 'direct':1037B,1208B,1280B,1314B,1910B 'director':261B 'discov':1821B 'discuss':187B,467B,498B,1264B 'display':1855B 'document':1863B 'donat':636B 'done':954B 'ecosystem':1944B 'els':1728B 'email':886B 'embodi':669B 'embrac':1953B 'emerg':1822B 'enabl':1948B 'encourag':1955B 'end':123B 'enjoy':1293B,1298B,1398B 'enough':853B 'entir':1865B 'eric':264B,323B,449B,554B,664B 'especi':1536B 'establish':253B,1938B 'ever':1496B 'everi':68B,991B 'exampl':361B 'exhibit':58B,133B,590B,821B,1883B 'exist':162B 'expand':606B 'experi':56B,88B,126B,295B,322B,768B,1115B,1161B,1216B,1611B,1666B,1736B 'experiment':109B 'express':414B 'extend':1878B 'face':12A,25B,52B,75B 'facilit':235B 'fall':15A 'famili':1602B 'favorit':931B,1158B 'feedback':1653B 'feel':1357B,1619B 'felt':1586B 'final':198B,1213B 'financi':255B 'finish':1974B 'first':804B,844B,859B 'fit':924B,1571B,1590B 'flourish':684B 'focus':1061B,1584B 'follow':1847B 'forth':1644B 'found':1140B 'freedom':1203B,1323B 'front':1781B 'galleri':245B 'gave':1043B,1320B,1525B,1650B 'generat':1898B 'generos':216B 'get':424B 'gift':1532B 'ginni':1455B 'give':484B,1103B,1373B 'given':963B 'glad':1432B 'go':1205B,1909B 'goal':1065B 'gold':752B 'good':1589B 'got':1605B 'great':1178B,1362B 'greatest':657B,688B 'ground':1053B 'guest':401B 'gv':1501B,1555B,1621B,1688B,1737B 'hadn':1519B 'half':626B,1905B,1917B 'hang':1720B 'hanson':747B,773B,879B,1029B,1245B,1396B 'happen':455B,1237B 'head':1241B 'help':1087B 'home':142B,1011B,1723B 'hope':194B 'host':43B,394B 'hpac':475B,546B,1354B,1796B 'husband':1506B 'hyde':3A,29B,38B,269B,303B,462B,824B,889B,1083B,1301B,1404B,1439B,1843B,1919B 'hydeparkart.org':2006B 'hydeparkart.org/njapf-2026/':2005B 'idea':1179B,1549B,1639B,1957B 'imag':360B,1638B 'immedi':1139B 'impact':658B,689B 'import':250B 'inch':743B 'includ':586B 'indianapoli':1887B 'individu':232B 'inform':355B,374B 'insight':291B 'instal':46B 'instead':154B 'intent':1049B 'interest':415B,473B,899B,1412B,1420B 'interpret':1035B 'invit':334B,398B,845B,872B,887B 'involv':813B,959B 'isn':1073B 'iter':279B,346B,695B,799B,2001B 'jacki':307B 'jacquelin':34B 'jl':428B,536B,647B,800B,912B,1111B,1334B,1484B,1538B,1607B,1678B,1724B 'jump':1182B 'jumping-off':1181B 'keep':1067B 'know':1195B,1414B,1739B 'known':1077B 'lake':1891B 'lammi':746B,772B,878B,1028B,1244B,1395B 'lammie-hanson':745B,771B,877B,1027B,1243B,1394B 'larg':412B 'last':236B 'late':350B 'later':134B,1693B 'latest':45B 'learn':404B,493B,805B,881B,982B 'led':869B 'len':1041B 'let':1193B 'lewi':35B,308B 'life':1025B 'like':190B,441B,1358B,1579B,1587B,1616B,1731B,1776B 'listen':1656B 'littl':1259B,1652B 'local':82B,1769B,1798B 'look':157B,440B,1557B 'lot':1144B,1149B,1560B 'love':1165B,1353B 'lucki':852B 'm':1431B 'made':1343B,1675B 'make':275B,519B,1055B,1703B 'mani':948B,1575B,1740B 'marri':1606B 'match':181B,1063B 'matchmak':2A,78B,147B,438B 'materi':962B 'may':504B 'meaning':1537B 'medium':1078B 'meet':183B,492B,505B,573B,1385B,1540B 'mel':1479B,1580B,1624B,1700B 'meld':203B 'member':733B 'met':1646B 'metalpoint/silverpoint':1072B 'mid':63B 'mid-1990s':62B 'might':1383B 'mileston':1696B 'million':1902B 'miss':1987B 'mission':640B,671B,1370B,1926B 'month':340B 'move':166B 'much':451B,984B 'multipl':507B,516B 'mutual':223B 'name':1810B 'natur':243B,1169B 'near':287B 'network':608B 'never':1384B 'new':1416B,1936B 'next':2000B 'nishiura':742B,776B,815B,929B,1129B,1351B 'njapf':53B,281B,395B,556B,651B,786B,807B,849B,883B,917B,934B,1081B,1340B,1466B,1486B,1502B,1814B,1876B,1940B,1963B 'normal':977B 'noth':1014B 'observ':740B 'occur':66B 'offer':290B 'often':241B,612B 'one':1707B,1712B 'opportun':571B,604B,937B,1377B,1400B,1989B 'origin':179B 'otherwis':1386B 'outsid':940B,987B 'overal':1048B 'p.m':1841B 'pair':1686B 'panel':756B 'paramet':1775B 'parent':1524B 'park':4A,30B,39B,270B,304B,463B,825B,890B,1084B,1302B,1405B,1440B,1844B,1920B 'part':170B,1021B 'parti':566B,1436B 'particip':337B,847B,863B,1338B,1464B,1744B,1912B,1991B 'particular':1583B 'past':789B,957B,1463B 'patron':83B,89B,103B,120B,145B,182B,220B,316B,403B,432B,459B,486B,508B,513B,524B,553B,568B,705B,729B,911B,968B,1000B,1031B,1119B,1132B,1247B,1319B,1472B,1868B,1997B 'patronag':1946B,1959B 'payment':598B 'pearl':1261B 'peopl':1230B,1969B 'person':716B,1069B 'perspect':780B,1469B 'philadelphia':1888B 'piec':128B,585B,1008B,1214B,1328B,1627B 'piqu':471B 'place':901B,1831B 'platform':1108B 'play':248B 'point':1184B 'portfolio':1101B 'possibl':500B 'potenti':402B 'practic':616B,927B,943B 'present':379B,908B,970B,1089B 'pretti':11A,24B,51B,74B 'price':1777B 'proceed':1908B 'process':148B,174B,211B,312B,359B,439B,445B,454B,543B,619B,1091B,1127B,1222B,1287B,1866B,1982B 'program':79B,286B,692B,1307B,1363B,1454B,1747B,1789B,1813B,1896B,1924B 'project':410B,511B,667B 'provid':354B 'public':372B,589B 'publish':1460B 'purchas':139B,153B,163B 'push':613B 'rang':105B 'rate':368B 'rather':1231B 'reach':331B 'realli':1197B 'receiv':577B,597B,855B 'recept':1828B,1849B 'refer':1641B 'relationship':237B,706B,998B,1683B 'remain':1853B 'repeat':871B 'resid':1257B 'respond':895B 'return':13A 'role':251B,540B 'rotat':905B 'sale':1904B 'salon':384B,396B,448B,458B 'salt':1890B 'sarah':741B,775B,814B,928B,1128B,1350B 'second':278B 'see':1005B,1017B,1754B 'sens':214B 'sent':1637B 'separ':1514B 'serv':630B 'set':477B,1773B 'sever':388B,1481B 'share':224B,777B,1154B,1467B 'side':1451B 'sign':318B 'silverpoint':1271B 'silverpoint-on-black':1270B 'similar':1882B 'sinc':273B,1335B 'situat':563B 'size':1779B 'someday':1759B 'someon':1023B 'someth':946B,1593B 'sometim':502B 'son':1715B 'space':246B 'special':55B 'specif':100B,1548B 'spoke':1595B 'spring':351B 'staff':466B,476B,732B 'start':427B 'stay':1052B 'step':939B,986B 'still':1671B 'strengthen':1098B 'strong':1107B 'studio':479B,517B,1136B,1250B 'style':209B 'subject':1046B 'submit':1410B 'success':868B,1874B 'suggest':1660B 'support':256B,389B,547B,638B,1368B,1795B,1918B 'surrend':750B 'sustain':642B 'take':978B,1426B,1830B 'taken':141B 'talk':1151B 'tax':634B 'tax-deduct':633B 'teach':819B 'team':329B,370B,418B 'technic':971B 'techniqu':1275B 'ten':694B 'terrif':1793B 'thing':738B,932B 'think':654B,686B,835B,866B 'thompson':265B,289B,324B,450B,555B,665B 'three':69B,1718B 'thrive':1951B 'throughout':385B 'time':1191B,1803B 'togeth':297B,530B,1281B,1516B,1721B 'tradit':107B,151B 'travel':1163B 'tri':945B 'trust':1032B 'two':856B,1131B,1704B 'ultim':1668B 'understand':765B,1447B 'uniqu':579B,1785B 'unveil':26B,130B,301B,343B,1435B,1827B 'us':1526B,1599B,1632B,1755B 'use':76B 'usual':942B,1126B,1221B,1236B,1286B,1292B 'valu':1971B 'van':1456B 'various':383B 'vision':1266B,1333B 'visit':480B,515B,1248B 'visitor':1871B 'want':1198B,1210B,1554B 'watkin':1480B,1581B 'way':1819B 'websit':377B 'wed':1531B 'whose':1565B 'wide':1076B 'wider':1094B 'will':1424B 'win':560B,561B,562B,1391B,1392B 'win-win':1390B 'win-win-win':559B 'within':925B 'without':1413B 'wonder':737B,1376B,1763B,1818B 'wood':755B 'word':758B 'work':104B,159B,177B,199B,364B,422B,529B,535B,581B,601B,794B,915B,960B,1019B,1079B,1105B,1116B,1299B,1379B,1402B,1476B,1499B,1566B,1612B,1622B,1706B,1719B,1766B,1931B,1975B 'world':233B 'would':1418B,1567B 'wouldn':975B 'year':37B,70B,136B,284B,797B,831B,860B,875B,993B,1482B,1692B,1825B,1993B 'yes':1689B 'zone':990B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789744885/j4sxav3a4dlaktw2rls8.jpg","editor_pick":true}]}