{"article":{"id":11885,"title":"Zolla/Lieberman: A Golden Vision for a 50th Anniversary","excerpt":"","body":"

William Lieberman and Roberta Lieberman with a sculpture by Deborah Butterfield in the Zolla/Lieberman Gallery booth at Art Chicago in the 1995.



By GINNY VAN ALYEA


This spring, Zolla/Lieberman Gallery celebrates its 50th anniversary, placing it among Chicago’s longest running contemporary art galleries and the very first to open its doors in River North. William Lieberman, son of co-founder Roberta Lieberman, marks this milestone with Golden Vision – a group exhibition opening on Friday, May 1 that includes 140 artists who have contributed to Zolla/Lieberman’s artistic legacy. 


That legacy began on a trip to Paris in 1964 with both Zollas and Liebermans. Roberta Lieberman was an interior designer; Bob Zolla owned a paint and wallpaper company; and their work together on residential projects in the Chicago area led to a friendship between them and their spouses. As the two couples strolled along the banks of the Seine, Bob observed tourists buying paintings at kiosks and noted that there was money to be made in art. Intrigued, Roberta replied that if they were to sell art, they would sell serious works, not souvenirs. To do that, they would need to better educate themselves. 


They returned from Europe with a mission. Bob’s wife Betty, who worked at the University of Chicago’s Quadrangle Club, brought home the university’s continuing education catalog, and Bob and Roberta signed up for a contemporary art class offered at the school. When they arrived the first day, the room was empty except for instructor Harry Bouras. No one else had signed up. If they provided lunch, Bouras proposed, he would teach them privately. 


Art critic, artist and teacher Harry Bouras


Bouras was an artist, teacher and critic whose commentary was heard weekly on WFMT’s brand new Critic’s Choice program. With a spread of bread, cheese, sausage, sweets and wine, it was Bouras who introduced Roberta and Bob to the world of serious art. Eventually, he persuaded the pair to open their own gallery in the South Side coach house of Davis & Kreeger, Bob’s company at the time. Bouras contacted Noah Goldowsky – art dealer Bud Holland’s original partner in Chicago and by then a respected New York gallerist – who had access to works on paper by Franz Kline, Philip Guston and other major Abstract Expressionists. Roberta’s husband Dick offered modest financial support to get the gallery started. In a space that Roberta’s daughter Susan remembers as high-ceiled and drafty, they officially launched Zolla/Lieberman Gallery in 1966. The work they presented felt challenging – and as far removed from the Seine kiosk art as they knew it needed to be. 


Nothing sold. This was, after all, the South Side of Chicago in the mid-1960s, and white flight from the city was in full swing. Persuading people to drive to a part of the city perceived as dangerous to view art turned out to be next to impossible. Zolla/Lieberman’s next move was to north to Sandburg Village, a new “urban renewal” residential development near the city’s Gold Coast. Bob and Roberta rented a retail space, hoping the location would have more appeal.


First came a solo exhibit for Bouras, the man who had encouraged them from the start. The show garnered a few sales. After that, Roberta and Bob set expectations high for a group show that included works by such Chicago artists as Morris Barazani and Joe Zucker. Susan remembers her parents deciding to serve cookies at the opening for that second show and calculating the amount based on the number of apartments in the complex. The actual turnout fell far short of expectations and “a lot of Maurice Lenell pinwheels and almond crests went into the freezer,” she recalls.


The frozen cookies outlasted Zolla/Lieberman’s Sandburg Village era. At the same time, Roberta’s husband’s juvenile furniture business was growing, as he sold cribs and car seats to State Street department stores. While helping Dick with these accounts, Roberta also showed artwork in their home in Evanston. It was a less exciting, but also a less expensive, option that gave her and Bob time to plan their next step.



Dick and Roberta Lieberman with Bob and Betty Zolla on a trip in Europe


In September 1975, Roberta turned 50. She treated herself to a trip to visit Susan, by then a sophomore at Duke University. As they waited in line for dinner, Roberta announced that for her milestone birthday, she would open an art gallery. “But you already have a gallery,” replied her slightly confused daughter. No, she didn’t – not the kind of gallery Roberta Lieberman envisioned. 


Roberta planned to use a modest sum inherited from her late father to secure a loan to open in the neglected warehouse district due west of the Gold Coast. She and Bob needed to find new artists to show in their latest gallery space. Within a few months, they went to New York and sat outside Leo Castelli’s gallery office in SoHo. Finally, after an hour’s wait, the renowned dealer emerged and the pair persuaded him to consign work to them for an inaugural show the following spring.


In March 1976, Zolla/Lieberman Gallery officially opened in a former coffee urn factory at 368 W. Huron with an Andy Warhol painting of Elizabeth Taylor, a geometric abstraction by Frank Stella, conceptual work by Carl Andre and Donald Judd, and Robert Morris’s intertwined fabric sculpture. Nothing sold. Undeterred, Roberta managed to convince Castelli to give them another show of paintings by James Rosenquist. 


Susan has a faint but distinct memory of Castelli sweeping through the gallery in a full-length coat – possibly fur, probably camel-hair, but unquestionably eye-popping – as he admired the high ceilings and long unbroken stretch of exhibition space. William’s faint recollection is that Castelli got a spot of wet paint on that elegant outerwear. What remains crystal clear to both, however, is that – despite Roberta and Bob’s combination of moxie and artistic vision – the tough times continued. Not a single work in either the group or the Rosenquist show sold. 



A mud and stick horse by artist Deborah Butterfield had to be moved from a downtown apartment via the window. 


Despite their determination, Bob and Roberta realized that they could not fight the inclination of collectors to buy art in New York City or at established galleries like Richard Gray in Chicago on Michigan Avenue. They decided to take a short trip up to Roberta’s alma mater, the University of Wisconsin at Madison, with the general hope of finding work that was unique to the Midwest market. As they walked the halls of the art department, they stopped an artsy-looking couple and explained that they were in search of new talent.


The conversation proved to be kismet: a young woman, Deborah Butterfield, and her husband, John Buck, were both sculptors in search of Midwest representation. The couple invited Bob and Roberta to their studios nearby as well as to lunch, which turned out to mean an adventure picking fresh morel mushrooms and turning them into sandwiches. By the end of that memorable meal, Bob and Roberta made immediate plans for a summer show of Butterfield’s mud, clay and stick horse sculptures. Susan typed the price list for that summer 1976 show, recalling that the entire herd could be had for a mere $10,000. It was a few sales and some good press that led to Zolla/Lieberman’s signature relationship with Deborah Butterfield that endures to this day. 



William Lieberman and Deborah Butterfield at the gallery.


The exhibit embodied Roberta and Bob’s concept of what could happen in their space. However, being products of the Great Depression they both knew they had to get the attention of the art buying public while on a strict budget. And so, together they came up with loft lunches that would attract a new kind of collector engagement at the gallery. Roberta spiced up plain egg salad with onion and mustard, Bob bought crusty loaves from nearby D’Amato’s bakery, and Betty baked distinctive brownies with white frosting with the hope of luring collectors from North Michigan Avenue galleries over to 368 W. Huron. Sometimes they’d send a cab for prospective clients, sometimes Bob would shuttle them in his car. They committed to bringing and keeping clients in the space to see the art.


Artist Buzz Spector first encountered Zolla/Lieberman when, as an M.F.A. student at the University of Chicago, he took a seminar with Harold Rosenberg, the influential art critic for The New Yorker. As one of the only MFA students with a car, Buzz gave his teacher a lift when Roberta and Bob invited him to lunch. Buzz recalls he dropped Rosenberg off, parked and began to read a book when “an immaculately dressed blonde woman rapped on the car window.” It was Roberta, insisting that he join them. 


* 



One of the gallery’s early banner signs on the building in River North.


In 1979, Zolla/Lieberman took another leap of faith and moved down the street to the ground floor of an historic loft building. Architect Walter Netsch designed the 9,000 square foot gallery, and Bob Zolla’s son Bill, a lawyer with Rudnick and Wolfe, helped craft a lease with favorable terms. 


Zolla/Lieberman’s outlier days were over. Early transplants from the Michigan Avenue/Ontario Street neighborhood – including Rhona Hoffman, Donald Young, Phyllis Kind, Struve and Marianne Deson – relocated nearby. Van Straaten, Habatat, East/West and Sazama Brauer opened at 361 W. Superior. In just a few years, there were 65 galleries within three square blocks, turning a desolate district into a vibrant arts hub. Originally dubbed “SuHu” (Superior and Huron) in an obvious nod to SoHo, the area quickly designated itself as “River North” – a name coined by real estate developer Al Friedman.


With the environment changing and Roberta and Bob’s belief in their artists holding steady, they chipped away at local collector resistance. They also began connecting with curators in other cities and arranged shows by nationally recognized artists such as Michelle Stuart and Deborah Remington. Another win was securing O.K. Harris as Deborah Butterfield’s New York dealer. 



At work in the office of the gallery


Roberta and Bob needed to hire a full-time staff person to keep up with the gallery’s expansion. Judith Simon, a recent Smith College graduate, turned out to be quick with office skills as well as passionate about contemporary art. Simon spent six years at Zolla/Lieberman before leaving to get her MBA. 


William, who graduated from Grand Valley State College with a degree in ceramic art, began working full time at the gallery in 1984, installing and transporting artwork. His role evolved in 1986 when Roberta offered him a chance to curate his own show. “I went to some local colleges to see the work of artists who were teaching at these places,” he explains. 


With more than twice the square footage and budding national exposure, Zolla/Lieberman generated an aura of success that translated into increased sales. But filling their vast gallery with worthy exhibits was no small feat. Roberta researched, phoned and traveled to establish working relationships with dealers, curators and artists. In 1982, she arranged a show of Le Corbusier drawings, as well as exhibits by Joseph Beuys and Llyn Foulkes. The big canvases of John Alexander, Terence La Noue, Laddie John Dill and Spanish painter Chema Cobo found a home at Zolla/Lieberman. Chicago artist Terrence Karpowicz’s wood and steel sculptures, John Buck’s kinetic and bronze pieces, and Butterfield’s life size horses also had ample room. 


The office was spacious enough for comfortable seating where people would gather with wine and pretzels to socialize. Among those who held court was Dennis Adrian, the chain-smoking author, curator, teacher and tastemaker. On Fridays, Chicago Tribune critic Alan Artner would often debrief with Bob – a classical music lover – on Chicago Symphony Orchestra’s Thursday night concerts. Artner would then share the latest River North news with William. 


Meanwhile, in another lane, John Wilson launched the Chicago International Art Exposition at Navy Pier in 1980 – the first contemporary art fair in North America. Zolla/Lieberman and many other Chicago galleries had booths alongside galleries from around the country and the world. Zolla/Lieberman continued to participate in Art Expo, and its later iterations, for the next four decades. 


During the booming economy of the 1980s, Friday night openings grew from art community gatherings into packed happy hours, where downtown office staff rubbed elbows with the cultural cognoscenti. Up and down Huron and Superior Streets, people filled galleries until early evening before finding their way to nearby restaurants. 


The ‘80s fever pitch broke in the early hours of April 15, 1989, when 356 W. Huron went up in flames. Years later, the exact cause of the fire remains a mystery, but the catastrophic loss of thousands of fine artworks was instantly apparent. 


At the time, Zolla/Lieberman had a solo exhibit by Chema Cobo on view in the gallery. When Roberta called the artist in Spain to tell him that his 30 paintings and pastels were now ashes, he immediately told Roberta “I love you,” and reaffirmed his commitment to the gallery. William happened to be moving from one apartment to another at the time, storing his entire personal collection in the gallery’s back room while he relocated. Everything – in addition to, of course, the work of every single artist in every other gallery in the building – was destroyed.


For a brief period, Zolla/Lieberman and other homeless galleries took refuge in temporary spaces offered by the Merchandise Mart. Many people suggested that Roberta, by then in her 60s, simply retire. “What would I do with myself?” she asked Susan. “Go on tours of other dealers’ galleries?” Instead, she, Bob and William regrouped and reopened on the top floor of the Bauer Building at Huron and Franklin. Bob negotiated generous settlements with fire insurance companies that provided Zolla/Lieberman, and its artists, with a new chapter.


Roberta Lieberman’s great-granddaughter Esther plays on Deborah Butterfield’s sculpture Ben in Seneca Park.


In 1990, an especially gratifying project came to fruition: Museum of Contemporary Art curator Bruce Gunther worked with Zolla/Lieberman and the Eli M. Schulman Playground Reconstruction Committee to raise $100,000 to purchase a Butterfield bronze horse for Seneca Park in Streeterville. Six years later the MCA opened its new building at 220 E. Chicago Ave. directly across the street from Butterfield’s Ben. The sculpture has weathered many more years since then and remains a fixture in the neighborhood. 


Despite visible achievements like the acquisition for the park, every day held challenges for Zolla/Lieberman.Their cumbersome 6th floor location did not help. When a storefront space became available on Huron Street, they moved once again. Building owners Buzz Ruttenberg and Jerry Meyer, both sympathetic to the financial struggles of selling contemporary art, facilitated a rent modification to help them. 


Alcohol and gallery openings have long complemented each other. Frank Paluch, whose Perimeter Gallery opened in 1982 in River North, noted that he initially served higher-end Sauvignon Blanc at the gallery, which no one ever commented on, but when he switched to the less expensive “Three-Buck-Chuck” from Trader Joe’s, he laughed when he overheard a gallery visitor say to a friend, “They serve really good wine here.” After a sip the friend said, “This is really good! What is it?” The server replied, “Sauvignon Blanc.” 



Roberta Lieberman and William Lieberman during Absolut Vision


Keeping in mind the tradition of alcohol at gallery openings, in the mid-1990s Roberta conceived an idea for a cultural event that involved vodka. According to Natalie Van Straaten, Executive Director of the Chicago Art Dealers Association (CADA) at the time, Roberta decided to approach Absolut about supporting the arts in Chicago. A corporate-gallery partnership ended up becoming a much-loved summer mainstay, Absolut Vision, a festival that drew throngs of people to galleries during a period that traditionally saw slow foot traffic and elevating the reputation of an edgy art district to a cultural destination. Starbucks, Cosmopolitan Bank and other entities with a presence in the gallery district supported Absolut Vision with plenty of free martinis alongside panel discussions and an award ceremony honoring members of the art community. Absolut Vision became a summer calendar highlight in Chicago and introduced a new audience to the galleries. 


Roberta continued to engage the gallery community through Absolut Vision and beyond by serving as president of CADA from 1987–90. She oversaw the Art for AIDS auction in early 1989, guided the CADA in providing programs for young collectors and artists and inspired collegiality among dealers. 


*


Bob Zolla retired from active participation in the gallery in 1997 and passed away in 1999. At the same time William Lieberman had become an established presence at the gallery, pursuing his own aesthetic as he scouted for talent and planned exhibitions, adding more figurative and narrative-focused artists like Maria Tomasula, Donald McFadyen and David Kroll. 


The end of 2001 brought a double punch of bad news – the terrorist attacks on September 11th were followed by Roberta’s diagnosis of breast cancer in November. Since her own mother had survived two mastectomies and lived to be 102, Roberta remained optimistic, downplaying her illness and devoting herself to gallery activities. 


In January 2004 Evanston Art Center celebrated its 75th anniversary with Roberta Lieberman: A Sharp Eye – An Art Dealer’s 40 Year Journey. The exhibition of Zolla/Lieberman artists, curated by Martha Winans Slaughter, drew hundreds. Frail and unsteady from cancer treatments, Roberta broke a hip, missed the opening and died on February 20th without ever seeing the tribute to her career. Six months later, with the help of the 42nd Ward’s longtime Alderman Burt Natarus, the corner of Franklin and Huron Streets in River North, just down the block from the gallery, was named “Honorary Roberta Lieberman Way.”

William expanded the scope of the gallery through a variety of relationships in the years following his mother’s death. The late art critic and educator James Yood was supportive of William’s artists, recognizing such talents as David Kroll, who will open his 14th solo exhibit at Zolla/Lieberman this November. The Art Institute of Chicago’s Curator of Prints and Drawings Mark Pascale has been another important presence. He included Jane Hammond in Vernon Fisher in exhibits and shared his vast knowledge of works on paper with both Roberta and William.


William credits several collectors with helping to expand and refine his own eye. “Nancy and Bob Mollers have built an amazing and important art collection and are constantly looking, travelling and reading,” says William.”I have learned a lot from them.” Also influential were the late Sandy and Mike Perlow, who took great interest in many gallery artists, among them John Buck, Susanne Doremus, William Conger and Terence LaNoue. 



An installation view from the 2026 anniversary exhibition, Golden Vision


No recap of Zolla/Lieberman’s recent history is complete without mentioning Gallery Director Brian Gillham. Brian, a ceramics major at Northeastern Illinois University, interned at the gallery in May 2004, four months after Roberta’s death. Recommended by William’s friend and ceramics professor Dennis Lee Mitchell, Brian admits, “I was naïve and didn’t realize that the gallery was at such a turning point. Maybe I felt less pressure because I came without any expectations.” 


21 years later William relies on Brian for creative problem solving, describing him as “an integral part of the gallery’s fabric.” Observes Susan, “He can install an exhibit with the eye of da Vinci and the speed of Superman.” In addition to sales, curation and logistics, Brian has also brought Zolla/Lieberman into the digital age. While William still relies on a dog-eared Rolodex, Brian has developed 21st Century communication channels and an online presence.


What strikes Brian as unique about the Golden Vision retrospective is, “It highlights Zolla/Lieberman as a legacy gallery, creating a bridge from one generation to the next. Several times I’ve moved the work of gallery artists from collector’s homes to their children’s. That we can help someone pass along cherished art is something to be proud of after 50 years.”


Even for someone as skillful as Brian, 140 works is a complex puzzle when it comes to installation. But, insists William, the high number is necessary because “Zolla/Lieberman supports artistic talent and technique from so many different angles. Golden Vision celebrates what my mother and Bob started and what Brian and I are continuing.”


#


Visit zollaliebermangallery.com


This article appears in CGN's spring/summer 2026 magazine. To purchase a print copy or subscription click here.

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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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