Elise Seigenthaler

Publisher's Note: This interview is featured in CGN's spring/summer magazine. To purchase a copy or subscribe in print click here.

By JEFFERSON GODARD

You are all cordially invited to the housewarming of a new gallery in town. After ascending to the second floor of 1709 W Chicago, you will be welcomed into the space of Elise Seigenthaler Gallery and her inaugural show, Housewarming which offers “paths through memory, material, and imagination.” Artworks by emerging artists Amira Diaw, Rebekka Federle, Ava Peterson, and Olivia Porter include tightly cropped photographic-like paintings capturing intimate scenes alongside large drippy renderings of both domestic and regal interiors on paper and canvas. Sitting close by these painted works are wooden sculptures representing the family dog. About this exhibition, Seigenthaler states, “I wanted the first show to feel warm and welcoming. Art is for everyone and everyone should feel welcome.”

Seigenthaler is unique in her delicate yet deliberate approach, while setting a nuanced and narrative-based theme for shows that will cajole the Chicago gallery public. A graduate of SAIC who is also armed with a “Rhona-Diploma,” Seigenthaler is a native Chicagoan born to artists parents of French and Southern roots equipped with a keen eye for what will make an impact on the Chicago art world.

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Installation of Housewarming at Elise Seigenthaler Gallery. Photography by Charlie Young.

Jefferson Godard (JG): Housewarming serves as both a means of introduction and a welcoming gesture. What was your impetus for opening a gallery? 

Elise Seigenthaler (ES): The gallery had been something that I was thinking of while working with Rhona. Chicago is such a great city and adding to the art ecosystem here was paramount to me. Then, when Volume Gallery’s became available [because they moved nearby to 1700 W. Hubbard], this served as a catalyst for me to open my space. And, on a personal level, my dad’s sudden passing also made me realize how short life was and the need to seize the moment. 

JG: As for your formal training, you are a graduate of The School of the Art Institute of Chicago (SAIC), but you began your studies in France.

ES: I am half French and having spent my first 17 years in Chicago, I wanted to explore life in France. It was a wonderful way to explore my ancestry and also proved to be very cost-effective. I studied video and photography at Atelier d’Sevres in Paris where the program was focused on building portfolios for higher art education, like the Beaux-Arts or Arts Decoratifs. However, instead of continuing my studies there, I used my work to enter SAIC. In retrospect, France gave me discipline and structure, while SAIC offered me more conceptual freedom.

JG: Upon graduating, your first foray into the commercial gallery work was working for the venerable Rhona Hoffman. What drew you to work for Rhona Hoffman?

ES: Rhona and the history of the gallery were always so impressive to me. It was my goal to work there and being part of this legacy. Rhona proved to be generous and trusted us immensely. She also empowered her interns and assistants, and even though our team was small, there were more opportunities to grow and carve out a role for yourself. 

JG: You described your experience of being Director of Rhona Hoffman as a ‘Rhona-diploma.’ Tell me more about the Rhona-diploma? What are the entry requirements and course load, and what did you get out of it?

ES: I often joked that working for Rhona was like getting a “Rhona-Diploma” or “RHG PHD” because it felt much like an education but one that no formal program could replicate. The entry requirements are curiosity, stamina, and humility, but ultimately you must have thick skin. As for the course load, you get relationships with artists, museums, as well as collectors. Plus, one of the outcomes is that you learn how to make decisions quickly.

And the learning curve did not only come from Rhona. The previous director, Julia Birka-White, and Rhona’s right-hand for over 20 years, Ben Gill, all helped me understand the gallery and what it needed to function.

I left armed with confidence and a well-honed sense of standards. What I also learned from Rhona is that art and artists are paramount; everything else follows. 

JG: Now that you have your own space, what is your focus and what do you want out of the gallery?  

ES: There is an echo in Chicago of ‘we need more spaces’ and I want to be a host for Chicago artists. My primary focus is on Chicago-based artists, while also introducing artists from other cities. I strive to create a balanced program that is open to all media, with some emphasis on expressive and figurative-based works.

Installation of Housewarming at Elise Seigenthaler Gallery. Photography by Charlie Young.

JG: You mentioned that you want to represent artists from early to mid-career, but that you want to take it cautiously, which you likened to ‘dating.’ Can you elaborate here as well as share some of your plans for the immediate future?

ES: When I say dating, it’s like a long-term commitment. It’s not just about loving one work but about really understanding and getting behind the artist’s vision. Like any partnership, we need to share the same values and have good communication. And much like a romantic relationship, we also need to trust each other implicitly. 

Also, it is how these relationships serve as the foundation for the gallery. The support from the artists, collectors, gallerists, and friends at the very start really help shape the gallery. And I’m very grateful for these relationships and their support.

This first year’s program will be dedicated to group exhibitions, each built around a different theme. In fact, our next show is titled “Before We Knew Better,” and will include artists Sarah Bedford, Day Brièrre, Josiah Ellner, and Lea Le Floc’h. 

As for the future, I would like to participate in art fairs, bring on a staff, and one day have a second location in Paris. After all, one has to dream!

eliseseigenthaler.com

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