Jennifer Armetta

This interview appears in CGN's fall 2025 magazine. To receive a copy of the print edition click here.

By JEFFERSON GODARD

Chicago’s cultural scene is always in need of a tireless arts champion. Jennifer Armetta is up for the challenge.

Several years ago I had the pleasure of first meeting Jennifer at Verge, a donor affinity group at the Museum of Contemporary Art of Chicago. Verge was a group of arts enthusiasts who would help the museum acquire works from emerging artists like Manon de Boer, Michelle Grabner, and Jordan Wolfson. This group would ultimately morph into Emerge which still brings exciting works from up-and-coming artists into the MCA’s collection today.

Since we met Jennifer has moved between Chicago, Minneapolis, and Ojai, California, carving out a well-earned reputation for herself. Currently Jennifer directs two organizations in Chicago: Engage Projects in West Town, and most recently, the Chicago Architecture Biennial. And if that were not enough, she is a licensed Real Estate agent working with Eugene Fu. She also volunteers her time on multiple boards and foundations.

As Director of this year’s Chicago Architecture Biennial, entitled “SHIFT: Architecture in Times of Radical Change,” Jennifer will work alongside Artistic Director Florencia Rodriguez. The Biennial’s programs and exhibitions will be located at the Chicago Culture Center as in years past, with many satellite locations or hubs throughout Chicago. 

Engage Projects is Jennifer’s commercial art space, where she brings a nuanced conversation to the gallery model. One of these is Engage Showroom, an in-home exhibition model that further pushes her work-life balance while revisiting the classic ‘apartment gallery’ that Chicago is so well known for fostering. 

During our lively conversation, I learned more about her passion for artists, the upcoming Biennial, Engage Projects, and what sparked Jennifer’s energy early on.

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Jefferson Godard (JG): You graduated with a degree in art history. What did you initially set out to do, and what brought you to the art world?

Jennifer Armetta (JA): I actually started off as a Psychology major and didn’t switch to Art History until second semester junior year. What compelled me to change was being inspired by and ultimately falling in love with art. I thought artists were just so brave and fearless in the way that they put themselves out there. It seemed as though they were ready to be criticized. And, instead of it deterring them, they would do it all over again.

I wanted to be part of that and help in any way I could as I felt they were truly courageous. Upon graduating, I worked at a Chicago art gallery but sadly could not support myself. The art world, as you know, is a difficult place to sustain oneself.

So, I pivoted and went to work for a pharmaceutical company. As a bit of a science-nerd, I ended up enjoying and learning a lot from this experience. One aspect that stood out was the training that they give us. They taught us how to establish a rapport, how to build relationships, and how to communicate effectively in a very short period of time. In some way I still credit many of my interpersonal skills to this experience. 

JG: When you created Engage Projects, what were your goals for the gallery? What do you still feel like you have to accomplish?

JA: What I wanted to accomplish was to make a mark on the Chicago art scene and work with both emerging and mid-career artists. Another aspect was the name. Using “projects” was very intentional, because I didn’t want it to function only as a gallery. Galleries are fabulous and wonderful, but they’re a very tricky business. I wanted to have the flexibility to do things a bit differently, and operate outside of our space, exploring different partnerships. Some questions that I continually ask myself are, what does it mean to represent artists, as well as how people consume and experience art.

JG: How do you feel the relationship between the artist and the gallerist has changed?

JA: Every artist has different wants and needs, ambitions, and goals. My goal is to focus on the needs of the artists. To facilitate that, I really want to be able to address their needs. The relationship between the gallerist and artist needs to be more individualized and not just fit into a program. And, for me, an art gallery is not like a shop, so it is important that it is more personalized and geared towards the goals of the artist. 

JG: Another important aspect of your life is supporting causes you believe in. While you have served, and continue to, on many boards, I am most interested in your relationship with Carolyn Glasso-Bailey and her foundation. 

JA: Carolyn was my childhood friend, and I’ve known her since she was 12. We were best friends, and in many ways, we were like family. Carolyn got started in the art world very young. In high school she started interning at a local gallery in Minneapolis. That was part of my exposure to the arts at a young age. She loved it and went on to have her first gallery in Minneapolis in her early 20’s, and in Chelsea, New York after that. She then pivoted to being an art consultant in Ojai, California. She and I had similar paths, but she started at a younger age. Sadly, she was diagnosed with Glioblastoma in 2014 and passed away a year later in November 2015. 

Carolyn’s whole mission was that artists came first. She would give her car to an artist if theirs broke down. She would pay out artists before she got paid. She set a real example in the art world of what to do. The foundation that’s named for her, which supports The Ojai Institute, was begun by her sister Lila Glasoe Francese, and her widower Chris Bailey, an artist. I joined artists Rob Fisher, Sharon Loudon, and Sanford Biggers to help create a foundation that gives out grants and supports a residency program.

House, by Sara Fitzsimons, 6018 North

JG: The last thing we’ll talk about is the Chicago Architecture Biennial, titled SHIFT: Architecture in Times of Radical Change. With the Biennial opening soon, how is your and Florencia Rodriguez’s vision taking shape? What changes did you set out to make for this year? 

JA: The title is both apropos and, in a way, a bit ironic. Florencia has put together an incredible exhibition program and she is thematically referring to our exhibitions as ‘capsules.’ She also wanted to address a lot of the social, cultural, and economic issues that are affecting us all. For example, what does the built environment mean and how can it be solutions-oriented? 

We also wanted to return to architecture. There are a lot of terrific artists in the exhibition, but this year there is a deliberate focus on returning to architecture. 

This Biennial will incorporate over 100 projects from more than 30 different countries. One thing that we set out to do was to work with more partners throughout Chicago. This year, we have expanded our network, and the Chicago Architectural Biennial will have pop-ups or hubs all over the city. Stay tuned for an exciting Biennial that opens in September!

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SHIFT: Architecture in Times of Radical Change

September 19, 2025–February 28, 2026

On view at the Chicago Cultural Center, 78 E. Washington Blvd., as well as many locations throughout the city.

chicagoarchitecturebiennial.org

View programming at Engage Projects at engage-projects.com

100 Links, The Buell Center. Installed at the Chicago Cultural Center for CAB5 in 2023. Photo by Tom Harris.