Douglas Dawson Gallery is a serene art destination hidden behind a steel entry wall off of Morgan St. in the heart of the Chicago's meat packing district. When you walk up the stone walkway under the cover of the wood trellis you are aware that you are about to enter a gallery unlike any other in the city. The gallery turns 30 at the end of this year, and for the occasion gallery directors and partners Doug Dawson and Wally Bowling spent some time over tea one rainy summer morning to talk about running a contemporary gallery that deals in ethnographic art and ancient artifacts. Unique challenges face them as they try to reach the next generation of collectors while managing new realities of sourcing and authenticity, but the two have relied on experience and perspective to get them where they are today. - GV&nbsp;Doug Dawson credits his entry into the gallery business to a potent combination of naïveté and terror. 30 years ago, when he moved to Chicago from a political collective in northeast Iowa, Dawson had never been in an art gallery. He admits,&nbsp; I very naïvely decided to open one. In retrospect&nbsp;it all seems like great strategizing, but in fact it was dumb luck. &nbsp;His timing was also fortunate, since he happened to rent a River North loft space in 1983&nbsp;when the area was just beginning to buzz. Dawson reflects he was delighted to find himself suddenly in the middle of what was fast becoming the hot contemporary art neighborhood of Chicago.Today, the gallery has been in the West Loop for seven years. Dawson has seen many changes since opening the gallery three decades ago, but one constant has been the gallery's focus on tribal art. When he first opened he used a contemporary gallery model to hold openings and complementary activities like lectures, as well as thematic exhibitions. Dawson credits this structure with helping him reach a larger, more energized audience of contemporary collectors than just those who collected tribal art. The contemporary juxtaposition, he explains, means that someone who encounters an ancient piece doesn't have to have expert knowledge about Burkina Faso; it doesn't matter if you've never heard of the Ashanti tribe. A new context can dispel insecurities, and, Dawson says, help fill in the gaps later.To continue to offer new contexts and to keep things fresh, the gallery occasionally showcases contemporary art, working with artists who see the ancient work in new ways&nbsp;–&nbsp;a strategy Dawson explains complements other pieces in the gallery. He says,&nbsp;"As much as we need to keep our clients interested we need to keep ourselves interested. In dollars it s a small part of the business, but in interest it generates a lot. It's harder and harder to do shows just on ethnographic art, so this helps fill our openings calendar as well as put older works in a new light." Many of Dawson s collectors are also interested in minimalism, conceptual art, even antiques, so parallels are easily found. &nbsp;Dawson and Bowling cross boundaries in other practical ways as well. Dawson explains, "We participate in contemporary art fairs – we actually prefer them to tribal art fairs. If you interview our collectors most will tell you they're contemporary art collectors. Collecting tribal art has a long and dynamic history that surprises many people. As Dawson says, "In fact, early French artists were collectors of this material too – they were affirmed and inspired by it. Their own art was ratified by it. Interestingly there has been a major paradigm change in that relationship. If you look at French artists in 1915 they were looking at tribal art and seeing in it issues they were dealing with in their own art. Today it's just flipped completely - it's understood and evaluated by looking first at 20th Century art. People come in and say&nbsp;'That looks just like a Giacometti,' for instance. That's how it's validated."All these overlapping interests would seem to indicate a broad audience for tribal art, but Dawson admits that engaging a young audience with this material can be challenging today. He says, "There's less interest in non-western culture. Young people don't travel like our generation did. There's a kind of ambivalence now. And tribal art certainly isn't cool. Someone can spend $200,000 on a pre-Columbian textile, for example, take it home, put it on the wall, have a party, and 98% of the people there will have no idea what it is, let alone how much they've spent. It doesn't make the kind of impact that contemporary art can for people who collect by the numbers. You can't brand it."Another challenge that affects Dawson's market, as well as the antiques market he says, is what he sees going on with interior design. He notes, "All dealers are loathe to admit that's a really major engine in the art world but it is. Trends in interior design now seem very conservative, very corporate. We hear young people aren't really using interior designers anymore. They buy a loft and put in a TV screen bigger than the house we grew up in, a Crate &amp; Barrel sofa&nbsp;and lots of electronic toys. That's kind of it." When asked to think about how&nbsp;much best-selling furniture and art at chain&nbsp;stores appeals&nbsp;to these same transient younger people, Dawson discussed how so many pieces&nbsp;are in fact inspired by, if not copies of, originals&nbsp;from far flung countries or long ago eras. As he sees it, "If people feel they can obtain an apothecary coffee table that looks like it came from a remote village in South East Asia with the click of a button – and free shipping – why would they seek out a well-traveled dealer who's actually gone to the trouble to procure the real thing from a real village?"&nbsp;Dealers, and individuals, he points out,&nbsp;used to have to travel much more to pursue such treasures. But Bowling adds that even if you travelled that way, especially on your own, you wouldn't necessarily buy&nbsp;such things anymore.&nbsp;He says, "So it's kind of a catch-22. When we used to travel more, it was more readily available. You'd get excited about pieces in-situ. People just got excited about the third world, but now it all looks very western. Villagers are wearing t-shirts shipped from the US.&nbsp;There are no ceramics.&nbsp;Instead, you see Michael Jackson's face printed everywhere. It's a different perception of the world now, generally."The number of younger collectors who frequent the gallery is small, but Bowling cites a handful who are new to tribal art. He believes,&nbsp;"If you know you want to collect something, pre-Columbian ceramics are amazing. A lot of people think because of the age, prices must be out of reach; we do have to reflect the market, but if you look at what goes at the major auction houses today, these things are much less than contemporary counterpoints, and they have some history."Dawson thinks any younger collector should first be curious. He advises, &nbsp;"Don't expect to buy right away, but do look and wonder on any kind of level&nbsp;–&nbsp;aesthetic, technical, historical. When we were younger we used to go to so many galleries and just see and absorb.&nbsp;He is frustrated by art students who come in but don't really look at pieces in the gallery. He's lectured classes in the space, only to have no one come back, and he wonders where they are getting their messages.&nbsp;For me the ideal is being curious and asking questions, wondering about the people who made these things. It broadens my idea of human experience. That's what art is. I think it's important people know about the world."A museum experience is naturally a quite different from&nbsp;the one a gallery provides, especially in a field like tribal art. Locally, Dawson looks to the Art Institute and its excellent collection. He says the head of the department that deals with tribal art is probably the best in the United States, but it still remains a department that has a very low profile in Chicago. He says,&nbsp; "There s no energized community around this material here. That affects business. There are some other dealers in Chicago who are participating in the same market that we are, but no one is doing international shows and seeking the same national level. &nbsp;I'm not demeaning anyone, but it would be nice if there were more galleries dealing in this kind of art in order to give people something to compare."These awareness challenges are all the more reason that visitors should be attracted to Dawson's space and unique field. In the gallery visitors encounter prime examples of tribal art as well as moving insights into world history. Bowling, a trained architect himself, points out that the space was designed to look like the houses their clients might have. Small rooms and spaces allow you to discover things. He says, "There's an intimacy that you don't get in a museum. You can look at a piece here and respond in your own setting."&nbsp;Dawson says visitors are invited to come in, touch things, ask an expert questions. It's a rare point of access. &nbsp;Dawson and Bowling have gone to great distances to give clients that kind of up-close access, traveling the globe to art fairs and remote destinations to bring the best of the world s tribal art to collectors. Their specialty also involves regularly going through hoops. One of the primary obstacles demonstrates how recent issues of our own security have resulted in newer challenges off dealing in tribal art. Dawson says, "The Patriot Act really has become sort of a nightmare in the art business, where everything is suspect. Dealing with the Federal Government, the Department of Fish and Wildlife and U.S. Customs – to get a clarification of what you can and cannot do, it's become almost impossible."Dawson and Bowling say they travel a lot less than they used to, partly because of the recession, and partly because they haven't needed to replace inventory as often. Bowling says they do more domestic travel and less foreign, and that the overseas trips they do take now are&nbsp;more for pleasure. Still, they manage to travel about a quarter of the year, but art fairs largely dictate their schedule and destinations. Recent ventures to&nbsp;South America, Asia, and throughout Africa&nbsp;would make any globetrotter envious. Trips usually involve seeing contacts, visiting museums, and staying up to date with other collections. &nbsp;Travel is often not when acquisitions are actually made, since as Dawson points out, objects are almost never come from the country of origin. He explains, "We buy things that have impeccable provenance and authenticity, and to do that we must spend a lot of time going through a great deal of steps. We have a good museum business, and it's more and more difficult to sell to museums now because of concerns about provenance and authenticity. For instance, we're more likely to look to buy things from this country or Europe than we are from Mexico or Peru or Indonesia."Authenticity is a serious matter, particularly since Dawson has a strong museum business.&nbsp;"Not long ago,"&nbsp;Dawson says, "we had a large prehistoric African terra cotta figure and the head had been broken off. In that world of African archeological ceramics there's a lot of forgery - mixing of pieces and reconstructing things. The client wanted to be sure we had the right head for the body. We sent it to a firm&nbsp;in suburban Chicago for a host of tests, like thermoluminescence, which determines when a ceramic was submitted to a certain temperature. Both the head and the body came out equally correct in that test. Then, they ground up samples from both parts and those came out perfectly. They X-rayed. Then, they drilled into a point where the ceramic hadn't gotten hot enough to carbonize organic material, and they found animal hair that had been used as a bonding agent. These pieces are 2,500 years old. They pulled a hair out of the head, and a hair out of the body and did DNA tests. The hairs came from the same female goat. Ultimately they said it was&nbsp;highly likely – the most definitive statement they'll make – that the two parts were made at the same time, from the same lump of clay, by the same person. We will go that far to determine authenticity."Regarding their base in Chicago, Dawson says it's a double-edged sword: "We do have some Second City syndrome here, where people will prefer to buy things in New York or Paris, particularly in the art world, since that has a sort of cachè.&nbsp;That said we have been here for 30 years. Chicago is a great city that draws a lot of people in for numerous events."&nbsp;He admits to a familiar dealer quandary, "We couldn't survive in Chicago just on Chicago. It's because we've developed a national reputation that we can do what we do here. But I think that's true of everyone. That's what keeps everyone open in this city." Dawson says that above all they've enjoyed a great run in Chicago. Most of the obstacles they've faced have in fact been in place from the beginning, and here they still are after three decades. He concludes, "For our space, this is a protected manufacturing district, so we are able to have this sculpture gallery and to make the gallery a destination. Obviously we could not have all of this in too many other cities."<a href="http://www.chicagogallerynews.com/galleries/douglas-dawson-gallery">Douglas Dawson Gallery</a>

An interview with Douglas Dawson and Wallace Bowling for the gallery's 30th anniversary

Douglas Dawson Gallery: 30 Years of Tribal Art

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418577/hnmzoc6jsgvyqprlnabe.jpg"><figcaption>Contemporary design and furniture complements the art - pictured here a range of works, including a sculptural piece by Nick Cave</figcaption></figure>&nbsp;By GINNY VAN ALYEAThe label 'collector' can convey the notion that buying and acquiring art is an insular pursuit, reserved for insiders wih connections and expensive taste. Collectors Marilyn and Larry Fields prove that a passion for collecting and living with art can begin at any age, and their shared enthusiasm is a lesson to anyone interested in learning about contemporary art and the artists who create it. Their story of how they filled their lakefront high-rise home with works by some of the greatest contemporary artists of our time in a few breath-taking years is a unique inspiration. The art the Fieldses have collected complements striking design pieces from the 1940s and '50s and fills&nbsp;their home&nbsp;with style and their life with&nbsp;meaning. Their private home gallery, located in an adjacent condo,&nbsp;is devoted to exhibiting works from their collection on a rotating basis. On a rainy afternoon, I enjoyed keeping up with the Fields's frenetic conversation and sharing their passion for the art and artists who have touched their lives. –GV&nbsp;To walk into the home of Marilyn and Larry Fields is to enter a tranquil,&nbsp;expansive art space. Stepping off of the elevator onto their private floor, I encounter&nbsp;a towering collage of hundreds of photographs that&nbsp;Jason Lazarus scoured from the photo-sharing site Flickr;&nbsp;each image&nbsp;depicts someone's&nbsp;personal experience&nbsp;during the Iraq war. This was just the first of many powerful pieces I would see. Seated with&nbsp;Marilyn in the couple's round living room, overlooking Lake Michigan, she explains,&nbsp;"We certainly live with art&nbsp;24/7. It's really become our passion."Married for 34 years, the Fields say they've always bought art. If something was visually appealing, they'd buy it. Larry says that at one point they were interested in posters and art glass, picking out a piece here or there, but he admits, "That was mostly haphazard—nothing really made a collection." They&nbsp;aimed&nbsp;for a new level in 2000&nbsp;after putting a down payment on a condo in a Streeterville&nbsp;building designed by French architect Lucien Lagrange. They didn't move in for five years, but in that period several decisions affected their collecting savvy: they became very involved with the Museum of Contemporary Art— Marilyn joined the Women's Board in 1998, while Larry became an MCA trustee around 2004 – and they began attending an annual art extravaganza, Art Basel Miami, in 2002.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418578/bhbvu7ogjhkntgj7nmaz.jpg"><figcaption>The Fields's apartment overlooks Lake Michigan</figcaption></figure><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2288/original/fields1.jpg" alt=""></figure>The Fields' home is a balance of art, architecture and contemporary design. Though Marilyn and Larry collect as a team, their roles at home&nbsp;are different. Marilyn has taken great care to develop the character of the home through furniture and design, collecting 1950s modern furniture as well as pieces by 1940s French designers Jean-Michel Frank and Andre Arbus. When they finally moved into their apartment in 2005, Marilyn describes opening up the art and furniture as, "One of the most exciting moments—we'd bought all of these beautiful pieces and they'd been in storage for years." For Larry, "We looked at which pieces had dialogue with each other. It's fun buying, but it's even more fun installing."&nbsp;Each piece in their collection exists in relation to the others around it. According to Marilyn, "We love how each piece&nbsp;speaks to the other. We try to make it all work. But most important, it has to appeal to us."Larry wants to know, "What's the contextual idea? How is it somehow related to society today? Is it process oriented? When you meet an artist, they can open up your eyes to a way you haven't seen the world." Marilyn says: "We've grown tremendously and become more sophisticated collectors because of the MCA. Meeting the curators and artists, you really take so much more from the art that you're buying. It's given us a different type of focus. We've also met so many amazing people and made many friends in the art world, including other collectors."&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418579/iqej5hrgss0wip2locqp.jpg"><figcaption>A pair of works by Kara Walker and a painting by Ed Ruscha displayed in the Fields's sitting area</figcaption></figure>&nbsp;The Fields have collected art from many cities in many countries, but they feel a great deal of pride for the City of Chicago, as well as an obligation to support it art community. Larry and Marilyn agree that the time seems to be right in Chicago for a boost for some artists and galleries. Larry point to success stories of young artists like Theaster Gates, Rashid Johnson, Angel Otero, and William J. O'Brien, each of whom have work in the Fields' collection. To Larry&nbsp;because of the international attention these artists have recieved, he suspects that people who may have been previously reluctant to purchase work from a Chicago gallery (instead of say, in New York) may now have more confidence buying art here. Larry says he and Marilyn try to support younger artists when they're getting started; for instance they have acquired a piece from each of Gates' series. Larry states, "It takes a village to support artists here: galleries, art schools, non-profits, museums—they all work together to create a nurturing experience."&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418580/xxewgf2voim2nogyx3l6.jpg"><figcaption>Mark Bradford's sculpture featuring a switchblade embedded in a rock recalls Sir Lancelot's sword in the stone&nbsp;</figcaption></figure>&nbsp;The couple credits the opening of Millennium Park in 2004, followed by&nbsp;the&nbsp;Art Institute of Chicago's&nbsp;Modern Wing in 2009, with finally drawing a more international crowd to the city. Larry explains, " I think Anish Kapoor's 'Bean' [Cloud Gate] in Millennium Park has become sort of symbolic of a new city-wide pride. It has drawn people to the city just for this kind of art experience." Marilyn adds, "That was not something that used to happen. The amount of funding the community raised was pretty incredible. The gardens, Jaume Plensa's&nbsp;Crown Fountain—it's all perfection. " Larry hopes that what has been successful about Millenium Park could someday be done to update other sites in the city as art showcases, such as the iconic Navy Pier.&nbsp;Navy Pier will in fact be transformed for a weekend this September when EXPO Chicago debuts, returning an international contemporary art fair to a much-loved venue. Marilyn recalls that during Chicago's art fair heydey in the early 1980s, Vernissage was the party for the premier contemporary art fair in the world. As part of the MCA's Women's Board, which is once again hosting Vernissage on September 19, she remembers, "There was Art Basel in Switzerland, but not much else. From 1982 here until it ended in 2004 it was really phenomenal. Galleries who came from around the world were very, very disappointed when it ended. The thought of bringing it back to Navy Pier, where everyone's heart was, is exciting, and many of those original galleries are coming back." To run a successful fair here again, this is a critical place for a certain scene, and Marilyn agrees that Vernissage is an important element that will get people excited about the return of the fair.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418581/iahrznme3mornpkvtifd.jpg"><figcaption>In the gallery space a John Baldessari painting dominates. A hidden room features a closet and a kitchenette covered 360° in acrylic resin. Also pictured is Erin Swinson's sinister sculpture of a small deer struggling with a shadowy cape.&nbsp;</figcaption></figure>&nbsp;Having discussed collecting, art in Chicago, and the upcoming EXPO, Larry relished the opportunity to introduce me to his favorite works, so I made a concerted effort to keep pace as he rattled off names of artists and the story behind each piece. Both Marilyn and Larry have personally placed each work of art, but they've also largely kept the experience of others in mind when deciding where certain works should be. Certain spaces are meant for quiet pieces, such as one of Sol Le Witt's minimalist cubic constructions placed in a window overlooking the back of the MCA. Nearby is a subtle Fred Sandback installation, as well as a work by Italian painter Lucio Fontana. On a bench in the entryway is a commissioned book by Deb Sokolow, featuring an amusing conspiracy story about Larry –&nbsp;who works as a cattle futures trader –&nbsp;and some cows mysteriously being found in a warehouse on the west side of Chicago. Marilyn calls it a clever homage to Larry.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418581/alt468jlnitkcwytkecx.jpg"><figcaption>Pictured in center: Mark Tansey's Utopic</figcaption></figure>In the tranquil entryway, muted by opaque green glass panels, a handful of large-scale paintings are meant to make a dramatic first impression. Mark Tansey is a favorite of the couple. His&nbsp;Utopic, in his signature inky blue, looms on the wall opposite the front foor, featuring a dreamy scene from Anna Freud's study. Larry notes that the hermaphrodite statue picture on the chaise actually exists in the Louvre. Freud, Marx and Nietzsche are looking down from inside their portrait frames, psychoanalyzing her sexual identity.&nbsp;In the Fields' long, open dining room, four 1970s-looking photographs by Richard Prince are lined up opposite a wall of windows overlooking the Lake. Larry excitedly explains&nbsp;the placement, "When we have dinner parties, the guests at the table can pick their favoite lady. The ladies are all looking to the left, to the east, in the room. What are they looking for? Love. We made sure to place Robert Indiana's&nbsp;LOVE sculpture at the east end of the buffet to create a story line for everyone."&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418582/sw1vetni2puqpv9eiiex.jpg"><figcaption>A view of the Fields's second gallery space adjacent to their main living space.In the foreground a soundsuit by Nick Cave.&nbsp;</figcaption></figure>&nbsp;Larry tells me that they move works around in the apartment's private gallery about 2-3 times a year, whereas most art in the main apartment stays put. An initial impression of the gallery is of whimsy and interaction, exemplified by Anish Kapoor's target-like, shiny whirlpool, which draws your attention as you enter the room. Set into the wall itself, the viewer has the sense of&nbsp;falling down a rabbit hole to infinity—it's like having a Millenium Park&nbsp;"Bean" at home, without the crowds.&nbsp;&nbsp;Groupings, common in the gallery space, are evidence of Larry's fondness for curating. Marilyn explains, "He really loves delving into each work of art and sharing all the stories." Larry puts works together according to a&nbsp;theme, such as surface, era, concept, or global geography. He enjoys seeing how things go together and how they speak to each other. One group focuses on an African American aesthetic, showcasing Mark Bradford's bags of soccer balls, as well as a flag by David Hammons, and pieces by Rashid Johnson, Hank Willis Thomas, Lyle Ashton Harries, and Kara Walker. Larry is undeniably proud of all of the works in the collection—it's as if the artists are his children and he's the proud parent. Art conjures up different things to different people, and as tour guide Larry offers his own insights while also allowing&nbsp;others to say how a work's message might appear to them. He reflects, "I think art can leave a personal space to think about what it means to you."&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418583/yksyeb3d6azkhygicefo.jpg"><figcaption>A work by Anish Kapoor</figcaption></figure>&nbsp;The Fields are frequently generous with their time as well as their knowledge, leading tours of their home for groups interested in contemporary art. Marilyn admits that though she's a very private person, "I want someone to come here and really learn –&nbsp;to think this is it." Larry adds, "As an art collector, I think you have a responsibility to know the art and to also open up your home and be able to share it and help others see. You must know about the artists and understand their work and why it's here."Of course, the ultimate goal of collecting is appreciation and enjoyment. Together Marlyn and Larry agree, "It's about not taking yourself too seriously. That's what it's all about—fun."#<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418584/ox8j86zkjci0kxmbfvfy.jpg"><figcaption>Larry paired Maurizio Cattelan's marble Everyone is Broke with Tony Tasset's colored rocks.&nbsp;</figcaption></figure>&nbsp;</body></html>

CGN interviews local art collectors Marilyn and Larry Fields. 

Collector Profile: Marilyn + Larry Fields

What were you doing 40 years ago this fall? How about 30, or even 10? Were you even born? A sizeable number of our city&#39;s galleries are marking major milestones this fall, so we took some time to ask them about the kind of impact that longetivity and leadership have had in our neighborhoods and in our arts community. A multitude of developments have affected art businesses here and around the world, but when considering the many industry shifts, Chicago dealers have similar reponses: the internet and art fairs have turned things on their head when it comes to selling art, promoting artists and reaching collectors. With the benefit of hindsight, several dealers celebrating significant anniversaries this year offered reflections on all that has changed over the decades, as well as what thankfully remains the same. -GV

Artists and art dealers are often pioneers when it comes to seeking out new neighborhoods in which to live as well as run a business. The vitality and popularity of Chicago neighborhoods today, such as River North and the West Loop, versus 10 or 20 years ago is in part thaks to dealers and artists who blazed early trails. Such geographic changes have had long-rage effects on the gallery scene that are still evident.&nbsp;

Prior to the 1980s the city&#39;s established galleries were centered around Michigan Avenue. A few stalwarts are still located there today, including Richard Gray Gallery, approaching its 50th anniversary in 2013, and R.S. Johnson Fine Art, in business for over 56 years. By the late &#39;70s a few dealers addressed a need for space that was not available along the city&#39;s main retail corridor. Zolla/Lieberman Gallery moved to 368 West Huron in 1976. In 1979 Ann and Roy Boyd moved their gallery to West Superior to the second floor above Young Hoffman Gallery, with Jack Lemmon and Landfall Press. Ann Boyd remembers, &quot;It was a ronderful time. There was hardly any activity during the day, but people who came to see us came for a purpose. We were all feeling pressure to have higher ceilings, more space for art, more elbowroom during openings. Some artists thouht we were crazy until their say the big spaces and recognized the sense of camraderie. Ou rinsurance when we started wa $1,500 a month because our agent though all of our windows would be smashed.&quot; By 1983 16 galleries had opened in what would soon be known as River North.&nbsp;

Around the same time that galleries were begining to establish Chicago&#39;s first gallery district, in 1981 a new event on the city&#39;s art calendar would forever change the art business.&nbsp;Art Exposition&nbsp;launched on Navy Pier that year, and the resulting enegery and attention bouyed Chicago&#39;s reputation as an international art center; it also added fuel to the rapid local gallery growth. By the end of &#39;80s, over 65 galleries filled River North, while more openered around the city, including in Wicker Park/Bucktown and beyond.&nbsp;

Catherine Edelman launched her namesake gallery 25 years ago after graduating from the School of the Art Institute, opening her doors two weeks before the 1987 stock market crash. An April 1989 fire that devestated River North, along with the coinciding crash of the global art market, led to widespread votality well into the early &#39;90s. Some dealers again sought larger spaces and lower rents, spurring a significant relocation to he West Loop. Edelman says, &quot;I think the idea was that we&#39;d all move, which at first seemed like a viable idea, but a lot of us decided to stay. I think that split hurt the power of the Chicago gallery scene. There never used to be a thought where else you&#39;d go opening night.&quot;&nbsp;

Art centers have continued to develop locally in all directions, such as in Pilsen and Bridgeport where distinct neighborhood personalities are evident. The ever-creative art scene now even includes pop-up galleries and installations, a timely result of a resourceful economy. Changes in the global business landscape have also aletered the way we all reach audiences beyond the ones at home. In the past 10 years, we&#39;ve come to view websites, blogs, Twitter and Facebook as critical.&nbsp;

Douglas Dawson Gallery markes 30 years at the end of this year, and Dawson points to technology as being one of the most striking differences since his early days, though he admits that new channels maynot seem as jarring to those starting out. He says, &quot;For older galleries, like ours, with an older clientele, and a long history of print, mailings, personal contact, the evolution of technology and the impetus to make it a valid tool of the business has been challenging.&quot;&nbsp;

Social networking and the web aren&#39;t the only things making the art world smaller. Roy Boyd, who founded his gallery in 1972 in Westrn Springs before moving downtown near the original site of the MCA, says that compared to 40 years ago, &quot;We all know art fairs have taken over. The scene isn&#39;t just local anymore.&quot; Dawson reiterated Boyd&#39;s point: &quot;the changes I&#39;ve seen in the art business in Chicago mirror changes nationally. When I opened in the early 1980&#39;s there was tremendous, self-sustaining energy in the art community. Today our business is predicated on participating in important art fairs. We depend on the clients we meet at those fairs who, if they do not purchase at the show, often will when they visit us in Chicago.&nbsp;

Valerie Crberry, who opened her gallery 10 years ago in the John Hancock Center, says though many see striking changes over the years, and art now reaches many via the internet, up close and in-person can&#39;t be beat: &quot;What has not changed is that the quality of experience for the casual vistor or the experience collector is never better than in the gallery itself, where the directors, staff, and artists are available to share their expertise and enthusiasm in a comfortable space. This experience endures alongside the many and now vital platforms for art viewing, such as online or at art fairs, and proves the value of a basic pleasure.&quot;&nbsp;

Running a gallery is a marathon, certainly not a sprint. Dawson says, &quot;I think the most important issue for an older gallery, as for an older individual, is how to remain vital, relevant, and able to bring energized perspectives to one&#39;s activities. Chicago is a wonderful and receptive city to explore those challenges.&quot; 10 years ago the Boyds hosted an intimate party for their 30th anniversary. &quot;This fall,&quot; Roy says, &quot;we&#39;re going to just have a group show for our 40th anniversary. We&#39;re letting our artists subit their favorite old work, or they can submit something new. We just wanted to recognize the people we&#39;ve worked so well with.&quot;

CGN profiles local Chicago galleries celebrating their anniversaries. 

2012 Gallery Milestones: Decades in the Art Business

By KEVIN NANCEIs the glass half-empty for the Chicago art scene, or half-full? It depends on whom you ask, what you focus on and how ambitious a response you propose.In the upper, unoccupied, rather lonely part of the glass, there’s the fact that the Merchandise Mart recently pulled the plug on Next Art Chicago, which it rescued so gallantly a few years ago, only to see it suffer during the recession and struggle to compete with other fairs in Basel, Miami, New York, London and elsewhere. After what they described in a parting statement as “a thorough analysis of the art fair landscape,” the Mart’s Staci Boris and Ken Tyburski bailed on Chicago like it was the Titanic, concluding that “the great majority of the art fair market in the United States has gravitated toward the coasts.”For Chicago artists and gallery owners, who increasingly feel that local collectors prefer to buy elsewhere, the recession has been hard. There’s a battle-fatigue, even a malaise, in certain precincts. “There’s still such a fantastic art scene here, so many great galleries – but an energy is missing,” says Kasia Kay of kasia kay art projects in the West Loop. “It’s really kind of sad.”In the lower, still quite fluid part of the glass, hopes are high for former Art Chicago director Tony Karman’s new fair, EXPO&nbsp;Chicago, set to debut at Navy Pier, September 20-23, 2012. “Tony’s taken the torch and is running with it at the moment,” says Linda Warren of Linda Warren Projects. “There’s a real buzz out there because he’s investing a lot of energy into it, trying to be the very top tier of art fairs in the world. If it happens, I think it’ll help bring our art scene back.”There’s some disagreement about that. Even if EXPO Chicago is&nbsp;wildly successful, gallery owner Carrie Secrist says, no city can assume that one art fair, which now has&nbsp;so much competition around the world, can revive an ailing art scene all by itself. “That’s over,” Secrist declares. “If a comeback happens, it’ll have to happen another way.”Still, there are positive signs. “As the economy has started to come back over the past few months, our business has been stronger,” the River North gallery owner Roy Boyd says. “We’ve seen some green sprouts.”And at City Hall, the new mayor’s administration appeared to be arts-friendly,so far. The Department of Cultural Affairs and Special Events (DCASE) hit the ground running earlier this year when it began organizing dozens of community meetings to gather input for the new Chicago Cultural Plan, the first time such a plan has been seriously revisited since initially launched in the 1980s. Many in the arts community are still holding out for more concrete signs of support from City Hall.Either way you look at it – half-full or half-empty – the question remains: How do we fill up that damn glass? How do we refocus attention – locally, nationally, internationally – on Chicago as an art center? How do we leverage the city’s unique character, including its vast array of cultural resources, to provide a shot in the arm to an art scene that some regard as in the doldrums?A Hail Mary approach would be to mount a major citywide event modeled, at least loosely, on Pacific Standard Time, a recently concluded series of more than 60 exhibitions in Southern California focused on Los Angeles art from 1945 to 1980. PST, as it was known, drew mostly positive reviews, brought cohesion to the city’s sprawling art scene and raised its national and international profile, enviable results, and certainly all worthy goals for any Chicago counterpart. But PST, several years in the planning, was largely organized and funded by the Getty Foundation, which contributed about $10 million. The Art Institute of Chicago and the Museum of Contemporary Art, while not exactly aloof from the Chicago art scene, are not known for their deep involvement with it, at least not at the paternal level of the Getty in L.A.; certainly neither can match the Getty’s deep pockets.That isn’t to say that a Chicago-style art celebration, even one with as grand a scope as L.A.’s, couldn’t be pulled off here. “I think it could be done,” Boyd asserts. “It would take a massive effort to spearhead it, of course, and a great deal of cooperation between a number of different people and entities who don’t normally work together that closely, but it could be done.” In Boyd’s vision, major Chicago Institution, galleries, artists, collectors, art-loving philanthropists and foundations – including the MacArthur, the Pritzker and the Terra – could band together and mount a coordinated citywide event that could give Pacific Standard Time a run for its money. “Having the museums and the galleries and everyone moving together as a united font would certainly lend a focus and a power to any effort like that,” Secrist says. “That’s probably the quickest way to bring back more of a national focus to Chicago.”But how would herd all those cats? You’d need to field an all-star team with the vision of a Daniel Burnham, the networking skills of a Lois Weisberg, the fundraising prowess of a John H. Bryan and, probably, the political clout of Rahm Emaunuel.Until such a dream team surfaces, perhaps the problem would be best attacked, at least for the time being, on a smaller, more manageable scale, with an approach that is multifaceted and less monolithic. One of several possible models might be Gallery Weekend Chicago, a collaboration that began in fall 2011 between a group of local galleries (including Andrew Rafacz, Corbett vs. Dempsey, Devening Projects + Editions, Donald Young, Kavi Gupta, moniquemelcohe, Rhona Hoffman, Shane Campbell, threewalls, Tony Wight and Western Exhibitions) and local collectors to bring in out-of-towners for a “privately curated” sampling of the Chicago art and cultural scene, including gallery and museum visits, hard-to-get reservations at top restaurants and an architecture river tour.“We’ve seen a decline in what’s been going on here, but we still have incredibly thriving institutions and galleries, and so we came together last year to see how we could share that with collectors from all over the country,” Monique Meloche says. “Berlin has been doing something like this, and it’s been wildly popular there. Both New York and L.A. have tried to produce their own versions, so we thought, why not? We have such great institutions here, such great architecture, and a national culinary profile. People love to come to Chicago, so it seemed like a natural.” Last year’s event drew about 50 out-of-towners, and the group hopes to triple the attendance at this year’s follow-up, scheduled to coincide with Expo Chicago in September. (For details visit <a href="http://www.galleryweekendchicago.com">galleryweekendchicago.com</a>) “We don’t think it’ll get much larger than that, because we don’t want it to become a marathon,” Meloche says. “We want to keep it manageable for people so they can spend some quality time at these spaces.”In her opinion, in fact, the sensory overload provided by a major art fair – or a Pacific Standard Time knockoff – might not be what Chicago needs after all, at least not now. Instead of one big jolt of shock therapy to rouse us from our collective depression, maybe a series of smaller zaps would do just as well or better. “If you do a ‘Chicago Standard Time,’ maybe you’d narrow the focus too much on the art scene, and frankly I’m not sure it would draw people here like Pacific Standard Time drew people to L.A.,” Meloche says. “We need to be showcasing the whole culture of Chicago, not just the art scene – including the architecture, the world-class institutions, the restaurants, everything. I mean, when you talk to out-of-town people about coming to Chicago, their eyes light up. We just need to invite them.”

Kevin Nance talks to members of the Chicago art scene about an arts revival in 2012

An Invitation from Chicago to the World

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418577/uklpwy8zxyvxyrcsondw.jpg"></figure>By MARY DEYOEI explored a number of alternative art spaces across the city recently for&nbsp;Chicago Gallery News.&nbsp;Artists, curators, writers, and others passionate and focued within the community introduced me to their homes, storefronts, and co-ops, demonstrating what a vibrant and vital component these spaces are to Chicago's art scene. Wanting to learn more, I began a new series in&nbsp;CGN dedicating one article each issue to an alternative space in Chicago. I don't purport to know about every site yet, but I like to think I could some day.&nbsp;For this issue, I met up with former MCA Curator Tricia Van Eck to learn how her current project, 6018 North was developing. The space is a 100-year old mansion that will serve as "green, non-profit space for experimental culture, instalation, peformance, and sounds."-MDThe yellow house at 6018 North Kemore in Edgewater sits wedged between two large brick apartment buildings. It has a deep, covered front porch, and large picture windows on the first and second floors. There is no other structure like it on the block, which is lined with four-plus-ones. Currently the house, which had to be gutted after pipes burst over a year ago, is undergoing a deep, green retrofit. Rather than starting from scratch, two teams of student from IIT are redesigning the current structure to be more energy efficient, so it can accomodate the variety of artistic practices, performances, and gatherings that will take place in this multi-functional and collaborative space.&nbsp;Knowing that Van Eck had already held some events in the space, I was shocked when we walked through the front door. There were no interior walls, just wooden studs and exposed beams; the floor was stripped and uneven. Looking more closely, I saw a long wooden table. It was propped on sawhorses and painted with colorful stripes. The benches along the table were white radiator covers that had star-patterned grills. A few glass bottles and vases with flowers were sitting on a side table, and a large white board covered from edge-to-edge with charts, lists and winding arrows, hung on the wall at the head of the table. These were the remnants of a recent Fluxus film screening and dinner party. Van Eck can seat up to 40 guests at the table, and she has no interest in spreading the group among smaller, seperate tables to make room for more. "It's about everyone being at one table, being a part of one unit, one conversation," she said.&nbsp;Each of the dinners hosted at 6018 North has had a theme. The guests are asked to consider a certain issue regarding art in Chicago and how to address it. Recently, the conversation focused on responsibility of art writers. The current and familiar debate is whether the city serves as an incubator for talent. Many artists come here to study, but then they leave because the market is stronger in places like New York, Berlin and L.A. The question around the table that evening was whether bringing deliberate attention to Chicago is the responsibility of the art critic. The guests were split in their opinions; the artists seemed to think this was the responsibility of the writers, while the writers saw it the other way around, and believe they should be free to focus on art criticism. Van Eck intends to continue to engage the community in these types of conversations as she considers how 6018 can best address these issues and be an innovative resource for Chicago art.&nbsp;The various features of 6018 North will include a Fluxus library and a performance space in the basement; a screening room on the third floor, which will also support sound installations; and a garden and living mural (or green wall) in the backyard. The house will also be home for Tricia and her husband, who plan to live on the second floor, and to an artist-in-residence. The annual residency program will begin as early as this May. Each residency will last 5-6 weeks, and in each cycle Van Eck plans to host at least one writer, chef, visual artist, gardener or landscape architect, and curator.&nbsp;Although construction on the house may not be fully complete for more than a year, the next project and programs at 6018 are well underway. Van Eck is a finalist for a grant from Art Place, and if she receives the grant, funds will go towards the residency program. The diversity of performances, exhibitions, residents and guests was desiged purposefully to create a "clinate for experimentation" both within the space and throughout the wider Chicago community.&nbsp;If the current momentum behind 6018 North remains, the space will surely be a magnet for talented artists, leaders and entrepreneur from both Chicago and other major cities. Learn more about the project at <a href="http://6018North.net">6018North.net&nbsp;</a>&nbsp;</body></html>

CGN profiles 1068 North, an alternative space and art residency. 

A climate for experimentation by Mary Elizabeth DeYoe

Chicago-based esigner Kenneth Walter; of Gray &amp; Walter; has been designing personalized creative spaces for discerning client for 30 years. An advodate of being faithful to a client&#39;s unique taste, even if that leads to uncovering surprises along the way, Walter heralds the benefits of working withing a formalized plan. Not limited by tradition, the designer says he will determine what makes the most sense for a client, and that antiques and contemporary art are a few of his favorite supporting elements for unique space. -GV

CGN:&nbsp;Tell me about your design philosophy and what you do for your clients.&nbsp;

KW: My firm was established in 1989, and today we do all different types of projects, from contemporary hotels and club to historic preservations. I find that I&#39;m very interested in working with a plan&mdash;seeing how a project will relate to a site. I also have to see how a client and the overall project are related to one another. I would never deprive someone, but I will maybe try to talk them into the thing that&#39;s best suited to them. A good professional doesn&#39;t do just one thing. I prefer to work with that is appropriate, but I think a lot of architects and desigers get caught up in a look, and then potential clients get confused when they see only one kind of work in a portfolio and cannot get beyond it.&nbsp;

I describe what i do as &#39;ecletic classicism&#39;&mdash;designed based on classical principles, and classical in terms of order, though not always style. Something could be really far out, or done as a period, or it can be funky. I think you can do anything, as long as there is an overall order.&nbsp;

Things definitley come in and out of fashion. One day people will want silk curtains dripping with trim again. Lucite is back right now&mdash;I never thought I&#39;d see that come back! So, everything that&#39;s old is new again. Chintz will probably come back&mdash;whether it should or shouldn&#39;t isn&#39;t the point, but it will come back, so it&#39;s good to work with a lot of styles.&nbsp;

I think people can have a wonderful art collection and it doesn&#39;t have to have museum-level name or even quality. When we work with clients, we often start out helping to grow a collection. We say, you can buy something that&#39;s affordable by a major name artist&mdash;a lithograph, or a print, and there are also many emerging artists to explore&mdash;you just have to love what you buy. You really can&#39;t even buy art as a major investment unless you&#39;re spending thousands of dollars anyway.&nbsp;

How do you combine antiques with contemporary art?&nbsp;

There&#39;s nothing I love more than contemporary art with antiques. I recommend for clients to look at a piece of art and ask &#39;Will I love it in 5 years? In 10?&#39; For antiques, changes are the real thing will cost more than a reproduction, though sometimes I&#39;m shocked by reproduction price&mdash;it screams new but it&#39;s actually&nbsp;more expensive! Buy the best that you can afford and that you feel you will really love. I think it&#39;s a great idea to go to estate sales&mdash;you never know what you&#39;ll find, and there are some great values to find as you learn. Auction houses are great too.&nbsp;

Do you have any favorite pieces or projects?&nbsp;

One of my favoirte projects was for a young couple who had nothing when they came to me. We helped them set up an art collection as well as their home&mdash;we got them into Ruth Duckworth, Giacometti, Henry Moore&mdash;named artists with provenance from good galleries, many in Chicago. If a client has an art collection started, we help them add to it, or curate it, or update framing and placement&mdash;there is so much to do. It&#39;s lots of fun.&nbsp;

CGN interviews local designer Kenneth Walter or Gray & Walter. 

Designer  Talk: Kenneth Walter

When Todd Schwebel was a kid, he&rsquo;d pass over the more popular Sports Illustrated for Antiques magazine. Long before the advent of virtual bulletin board sites like Pintrest.com, Schwebel would dog-ear magazine pages, making notes and pointing out to his mother which chair or table he wanted to have someday. An eighth-generation Illinoisan, it was his grandfather who regularly took him to country auctions downstate, where Scwebel would spot bargains for Empire and Victorian pieces when we was still a teenager, sparking an interest in high-quality antiques that would stay with him all his life. &ndash;GV

Todd Schwebel thinks there is a big problem for antiques. Though he&rsquo;s been a collector since he was just a teen, his passion is hardly the norm among his contemporaries. Antiques have fallen so far out of favor with today&rsquo;s sleek, design-minded, transient audiences, Schwebel doesn&rsquo;t know how they&rsquo;ll ever come back in style. It&rsquo;s a crisis that has repercussions far beyond nostalgia, or the fate of a few aging antiques dealers. When Schwebel and I met recently in River North, I wanted tips to share with younger collectors about beginning an antiques collection. We ended up having a conversation about the cultural challenges facing the industry and whether there&rsquo;s any way to save it before it&rsquo;s too late.

In the late 1908s Schwebel bought a 1906 Kenwood residence, which had been the only freestanding house in Chicago designed by architect Benjamin Marshall. In 1921 the Norton family, who owned the house, hired Howard van Doren Shaw to increase the homes size as well as ass his own signature touches. By the time Schwebel bought the house, it was in disrepair; he painstakingly restored it and filled it with period-appropriate antiques. 20 years after he did it again for clients who purchased the same house for their young family. Formerly an antiques dealer specializing in early 19th C. American antiques, today he runs The Schwebel Company in River North, a design firm that provides architectural and design services nationally. The firm has also won many awards for historic preservation, Schwebel still sells investment quality American antiques, fixtures, and decorations, and he&rsquo;s a go-to expert for individual collectors as well as museums. Devoted to American style, antiques from our nation&rsquo;s history are a key part of his creations. Schwebel&rsquo;s business takes him most often to the eat coast. In 20 years situated in River North, among many contemporary art galleries, Schwebel says he hasn&rsquo;t made one waling antiques sale, something he attributes to a profound lack of interest in Chicago.

As Schwebel sees it, many valuable antiques important to our city&rsquo;s history will soon be too far away to get back. Antiques aren&rsquo;t in fashion; people either buy cheap furniture they can thoughtlessly toss some day, or the same trendy, inexpensive furniture their neighbors have, which will never appreciate in value. Schwebel feels that by blindly following brand-name, mass-market designers, people feel their taste is publicly validated. Explaining, Schwebel says, &ldquo;I&rsquo;ve met people whose parents have wonderful collections of antiques &ndash; including really beautiful, quality pieces - and the adult children just don&rsquo;t want them. They don&rsquo;t appreciate how quality pieces are significant. So, pieces got to auction and are bought up by those who do know.&rdquo;

Schwebel points to Samuel Marx, a well known mid-20th Century Chicago designer, whose elegant pieces, he says, have been siphoned to collections on the coats; &ldquo;So much of his work has left Chicago and the North Shore because there isn&rsquo;t local interest anymore. It&rsquo;s striking work, and collectors in LA and New York have snapped it up at auction here. It&rsquo;s really hard to get that back now, so something&rsquo;s been lost from Chicago.&rdquo; In general, quality pieces that can still be had cost more than people want to spend if they don&rsquo;t have the knowledge. &ldquo;Since there&rsquo;s no real respect or authority on the topic of antiques here,&rdquo; Schwebel says, &ldquo;I think in some ways it&rsquo;s a reflection of what&rsquo;s wrong with our culture. We don&rsquo;t value history. We don&rsquo;t recognize the treasures we have here &ndash; not just older, but even pieces from the 20th Century. One person I do give lots of credit to is Leslie Hindman for how she&rsquo;s gotten antiques out there. Ultimately we still need more leadership on a cultural scale.&rdquo;

Schwebel suggests, &ldquo;I think because of a branded, &lsquo;celebutante,&rsquo; media culture people have these fleeing tastes.&rdquo; Even those who are savvy manage to be influenced by others taste, opting for what is easiest, rather than what takes the time and effort to built up.

There are several forces working against antiques, according to Schwebel;: &ldquo;Antiques are a forbidden zone for some if they don&rsquo;t have the opportunity to learn.&rdquo; He adds that would-be-collectors end up turning away from or sometimes fully against historic pieces. Depending on the period, antiques&rsquo; cultural and political associations can be minefield for collectors, since pieces are tied to history in sometimes complicated ways, for instance where some European colonial pieces are concerned. It is up to collectors to make educated decisions about what they chose to own.

&nbsp;

The bottom line according to Schwebel, is that people aren&rsquo;t being told about antiques often enough. He believes we have a duty in Chicago to support our decorative arts and to preserve local collections. Younger than east coast cities, much of our identity is split between a gritty past and modern architectural marvels. However, we can&rsquo;t throw everything over in favor of the new. &ldquo;I worry that some day other aspects of the city&rsquo;s cultural scene will also be threatened,&rdquo; warns Scwebel. He points out that without enough diversity in patrons&rsquo; collecting passions, area museums will suffer, losing out to high profile institutions and collections on both coasts.

How would Schwebel begin to address the antiques problem? &ldquo;You&rsquo;d need a critical mass of younger people interested to make a difference. One solution is to fight fire with fire.&rdquo; By embracing the very celebutante &nbsp;culture that&rsquo;s chipping away at history and individual taste, the thought is that a TV show featuring a high profile designer or collector couple could turn the tables. Antiques Roadshow is a good but staid example of what Scwebel has in mind, he says, because it imparts real information. However, many show guests are hoping only to discover hidden value they can cash in. A better, more social show would be about creating collectors vs. consumers.

Antiques appeal to collectors in part because history is built into objects crafted by hand, which have stood the test of time. Pieces used for reasons now obsolete may still be enjoyed as a way to tangibly recall history and culture.

Antiques are never really out of style, though favored periods change. It takes personal devotion like Schwebel&rsquo;s, plus time and investment, to develop a collection. Such a commitment can tie you passionately to history in ways that will support the future.

The Future of Antiques: A Conversation with Todd Schwebel

By GINNY VAN ALYEAWright has become the premier auction house specializing in modern and contemporary design in just over a decade. The visionary behind it all, Richard Wright is constantly thinking about new ways to develop his program and showcase design to the world, including introducing some gallery-like programs, such as living contemporary auctions. Wright actually began his career on the ground level of the gallery scene in 1986 and worked his way up, with stints along the way at antiques malls, markets and at Tradeway Gallery in Oak Park. He opened Wright in 2000 and since then, the auction house has sold nearly 20,000 lots across the spectrum of 20th-21st century design, making the action house an international resource for collecting modern design. A devotion to design drives what Wright personally does and what the auction house constantly strives to be. Wright says he’s proud of how the auction house has been able to evolve, and he enjoys the process of changing and growing, saying he doesn’t do any of it quickly, but he does do it consistently. -GV<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2254/original/r-26v037.jpg" alt=""></figure>CGN: What do you think the line is between art and design, if any?RW: I think there is a natural connection between art and design. In our very first action we mixed in&nbsp; little bit of fine art at the time, because it fit well. Since them, we’ve sold sculpture by the designer Harry Bertoia, for instance. The line starts to blur when you look at the work of certain artists, and we’ve made the evolution ourselves of what we feature over time.&nbsp;How did you become interested in contemporary art?I’ve been increasing and improving my own knowledge of contemporary for a while – I’m really self-taught. Since about 2005 I started looking seriously at art and began to learn, but to be totally honest, I was intimidated by fine art for a long tome. With design, people immediately feel comfortable with it, and they most often have an opinion about a piece because they can experience it and see if it’s functional, what it looks like, and so on. It can be much harder to get an honest, direct opinion about contemporary art. I started learning by going to art fairs, museums, and other auctions. I read a lot and tried to start with basics.I’m drawn to area of the art market I can play with. There’s a natural alignment with sculpture and something about the 3-D aspect that’s a good fit. I like art that is smart, undervalued, but not necessarily high-flying. I like art that I think is accessible.&nbsp;Wright started out as an auction house in the traditional sense, offering historically important design pieces. Recently it has offered ‘living’ art – art that’s of now – through Wright 21. What led you to start commissioning work by living artists, such as Arik Levy?Wright 21 is definitely project-based rather than something that’s ongoing, like a dealer/artist relationship. There are clear benefits for both the artist, as well as the auction house in working together this way. The engagement we have with living designers on a personal level – it’s just fun. It’s also taught me a lot about the design process. There’s a learning curve. At a market level there’s still a sorting out of where and how contemporary design is going (everyone hates the term ‘design art’ but I’ll use it here), but as an auction house we think we’ve done the right thing to engage on more of a gallery level with designers today.There is of course a difference between the primary and secondary markets, so we try to be respectful of the primary market but also elevate it in a good way. I don’t want to overstate it, but the backdrop of the recession has had a dampening effect on the primary market, so this takes some time.&nbsp;Wright’s spring 2012 Living Contemporary auction features work by artists such as Sam Francis and Edward Burtynsky, as well as furniture designed by Willy Daro and Gio Ponti. You’ve also planned a selection of Graffiti Art from the 1980s, which everyone seems to be revisiting these days. How do you see 80s Graffiti Art fitting in with design pieces by Eames and Noguchi?We’ve developed a category where we nod to our hybrid offering of design and art. We’ll show some interesting art we believe in alongside furniture pieces we think go with it. We don’t pair just stuff. Whether a buyer literally takes the whole package isn’t really the point, but the matches again are about breaking down a resistance - you can engage with both worlds. It’s a cool little market for us.For this latest auction, if you step outside of big 80s names, like Basquiat and Haring, thee are also some affordable price points.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2255/original/wrightgilead.jpg" alt=""></figure>Wright is a global auction house, but do you see any significance to being based in Chicago?Honestly, Chicago’s been very good to us – we are in a central point [in the country] and we can afford a big facility here. We couldn’t be at this level in New York, so Chicago is great for us. In New York, if you can’t play at the highest level, you might as well be out. Chicago also has a good design image. There is strong architecture, ad a general sort of positive feeling here. I’ve struggled at times because of a lack of a local market, but I have come to see other strengths and it’s been a good fit for the brand.&nbsp;Do you have any advice for collectors or art enthusiasts who may still be unfamiliar with the action world as an art resource?Action houses as resources are underappreciated. All auction houses, and certainly Wright, are here to educate people. When people come here to a preview, they can see things, sit in them, really try them out. It’s all part of the learning process. There’s also something appealing about the market factor for people, since they can see a firm price that someone has paid, as well as enjoy the spectacle or wilder side of auctions. Auction house websites themselves are a great resource – type something in our search fields and you can see anything we’ve ever sold – it’s a free resource of market knowledge.Beginning collectors can be intimidated by auctions. They might think of stereotypes where you scratch your nose and end up buying something by mistake. Really, even if you’re just starting out, auctions are great places to go and learn. Galleries do this too, but auction houses by their nature handle so much stuff. They’re a little more comprehensive because they are reviewing and taking in a lot. They’re a great place to learn. I love going to New York for the big sale previews. You cans see amazing art! You can actually take art off the walls and really look at it. If you have a question, it will be answered by an expert. That access is invaluable.&nbsp;Wright Auction House1140 W Hubbard (60642) • (312) 563-0020View auction details at <a href="http://Wright20.com">Wright20.com</a>

CGN interviews Auction House founder Richard Wright

15 Minutes with Richard Wright 

Yes, collecting art really is something you can 'learn' to do. Collecting art is not so much complicated as intimidating, and the recent Collectors Colloquium was launched as a way to provide interested art enthusiasts with an overview of the art world and to give access to some local experts who can share their wisdom and insights.&nbsp; At the end of the course, participants will have learned some basics, met others who are also interested in art, and hopefully seen first hand how open and welcoming our art scene is. Art collecting isn't really a 101 course you can check off your list and be done with - Ah ha!&nbsp; I've learned how to spot the most valuable up-and-coming artists in order to make my investing forture! - it's a very personal, subjective experience that depends on your own taste and interests.&nbsp; Everyone says it, but it's true. You should buy the best art that you can afford, and you should buy work that you love - ie: you're willing to live with it and enjoy it for a very long time. &nbsp; But there are some helpful starting points to developing your eye and making smarter choices.&nbsp; Most people need some kind of direction to get started.&nbsp; Like any other dynamic topic, discussion is a big part of the learning process.&nbsp; If you've joined us already, we're pleased to have you along for the journey, as you are well on your way to a rewarding life-long pursuit to living a unique life by having art as a part of your life.&nbsp; If you haven't had a chance to join us yet, there's still time!&nbsp; And we of course would like to offer more classes like this in the future.&nbsp; To be notified of future collecting groups, please <a href="http://info@chicagogallerynews.com">email us</a>. Chicago is home to many unique galleries, artists and cultural institutions, and there are a wealth of creative resources to explore and make your own.&nbsp; Welcome to the journey! - CGNSESSIONS TO DATE:• A Passion for Collecting - Discussions with younger collectors who have been in the game for awhile and who have their own very personal stories of art and collecting passions.&nbsp; Panelists shared their collecting philosophies as well as resources.• In the White Cube - An evening with area art dealers who've nurtured the careers of younger artists, developed friendships with collectors, and those who have worked to spotlight emerging artists as well as those who may have been overlooked.&nbsp;• On the Auction Block - an evening with art experts at Leslie Hindman Auctioneers, one of the area's most visible and successful auction operations.&nbsp; Collectors learned the sport of buying at auction as well as the sophisticated nature of the auction treasure hunt (and the spectacular values one can find!)NEXT UP&nbsp;• Eye for Hire (February 28, 2012 hosted by Kavi Gupta Gallery, 835 W. Washington) This session will provide an overview of the art advisory profession, and help attendees understand why collectors hire art advisors.&nbsp;• Art as Investment + The (Art) Fair Game (March 27, 2012) This session will provide an overview of how and why works of art appreciate.&nbsp; We'll also cover some highlights of the local and national art fair scene and provide an overview of how to navigate an art fair, particularly now that you've met some other like-minded art enthusiasts!Participants are still welcome to attend on an indiviudal as well as video basis - please email <a href="http://info@chicagogallerynews.com">info@chicagogallerynews.com </a>for more information.

Learn to be an Art Collector

By GINNY VAN ALYEA

Buzz abounded with the stunning news that the 30-year old Art Chicago fair (renamed Next Art Chicago but never mounted as such) has been cancelled by fair owner Merchandise Mart Properties (MMPI) a little more than 2 months before it was due to take place in late April.&nbsp; Many in the art community are disappointed at the news and will have to rearrange their spring calendars and adjust to the first spring in Chicago without an art fair in 30 years.&nbsp; Still on the cultural horizon will be the Merchandise Mart&#39;s venerable International Antiques Fair, April 27-30, and the new EXPO Chicago taking place at Navy Pier.

MMPI had this to say about the abrupt cancellation of Next Art Chicago via an emailed press release to vendors and partners:

After a thorough analysis of the art fair landscape, MMPI has determined not to move forward with the production of the 2012 edition of Next Art Chicago, and that Chicago will not remain a primary focus of its art fair business activities...It is our conclusion that the great majority of the art fair market in the United States has gravitated toward the coasts.&nbsp; This is where MMPI will be reallocating its considerable resources.

CGN featured an article by writer Kevin Nance in our January-March issue discussing why Chicago collectors don&#39;t collect Chicago art - a question that has dogged many in the art community for many years.&nbsp; Nance gave an overview of the ongoing Pacific Standard Time survey of art in LA.&nbsp; CGN&#39;s publisher also talked about why Chicago is always caught in the middle between New York and LA, when really we have legs up on both ciities because of some uniquely midwestern strengths that just happen to get overlooked.&nbsp; The Merchandise Mart was the owner of Art Chicago for just a brief time period, but unfortunately it chose to move &#39;its considerable resources&#39; &#39;toward the coasts&#39; - therefore chasing the same trendy dreams others have already been seeking.&nbsp; Chicago&#39;s been down this road before and has been left for younger, sexier enticements, but we&#39;ve also survived as much many times over.&nbsp;

Now, we look 100% hopefully and earnestly towards Expo Chicago, the highly anticipated truly international art fair that will be launching in Chicago&#39;s original art fair confines, Navy Pier by the lake, September 20-23, 2012.&nbsp; The long-running SOFA art fair, founded in Chicago, also at Navy Pier, also takes place again this fall for the 19th year.&nbsp; Onward and upward!

<a href="http://articles.chicagotribune.com/2012-02-08/entertainment/ct-ent-0209-art-expo-dead-20120208_1_art-chicago-ken-tyburski-mark-falanga">The Chicago Tribune </a>also reported on the story.

MMPI Cancels Art Chicago after 30-year run... Chicago Looks to Fall Art Fair on the Horizon

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418870/gnsbx6reet8thfy9rgo3.png"><figcaption>Antiques mix with art by Jacob Hashimoto, Theaster Gates, Judy Ledgerwood and others.</figcaption></figure>By GINNY VAN ALYEAI drove to visit Deone Jackman at her home in Hyde Park on a perfect fall Chicago morning. Lake Shore Drive was wide open, and Lake Michigan was colored an ideal shade of cerulean blue, enhanced by the drapery of orange leaves still clinging to the trees along the bike path. Hyde Park often feels like an escape from downtown to me, but until I stepped into the entryway of Deone's 9th floor lake front apartment, I had no idea just what awaited me.&nbsp;*Deone says she has always collected things from her travels. Judging by the many exotic artifacts and statues from far away lands placed throughout her apartment, she must have logged many miles to find so many striking objects.&nbsp;"As a kid I was always cutting things out of magazines and putting them up on walls, long before I had actual art to display," she says.&nbsp;Deone's entree into serious art collecting did not begin in a small way when she acquired work by two of Chicago's most well-known artists: Roger Brown and Jim Nutt. She remembers the acquisitions as "big, compelling, scary purchases."Though I had come to her apartment to talk to her about her art collection, Deone told me upfront that she still thinks the idea of being 'an art collector' is rather grandiose – a familiar, but somewhat vexing topic for those considered by others to be collectors. Regardless of how Deone chooses to view her history of buying and living with art, there is no disputing that her Hyde Park home invites discovery. Deone has covered the walls with remarkable and varied works of art I immediately recognize – pieces by Ed Paschke, Kerry James Marshall, Cheonae Kim, Judy Ledgerwood, Curtis Mann, Jin Soo Kim and Gladys Nilsson – and she has filled her life with enduring relationships with many Chicago artists.&nbsp;Behind many of these works on display are relationships. One which Deone is particularly proud of is the one she's developed with the Hyde Park Art Center (HPAC). A passionate supporter of the Center, it's clear that HPAC has given her a great deal in return. At least a few of the artists whose works may be found throughout Deone's sprawling home, such as Cat Chow, were discovered through HPAC's Not Just Another Pretty Face (NJAPF) program – a biennial benefit that pairs patrons with artists. Patrons select an artist they'd like to work with – in a given price range – they meet the artist, establish a budget and then discuss the commission to be created. After a period of more than a year, a catalogue featuring contrasting perspectives on the experience is published, and the final works are unveiled at a special reception at HPAC in front of patrons and the artists. NJAPF artists split their commission with HPAC, and the program encourages a new group of people to support contemporary artists, as well as understand the joys and possibilities of commissioning artwork. As Deone attests because NJAPF builds very personal bonds between patrons and artists, it can lead to long term support for the creation of art in Chicago.&nbsp;*<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418871/xftvpzoqypbguyfdpq1x.png"><figcaption>Jackman's inviting, round living room faces east, towards Lake Michigan, and overlooks Promontory Point Field House in Burnham Park.&nbsp;</figcaption></figure>&nbsp;Deone has had the pleasure of enjoying several artistic collaborations. After encountering a series of kite constructions by Jacob Hashimoto at a private event at the MCA Warehouse, she decided she had her own project for the artist. Deone wanted Hashimoto to expand on what he'd done at the MCA and create hundreds of his small kites to install in the ceiling of her second home in Michigan. It turned out to be a 2 1/2 year project, and she ended up with about 2,000 kites to cover not just part but the entire ceiling – a breathtaking result of what seemed at the time like a chance encounter.&nbsp;Deone admits she's a bit impulsive when making some purchases, but she smiles when she confesses she sometimes has to rearrange rooms. "That's the joy of it," she says. Changing things up often means they don't become part of the wallpaper, but Deone also has always felt compelled to arrange objects – so much so that her late husband was always asking her to just sit down.&nbsp;As a visitor, certain groupings become apparent, like the area in Deone's office, that she refers to as her "Wall of Women," including works by artists such as Mickalene Thomas and Julia Fish. But for the most part the way the collection has come together is idiosyncratic. The variety in Deone's collection is apparent in the inclusion of quite a number of antiques, which complement, even soften, the contemporary art. A wood, slant front desk looks at home in the dining room by a large-scale Roger Brown, while an elegant side table beneath two works on paper by Judy Ledgerwood adds an appropriate delicacy.*More meaningful than the art works themselves are the relationships Deone has with the artists. "Any artist I collect, if it make sense to become friends, I love to know them. It's incredibly important in collecting – more so than the objects."&nbsp;She says she considers Chicago an accessible place to get to know artists and therefore to collect art. Deone things it's partly the nature of the city, but she also believes that many artists who choose to live and work in Chicago are inclined to build honest relationships with collectors.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418871/f2y5hr2lxdaqatgduzaa.png"><figcaption>Deone's portrait by artist Ben Gest, commissioned via Not Just Another Pretty Face</figcaption></figure>&nbsp;One of Deone's closest artist relationships is with Theaster Gates, a fellow HPAC supporter. Deone became interested in what Gates was doing with his Dorchester Project, and she was moved by his focus on bringing about positive, creative changes throughout the arts to the Woodlawn neighborhood – an area of town Deone says most Hyde Parkers had long been told to stay clear of because of the risk of danger and violence. She sees Gates's artistic, as well as geographic, choice as a compelling investment in personal life as well as urban space, and she says she appreciates that she has been able to watch his project take shape and expand. Endeavors like The Dorchester Project, which began as a way to transform a poor area of Chicago through reinventing abandoned buildings and creating inviting, cultural spaces while challenging notions of economics, race, and the status-quo, have helped Deone understand how complex the art world can be for an artist who must balance the demands to be successful while also doing what they desire. "You learn about the pressures artists face and the choices they must make. I feel really privileged because it feels like a personal experience for me. Theaster is open about what it's like, and I admire his willingness to share with the community and with me. He doesn't make it a mysterious process."&nbsp;Our tour of the apartment finished in the sitting room, where we could admire the view of Lake Michigan and Promontory Point, almost as much as Deone's two lazy cats were enjoying the midday fall sunlight. Deone returned to her favorite topic, the Hyde Park Art Center, when we began to discuss why openness in art is so critical to the collecting process and to exposing the joy of exploring contemporary art.&nbsp;There are some leaders in the art community who are constantly striving to make art accessible and to make it a living subject. Deone says, "HPAC is such a facilitator of this. They help make art understandable, comfortable." It is undoubtedly her greatest art relationship.&nbsp;There will always be preconceptions to refute about contemporary art, barriers to break through and effort to put in in order to learn and better understand, but just as any relationship – friendly or romantic – progresses through many stages of development, a love of art can begin with butterflies of excitement and end as a deep and enduring companionship.&nbsp;&nbsp;</body></html>

Collector Conversations: Deone Jackman

By GINNY VAN ALYEAThere was an article in the Arts section of the&nbsp;<a href="http://www.nytimes.com/2011/10/13/arts/design/southern-california-claims-its-place-on-the-art-world-map.html?_r=4&amp;src=me&amp;ref=arts">New York Times</a>&nbsp;on Thursday, October 13 that really made me cringe, and a lively discussion on&nbsp;Twitter&nbsp;soon followed.&nbsp; In a nutshell, the article talks about LA's recent emergence as a major international art center, and of course they discuss the city's art scene in comparison to New York today, as well as what has made New York's art world so dynamic over the decades. For me, the piece brought up all sorts of feelings and observations about Chicago.The article starts by discussing a new arts festival, Pacific Standard Time, and referencing the sprawling territory throughout southern California for galleries, museums, and art centers.&nbsp; The festival is touted as, "a statement of self-affirmation by a region that, at times, appears to feel underappreciated as a serious culture center." &nbsp;There were a lot of lines that sounded very familiar to me - if I read the article with all references to California blacked out, I might be able to read this piece as a summation of our own varied, lively arts scene in Chicago.&nbsp; I give LA credit - they've got some blockbusters going on right now that are drawing crowds (Tim Burton; the graffiti show.) And it's so sunny most of the year that "Curators talk about the difficulty of encouraging people to walk indoors for anything but a movie in a city that has glorious weather so many months of the year."&nbsp; They have some really solid artists producing work that is of the moment now - who hasn't been obsessed with Ed Ruscha during the past 10 years?&nbsp;"Indeed, Los Angeles these days has more than its share of ambitious museums, adventurous art galleries, wealthy collectors, top-notch art schools and — perhaps most important — young artists drawn here by relatively cheap rents, abundant light and an atmosphere that encourages experimentation."As I was reading the article I thought, there's something missing - they haven't acknowledged that there IS another major city in the US that has all of these things, except of course the abundant sunshine and mild weather.&nbsp; Actually, there are a lot of smaller cities and communities that have notable art scenes, but they don't get covered because they're in fly-over territory.&nbsp; Chicago has really solid artists, though less of the Hollywood vibe (fine by me) and we've always been less flash-in-the-pan. But we have great art schools and young artists. We have cheap rents. Hello, the alternative space/apartment gallery scene here is unlike anywhere else, as shown in Hyde Park Art Center's exhibition,&nbsp;Artists Run Chicago&nbsp;in 2009. We have art fairs devoted to it! We have ambitious museums - Art Institute and MCA, yes, but also Smart, Renaissance, and Block.&nbsp; Adventurous galleries (5 Chicago galleries are in the&nbsp;ADAA,&nbsp;and LA has 6, though two are related and basically have the same name.)&nbsp; We have wealthy collectors, though they also suffer from the instinct to sometimes buy in New York more often than they should, to the detriment of our local artists.&nbsp;The article goes on: “There is now enough critical mass of galleries, of places where artists meet, blogs, magazines..." Again, we have a&nbsp;long list. &nbsp;What made me throw down my paper in frustration on an otherwise quiet Thursday evening was when I got to the concluding, and damning, quote from none other than former Art Institute president Jim Cuno, who recently turned up in LA to become president of the J. Paul Getty Trust after a very sudden departure from AIC.&nbsp; I guess he left Chicago for LA for more than the weather: "Mr. Cuno said his perception was that people in Los Angeles did not really spend a lot of time worrying about what other people thought of them. “I don’t feel or hear any ‘second city’ mentality here,” said Mr. Cuno, who came from Chicago, where that kind of talk is common. “People in Los Angeles are pretty happy with their position in the world and needn’t get the confirmation from elsewhere.”So, if I lived in LA I'd be confident enough to just shrug my shoulders and move on.&nbsp; Since I'm from Chicago, I must be foolishly obsessed with what other people think.&nbsp; What's wrong with caring?&nbsp; Chicagoans get doses of 'second city mentality' with their breakfast. We're used to it,&nbsp; even if we can't overcome it. It's an old debate, and it's not going to go anywhere soon, but I think the reference was kind of a cheap shot.&nbsp; Conversely, Cuno's comment also makes everyone in LA sound kind of dippy and just inherently happy, which I'm sure isn't giving them enough credit for their own hard work.&nbsp;There are a lot of opinions out there about Mr. Cuno and his biggest Chciago project, the&nbsp;Modern Wing, which I happen to really enjoy and love.&nbsp; I have always thought that someone who could have led that project, which ultimately did garner a great deal of favorable press for Chicago in 2009, would go on to have warm feelings about our city.&nbsp; That would be 'reverse second city menality, as it made me actually think people liked us.&nbsp; I'm sure there is more to Mr. Cuno's sentiments than what comes through in the article (I hope so) and if that's the case, it's a poor job by NYT for unnecessarily pitting one city against another without a fair fight.&nbsp;Back to the Art Institute: I think that the new head of the museum is absolutley off to the right start to start looking at life after the Modern Wing. New president&nbsp;Douglas Druick&nbsp;has been a curator at AIC for decades, so he's part of the family, and he seems to be committed to keeping the museum on strong financial footing so that it can be an anchor for the city and to making sure that the curatorial schedule doesn't get too bloated.&nbsp; I hope that there are many opportunities ahead to see the museum as a cultural space that belongs to all Chicagoans and visitors. AIC can serve as a mirror to hold up to our own evolving art history, not just the world's; for instance, I'd love to get back to the time when AIC actually had exhibitions focused on Chicago artists and work being made in the city now - with a wing devoted to contemporary art NOW is the time... Such engaging programs could do our pride some good and just might even make Chicago seem almost as bright and sunny as LA.&nbsp; In our city at least people have no problem going indoors for at least 6 months of the year.Mr. Cuno's comments stung my civic pride.&nbsp; Ultimately I think Chicagoans especially value loyalty, and I put myself in that group.&nbsp; I've built up some extra defensiveness over the past 9 years of living in Chicago, since there is no shortage of opportunities to have to defend Chicago, let alone its art community, against other bigger, shinier places and to work to build its reputation as a dynamic and honest cultural home.&nbsp; I also have come to expect the same faithfulness from others who are or have been part of that same community.I look forward to everyone's comments and thoughts on the article and this post.&nbsp; If you're a writer in Chicago, I also encourage you to write your own article or posting in response to the dominant ideas about Chicago's place in the art world - on its own or in relation to LA and NYC.&nbsp; As we all know, it's a never ending battle.

Chicago vs... Everyone? It's LA vs. NYC and We Get Left Out

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417610/ha2eud8kypc3jwokujif.jpg"><figcaption>Karl Wirsum, Hollow Swallow, 2010, acrylic on canvas, 20 1/2" x 35 1/2"</figcaption></figure>By LAURA METTAMCGN spent some time talking with Karl Wirsum about his long career as a Chicago artist and as a member of the famous Hairy Who artist group from the 1960s. He shared what sparked his artistic interest as a child, the multiple influences on his work throughout his life, and the advantages of looking forward, not back.&nbsp;Chicgaoans may encounter legendary artist Karl Wirsum riding the El downtown, socializing at School of the Art Institute of Chicago events, attending gallery openings, or offering his point of view in a panel discussion. Wirsum is a familiar presence in our art community for several reasons, the most significant being the volume of his distinctive work that surrounds us in galleries, museum collections and public art.&nbsp;At 71 Wirsum is still looking ahead and enjoying his life as an active artist. He recently had a solo show in New York for the first time in two decades, and he has a full schedule in Chicago; last fall during Chicago Artists Month the Chicago Department of Cultural Affairs presented this year's Ruth Horwich Award to Wirsum in recognition of his enduring career. Wirsum's work may be seen in the collections of major museums around the country, including the Art Institute of Chicago, the Museum of Contemporary Art, and the Whitney Museum of American Art in New York, where Wirsum also participated in the 1968 Whitney Biennale.&nbsp;Roased in Chicago, Wirsum was hospitalized for a month when he was just a boy. To help his son with boredom during his long stay, Wirsum's father created a series of narrative images of elves, drawn in sequential situations that told a continuous story. The wonderful distraction influenced Wirsum's entire creative life. Not yet six years old at the time of his hospital stay, he began to create drawings of his own fantasies; eventually the doctor approached Wirsum's mother and suggested she enroll her son in free Saturday classes for children at the Art Institute. It was there that Wirsum benefitted from the museum's stimulating programs, a little creative homework, and the inspirational experience of being in a museum.&nbsp;*<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417611/okgwnargk4pm1pi4gwq9.jpg"><figcaption>Karl Wirsum, (American 1939–) Screamin’ Jay Hawkins,:1968. Collection of the Art Institute of Chicago</figcaption></figure>Wirsum became a member of the wild-child group the Hairy Who in the 1960s, after graduating from the School of the Art Institute in 1961. He reflects that within the group of artists, whose names we still recognize today, each had their own endeavors to pursue but together they brainstormed, installed works, designed and produced catalogues – &nbsp;the relationship was truly collaborative.&nbsp;How the Hairy Who got its quizzical name is a long story, according to Wirsum. The artists working together at the time looked to music groups, as well as art historical periods, for catchy, yet mysterious name inspiration during an evening of brainstorming at the home of artists Jim Nutt and Gladys Nilsson. The name of the art critic Harry Bouras kept coming up all night. Bouras had a weekly radio program and the group found his pronouncements humorous. Continually referenced throughout the evening, and being the only person who was in the dark who Bouras was, when Wirsum's curiosity got the better of him, he blurted out, Harry who? The group responded, "That's it!" and the name stuck. Harry became Hairy, and the group's collective identity was solidified for good.&nbsp;The Hairy Who's rise to prominence began in the late 1960s when Hyde Park Art Center (HPAC) organized several key exhibitions that introduced audiences to the vibrant young group. The first, entitled Hairy Who, presented works by six artists, including Wirsum, and set the tone for what was to come in future presentations at the Center. HPAC, and in particular its director, artist Don Baum, were critical to Wirsum's artistic development for a handful of happy years. Wirsum remembers being surrounded by creative friends and like-minded companions at the time. Working individually towards a collective artistic mission was radical, and it was a sociable departure from the classic scenario of the isolated artist.&nbsp;A close friend of Wirsum's was his contemporary, Ed Paschke. He describes their time together "like working on a comedy routine." In 1961 Wirsum, Paschke and Burt Phillips ventured to Mexico after Paschke and Phillips won travel fellowships. They picked Mexico because it was a country next-door to the United States, meaning they could get there by bus, and Phillips knew a woman who needed house sitters for an extended stay.&nbsp;The country's ancient arts, as well as folk traditions and styles, plus pervasive public murals, captivated Wirsum. Paschke and Phillips stayed for two months. Wirsum was there for nearly six. Inspired by the area's mural works, Wirsum covered the house owner's walls while she was away. She returned to Mexico to find Wirsum still in residence, and she was (luckily) delighted by her new, colorful surroundings. The characteristics of Mexico's street and indigenous art stayed with Wirsum; vivid palettes, energetic, bold lines and an emphasis on the figurative are qualities viewers recognize as distinctly his today.&nbsp;Humor plays a prominent role in Wirsum's work as well. Viewers see figures that have exaggerated, comic-like features, neon colors, and loud personalities, living in worlds of wonder and imagination. Aggressive lines and whimsical shapes disrupt any surrounding seriousness.&nbsp;Wirsum's creative perspective may emanate from a darker place, but he explains that in his art he turns ideas around and presents them with a humorous note. He says he doesn't use humor for humor's sake; instead he takes something common, like a jack-o-lantern, and tries to achieve a certain gaiety in his representation, while also playing up its strange associations.&nbsp;Wirsum has had relationships with two galleries in all this time. He exhibited at Phyllis Kind Gallery for years, and then in 1998 he began showing with Jean Albano Gallery in River North. Of working with Jean Wirsum says, "She has a high level of integrity, and she's worked hard on my behalf. Overall between galleries and artists, it's all about human relationships."&nbsp;Wirsum's enthusiasm for his work has not diminished over time, but he also doesn't put stock in looking back. "I do not dwell on self-reflection. I prefer to look forward." He says his approach to his work has been a "continuum of refinement" rather than a search for breakthrough moments. Though he likes to collaborate, he ultimately prefers to work alone. Wirsum explains he knows his time is limited, and he wants to make the most of it.&nbsp;&nbsp;</body></html>