<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>

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