Interview with Dee Clements of Simple Gallery
Dee Clements is a local painter, curator and aspiring gallerist. Although Simple Gallery has been in the works as a brainstorm for ten years, it’s just within the past year that benefits have been held and the first artist grant has been awarded. Conducted over email between the end of July and beginning of August, the following interview illuminates the pragmatism and tender frankness that fuels Clements’ commitment to artists and the exhibition of their work.
TLN: What's Simple Gallery's mission statement?
DC: Simple Gallery is an exhibition and project space that was founded in late 2008 and hopes to have a permanent home in late 2009. Our goal is to foster experimentation and discourse in visual arts through a variety of programming such as monthly exhibitions, an artist in residence program, open critiques, artist lectures, symposia, and other community events. Please check our gallery blog (http://www.simplegallery.blogspot.com/) for frequent updates on projects, events, exhibitions and our progress on finding a real-life home.
TLN: A strong sense of community seems to be the foundation for much of this. Do you feel being a visual artist (and curator!) yourself inspired that, or is Simple Gallery more of a reaction against existent exhibition opportunities available to artists around town?
DC: It’s really a little bit of both. I have been on the artist end of the traditional gallery-artist relationship and it seemed to me that my role as the artist was to make money for the gallery. So essentially, instead of a mutual relationship where gallery and artist really exist for each other, it was more about how the artist can enhance the gallery. Not all galleries are like this of course; many do exist to support the artist, though I am finding that most of those spaces are artist run.
As a painter, art making is very solitary for me, I find myself often wishing I had some kind of community to bounce ideas off of or just listen to and be apart of. I am sure many artists leaving their art school communities feel thrust into a cold world. Simple Gallery is my solution to both, feeling isolated in the art world, and wanting a more supportive relationship with a gallery. I am not interested at all in the business of art, I'm interested in art and community so I decided if I can't beat 'em, join 'em, but tailor it, make it a warm and explorative environment. So far artists in the community and nationwide have really embraced my idea and that to me says that there are a lot of artists out there that feel as I do. Now I have a mission.
TLN: With very few exceptions, it's hard to think of Chicago galleries that are artist run, but with one, sole proprietor-- it seems like typically there's a collective, or partnership built-in to the ownership of the space itself. Do you think your work as a curator prior to Simple Gallery has played into your willingness to strike out on your own and take this plunge?
DC: Actually Simple Gallery started as a two-person project with a friend of mine from art school. We mostly just talked about starting this space but never really did anything. And then I got tired of talking about it and said, “let's really do this!” My friend decided to continue focusing solely on her own studio practice and I decided to go it alone. She is one of my oldest and dearest friends and I totally respect her decision. I decided to just do it, even with out a partner, because I feel like I can make an impact on the art community here. It's really hard don't get me wrong, I feel so strongly about it that I can't just give up on it because I'm scared of doing something alone. Eventually lots of people will be involved.
TLN: Do your curatorial and visual arts practices ever feel at odds? Likewise, do you anticipate Simple Gallery will impact your painting practice in a way?
DC: My curatorial work and studio practice are not so much at odds per say, it is definitely a balancing act. I am learning how to take these two things I believe in and make them work both separately and together. I'm still working on this formula and of course doing it alone, the process is much slower. I'm not in a hurry though, this is what I want to do with my life. I do foresee my painting practice taking much more of a back seat for a while at some point. Simple takes up a lot of my time and creative energy, I'm also not always able to paint--I go through dry spells where I'm frozen. I will always make art, that’s just something I am meant to do. I think in time I will find a way to do both equally, find balance.
TLN: Sounds like this is fate! Also sounds like you're very open to future collaborations. Is there a group of artist friends, school chums or professionals in the field that inspire, or even mentor you?
DC: Yeah definitely! My friends at the Post Family have been so gracious and supportive. I love what they are doing and they are all very hard working guys that are passionate about their work. Chad and Sam have given me a great deal of advice and encouragement to which I still can't thank them enough. Nick and Nadine at Sonnenzimmer as well, I admire their work ethic and philosophy on art making (and also Nadine is an amazing painter!!). The first time I had ever met Nadine she was super excited about the idea of Simple and offered a lot of encouragement. That's the stuff that I run on.
TLN: I know we covered how Simple Gallery partially sprung from the urge to provide a service perceived as lacking in the arts community, is that balanced out by tapping into and showcasing all the existent talent?
DC: I don't necessarily think that these services are lacking in Chicago's arts community. I would like to see more of them and be apart of facilitating them. Sometimes I ask myself if my goals with Simple are too idealistic. I don't think commercial galleries are bad and that's not what I am trying to say, I just see a need out there for establishments to provide some support to the artist. There are places currently doing some really supportive programming and exhibiting emerging artists. Two that spring to mind are Three Walls--they have really great programming and an artist residency. The Post Family have a fantastic website that features new artists and ideas daily, they are also all very proactive in inviting people to exhibit and finding ways to start new opportunities that extend beyond just an art show.
TLN: How will you navigate developing a stable amongst friends and fellow artists? Or is there specific stuff that other, more explicitly commercial galleries do that Simple won't do?
DC: All of the existent talent is a vast sea. Artists both locally and nationally have been writing to me and sending me their work with exhibit proposals--it just shows me there are a lot of eager artists out there that want a place. I take the time to look and give each person a chance by at least responding to them. At present Simple is functioning without a permanent space and I don't have my 501c3 yet so there are limitations to how much I can physically do. I have given my first artist grant out to photographer Keith Evans and am currently planning a solo show that features his photography. I want the exhibition programming to be diverse and interesting. If something doesn't seem to fit at the moment, maybe it will in time. I don't consider myself in any way elitist or an art snob, I do however think that bad art does exist.
I'll always be honest about what I think, I will listen to the artist, I will see their work and at least give the benefit of the doubt. That is something I feel like many galleries don't do and maybe there is a reason for that. I'm also not very interested in selling other people's art like a commercial gallery is, so my goals are different.
TLN: So 501c3 status is on the horizon, then. What made you decide to apply for it? Funding opportunities or legal protections or something else altogether..?
DC: Well I have considered alternative business models that would circumvent 501c3 or other non-profit types of businesses and they do seem appealing in part because it could start to happen immediately. However, I see this as a long-term thing and I think taking proper steps ensures that Simple will exist much longer than a short run. There are a lot more funding opportunities that exist when you are legit. That, and eventually I will have to consider liabilities, especially when the time comes to establish an artist in residence program. It all goes together. I haven't applied for 501c3 status yet because of a few minor details; I am still tailoring my business plan, I recently was laid off from my day job which was my current source of financial support for Simple, so at the moment due to economics things are moving at a tortoise's pace.
TLN: Can you discuss what types of spaces you're scouting out? (Domestic interiors or storefronts or white cubes or warehouse/ studio spaces?) Any specific neighborhoods you're hunting around in?
DC: As far as spaces, I have looked at several just to see what is out there. I am interested in a simple space (no pun intended but it does fit nicely doesn't it?) that has 4 walls, that can hang work and a floor that can take a beating if need be. The residency is not something I can do right away but each space I look at I consider where a potential work studio could be built. Storefronts are nice but that seems a bit more commercial and I really want to find a space that feels like it could really embrace what will be in it. I like the idea of something off the beaten path. Logan Square has appealed to me because Alderman Rey Colon and the Logan Square neighborhood association are working hard to make the neighborhood an arts district. A lot of artists I know live there and I would like the gallery to be accessible to artists and people interested in art. I love all the apartment galleries springing up around town too. Artists are finding ways to make their own opportunities and I think it’s wonderful!
- Thea Liberty Nichols
Dee Clements is a painter and curator who was born in New York and lives and works in Chicago. She received her BFA in Fiber and Material Studies from The School of the Art Institute of Chicago in 2003. You can follow her online at http://papercranedee.blogspot.com.
Thea Liberty Nichols writes, curates and works for a handful of local art organizations including Intuit Center for Intuitive and Outsider Art and 65GRAND. She received her MAAH from the School of the Art Institute of Chicago in 2007.
TLN: A strong sense of community seems to be the foundation for much of this. Do you feel being a visual artist (and curator!) yourself inspired that, or is Simple Gallery more of a reaction against existent exhibition opportunities available to artists around town?
DC: It’s really a little bit of both. I have been on the artist end of the traditional gallery-artist relationship and it seemed to me that my role as the artist was to make money for the gallery. So essentially, instead of a mutual relationship where gallery and artist really exist for each other, it was more about how the artist can enhance the gallery. Not all galleries are like this of course; many do exist to support the artist, though I am finding that most of those spaces are artist run.
As a painter, art making is very solitary for me, I find myself often wishing I had some kind of community to bounce ideas off of or just listen to and be apart of. I am sure many artists leaving their art school communities feel thrust into a cold world. Simple Gallery is my solution to both, feeling isolated in the art world, and wanting a more supportive relationship with a gallery. I am not interested at all in the business of art, I'm interested in art and community so I decided if I can't beat 'em, join 'em, but tailor it, make it a warm and explorative environment. So far artists in the community and nationwide have really embraced my idea and that to me says that there are a lot of artists out there that feel as I do. Now I have a mission.
TLN: With very few exceptions, it's hard to think of Chicago galleries that are artist run, but with one, sole proprietor-- it seems like typically there's a collective, or partnership built-in to the ownership of the space itself. Do you think your work as a curator prior to Simple Gallery has played into your willingness to strike out on your own and take this plunge?
DC: Actually Simple Gallery started as a two-person project with a friend of mine from art school. We mostly just talked about starting this space but never really did anything. And then I got tired of talking about it and said, “let's really do this!” My friend decided to continue focusing solely on her own studio practice and I decided to go it alone. She is one of my oldest and dearest friends and I totally respect her decision. I decided to just do it, even with out a partner, because I feel like I can make an impact on the art community here. It's really hard don't get me wrong, I feel so strongly about it that I can't just give up on it because I'm scared of doing something alone. Eventually lots of people will be involved.
TLN: Do your curatorial and visual arts practices ever feel at odds? Likewise, do you anticipate Simple Gallery will impact your painting practice in a way?
DC: My curatorial work and studio practice are not so much at odds per say, it is definitely a balancing act. I am learning how to take these two things I believe in and make them work both separately and together. I'm still working on this formula and of course doing it alone, the process is much slower. I'm not in a hurry though, this is what I want to do with my life. I do foresee my painting practice taking much more of a back seat for a while at some point. Simple takes up a lot of my time and creative energy, I'm also not always able to paint--I go through dry spells where I'm frozen. I will always make art, that’s just something I am meant to do. I think in time I will find a way to do both equally, find balance.
TLN: Sounds like this is fate! Also sounds like you're very open to future collaborations. Is there a group of artist friends, school chums or professionals in the field that inspire, or even mentor you?
DC: Yeah definitely! My friends at the Post Family have been so gracious and supportive. I love what they are doing and they are all very hard working guys that are passionate about their work. Chad and Sam have given me a great deal of advice and encouragement to which I still can't thank them enough. Nick and Nadine at Sonnenzimmer as well, I admire their work ethic and philosophy on art making (and also Nadine is an amazing painter!!). The first time I had ever met Nadine she was super excited about the idea of Simple and offered a lot of encouragement. That's the stuff that I run on.
TLN: I know we covered how Simple Gallery partially sprung from the urge to provide a service perceived as lacking in the arts community, is that balanced out by tapping into and showcasing all the existent talent?
DC: I don't necessarily think that these services are lacking in Chicago's arts community. I would like to see more of them and be apart of facilitating them. Sometimes I ask myself if my goals with Simple are too idealistic. I don't think commercial galleries are bad and that's not what I am trying to say, I just see a need out there for establishments to provide some support to the artist. There are places currently doing some really supportive programming and exhibiting emerging artists. Two that spring to mind are Three Walls--they have really great programming and an artist residency. The Post Family have a fantastic website that features new artists and ideas daily, they are also all very proactive in inviting people to exhibit and finding ways to start new opportunities that extend beyond just an art show.
TLN: How will you navigate developing a stable amongst friends and fellow artists? Or is there specific stuff that other, more explicitly commercial galleries do that Simple won't do?
DC: All of the existent talent is a vast sea. Artists both locally and nationally have been writing to me and sending me their work with exhibit proposals--it just shows me there are a lot of eager artists out there that want a place. I take the time to look and give each person a chance by at least responding to them. At present Simple is functioning without a permanent space and I don't have my 501c3 yet so there are limitations to how much I can physically do. I have given my first artist grant out to photographer Keith Evans and am currently planning a solo show that features his photography. I want the exhibition programming to be diverse and interesting. If something doesn't seem to fit at the moment, maybe it will in time. I don't consider myself in any way elitist or an art snob, I do however think that bad art does exist.
I'll always be honest about what I think, I will listen to the artist, I will see their work and at least give the benefit of the doubt. That is something I feel like many galleries don't do and maybe there is a reason for that. I'm also not very interested in selling other people's art like a commercial gallery is, so my goals are different.
TLN: So 501c3 status is on the horizon, then. What made you decide to apply for it? Funding opportunities or legal protections or something else altogether..?
DC: Well I have considered alternative business models that would circumvent 501c3 or other non-profit types of businesses and they do seem appealing in part because it could start to happen immediately. However, I see this as a long-term thing and I think taking proper steps ensures that Simple will exist much longer than a short run. There are a lot more funding opportunities that exist when you are legit. That, and eventually I will have to consider liabilities, especially when the time comes to establish an artist in residence program. It all goes together. I haven't applied for 501c3 status yet because of a few minor details; I am still tailoring my business plan, I recently was laid off from my day job which was my current source of financial support for Simple, so at the moment due to economics things are moving at a tortoise's pace.
TLN: Can you discuss what types of spaces you're scouting out? (Domestic interiors or storefronts or white cubes or warehouse/ studio spaces?) Any specific neighborhoods you're hunting around in?
DC: As far as spaces, I have looked at several just to see what is out there. I am interested in a simple space (no pun intended but it does fit nicely doesn't it?) that has 4 walls, that can hang work and a floor that can take a beating if need be. The residency is not something I can do right away but each space I look at I consider where a potential work studio could be built. Storefronts are nice but that seems a bit more commercial and I really want to find a space that feels like it could really embrace what will be in it. I like the idea of something off the beaten path. Logan Square has appealed to me because Alderman Rey Colon and the Logan Square neighborhood association are working hard to make the neighborhood an arts district. A lot of artists I know live there and I would like the gallery to be accessible to artists and people interested in art. I love all the apartment galleries springing up around town too. Artists are finding ways to make their own opportunities and I think it’s wonderful!
- Thea Liberty Nichols
Dee Clements is a painter and curator who was born in New York and lives and works in Chicago. She received her BFA in Fiber and Material Studies from The School of the Art Institute of Chicago in 2003. You can follow her online at http://papercranedee.blogspot.com.
Thea Liberty Nichols writes, curates and works for a handful of local art organizations including Intuit Center for Intuitive and Outsider Art and 65GRAND. She received her MAAH from the School of the Art Institute of Chicago in 2007.
