By FRANCK MERCURIO

Chicago’s young cultural leaders are making their mark on the city’s art scene. Meet some of the under-45 set—curators, museum directors, and philanthropists—who are taking Chicago’s arts institutions to exciting new places. 

The Freedom Principle: Experiments in Art and Music, 1965 to Now, open through November 22, marks a milestone in the career of Naomi Beckwith (age 38), the Marilyn and Larry Fields Curator at the Museum of Contemporary Art. A kind of culmination of Beckwith’s curatorial experiences at the MCA, the show presents the visual arts alongside music, performance, and other interdisciplinary expressions. It also reflects Beckwith’s commitment to often neglected historical subjects, in this case, the black cultural nationalism of the 1960s and its continued influence on artists today.

“Contemporary artists have reached back to language, forms, terms, and concerns related to democratic possibilities that surfaced prominently in the 1960s,” writes Beckwith in her exhibition catalog essay. “In various ways, they seem eager to explore the legacy of the integrationist civil rights and the separatist Black Power movement by asking how art mattered in that moment of urgent political struggles.”

This type of thoughtful linking of past and present—and questioning of conventional histories—places Beckwith within the vanguard of her peers. Since joining the MCA in 2011, she has expressed her distinctive point of view in large-scale installations, such as The Freedom Principle, William J. O’Brien, and Yinka Shonibare: MBD, as well as in small-scale shows, such as MCA DNA: Richard Hunt. Each exhibition reflects Beckwith’s passion for topics and artists that are often under-represented in museums. 

Beckwith’s is an interest shared by other young Chicago curators, including Julie Rodrigues Widholm (age 40) who recently left the MCA to become director of the DePaul Art Museum.

“Part of my personal mission as a curator is to make sure there is a plurality of voices and experiences represented in museums,” Widholm says. “So, I absolutely look forward to bringing [to DePaul] voices from all over the world—including Chicago—but also from Africa, Latin America, and Asia.”

At the MCA Widholm organized several major exhibitions around socially inclusive themes, including Tropicália: A Revolution in Brazilian Culture (2005), Escultura Social: A New Generation of Art from Mexico City (2007), Rashid Johnson: Message to Our Folks (2012), and Unbound: Contemporary Art after Frida Kahlo (2014). She also displayed a commitment to Chicago artists by organizing 30 12 x 12 shows featuring emerging local talent.

Widholm now leads a university museum housed in a new state-of-the-art facility with a growing reputation for innovative exhibitions. “Over the last few years, the DePaul program has become more interesting, exciting and connected to contemporary artists in Chicago,” says Widholm. “I feel it’s on a wonderful trajectory.”

Widholm’s first exhibition as DPAM director will be Matt Siber: Idol Structures (opening September 10) featuring recent sculptural works by the Chicago-based artist. Concurrently, she will wrap up her final MCA exhibition, Kathryn Andrews: Run for President (opening November 21).

Widholm joins the museum leaders’ club with another young director, Solveig Øvstebø of the Renaissance Society. Øvstebø (age 42) succeeded long-time director, Suzanne Ghez, in 2013. She also serves as the institution’s chief curator and has organized important solo shows by Varda Caivano, Mathias Poledna, and Nora Schultz in just the past two years.

Keenly aware of the Ren’s tradition of presenting new works by avant-garde artists, Øvstebø understands the importance of keeping a finger on the pulse of the art world.

“The institutional landscape of the contemporary art field has exploded,” says Øvstebø. “It’s completely different from where it was in the 80s or even the 90s. It’s important to figure out where we can be the most relevant.”

Øvstebø directs an exhibition program centered on commissioning new work from artists. “It is incredibly important for me to decide how this institution can best support artists,” she says “and to be in close dialogue.”

With this in mind, Øvstebø is looking forward to unveiling a brand new work by Chicago-based artist, Irena Haiduk. Titled Seductive Exacting Realism, the exhibition kicks-off the Ren’s Centennial celebration on September 10. (See CGN for the story.)

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It takes money to commission new works, organize exhibitions, and support curators; this is where Chicago’s philanthropic leaders step in. The city’s cultural institutions are generously endowed by the community, which includes members of local families who have a long tradition of serving on the boards of Chicago’s museums.

The Art Institute of Chicago’s Auxiliary Board is one such group. The Board, now 43 years old, is the oldest and most recognized charitable board of its kind in the nation, yet many of its members are younger. Under the leadership of Dustin O’Regan, Board president, the organization has brought in new members—some in their 20s and 30s—and is cultivating a group of young philanthropic leaders.

“The Auxiliary Board is one of my favorite organizations I’m involved with,” says board member Michael J. Patterson (age 24). “I think it includes great people who are intelligent and passionate about the mission of the museum.”

“It’s such a great board, because it really, truly works to benefit the museum,” adds Daisy M. Wood (age 27). “You can see first hand the effects that our fundraising efforts have had.

The Auxiliary Board supports a range of community outreach projects in an effort to expose “new, young, diverse audiences” to the museum, including the annual Holiday Treasure Hunt and Tea Party, which Patterson chairs. Since 2004, the Board has raised more than $1.5 million through events such as Uncorked: A Case for Wine.

JR Glenn (age 32) serves on the Board’s Development Committee and is the chair of Uncorked. For him, joining the Board is not only a way to give back to the community, but also an educational experience, one that opens up the world of art and art history.

“The more I learn, the more I appreciate it,” says Glenn. “I’ve always loved the museum, but I want to learn more; and help others learn more.”

This sentiment seems to be a major motivating factor shared by Chicago’s young cultural leaders—a desire to work for the benefit of the community, to bring new ideas to light, and to engage the public with the power of art.

Pictured at top of page: The 2014 Uncorked: A Case for Wine, sponsored by the Auxiliary Board of the Art Institute of Chicago. Photo credit: Robert Kusel Photography