Far down Sheridan Road, past Tech and Patten Gymnasium, just beyond a row of gigantic lakefront houses, lies a cultural center unique to Evanston.
On the lawn a conceptual sculpture installation featuring a series of chimneys and rooftops seemingly grows from the ground, eerily mirroring the house’s chimneys and rooftops. It was commissioned by the Evanston Art Center, which celebrates its 75th year in 2004 — the sculpture emerges, just as the EAC hopes to expand its already ambitious scope of education and exhibition.
“Art is such an enriching part of people’s lives,” said Trish Barr, president of the board of trustees at EAC. “You don’t stop to think about how it affects your daily life.”
The center has been a fixture of the Chicagoland art community since the mansion on Sheridan was purchased in 1966 and leased it to the Evanston Arts Council. Since then, the stately grounds have been literally and figuratively transformed — what was once opulent lodging is a new home to workshops. The center offers courses from ancient chainmaking to mosaics to virtually any conceivable form of visual expression and has a staff of over 50 professional artists that nurture students of all talent levels.
“We have absolutely wonderful people teaching every medium,” Barr said. “The instructors have their own studies, and they exhibit everywhere.”
Besides commissioning original work each year for EAC’s front lawn (last year’s troupe of human figures was truly imposing), the center actively promotes the work of new and lesser-known Midwestern artists. Many shows are hosted by the EAC each year, and the center provides an invaluable service to the otherwise-shallow gallery scene in Evanston. The center shows daring, provocative new artists, each with work so original that it is pleasantly refreshing to veterans of the Art Institute and Mary Leigh Block museum.
“We try to be provocative in a positive way,” Barr said.
Because no exhibitions at EAC are permanent and almost all events are free, Public Relations Coordinator Brett Neiman says the center is “caught somewhere between a gallery and a museum.” The center sells most of the art it exhibits, and constantly rotates exhibitions, a service that provides exposure to many different artists. A competitive biennial attracts some 900 applicants, and 50-60 of them are accepted.
“It’s new art by new artists,” Neiman said. “It’s really exciting.”
The center leadership views community outreach as a vital part of the organization’s commitment to the Evanston community. The organization gives $8,700 a year in scholarship. The EAC also deals directly with Evanston/Skokie School District 65, bolstering their public schools’ art programs and offering a dazzling array of opportunities for young students.
“Physically, you can just see the smiles on their faces,” Neiman said.
The EAC has also offered a wealth of multicultural programs for at-risk youth. For example, Project F-Stop, a high-school program EAC initiated, involved black and white photography and diary testimonials of participants, and was a huge success. Each participant was encouraged to explore the elements of life they cherished through journaling and photography.
“We help build foundations for interpersonal relationships among these kids,” Neiman said.
Neiman told a story about a specific student who did not excel academically at his school, but who found a true outlet through art, and flourished while taking classes at the EAC.
“Art can help kids break out of a shell,” Neiman said. “There are noticeable changes we can see.”
The students have also taken to the EAC’s new digital arts department, which has given some children their very first exposure to computers; they are able to edit video projects with a lab full of Macintosh computers outfitted with Final Cut Pro, and absorb the most basic computer skills. Neiman spoke about the students’ overwhelming enthusiasm as they experienced sometimes daunting new technology.
“We get a kick out of the kids reacting in the way they do,” Neiman said.
Currently, the EAC is exhibiting State of Clay, an eclectic cross-section of experiments in sculpture.
Gorgeous-yet-kitsch surrealistic coral-like seascapes to heavy Richard Serra-like meditation on weight and viewer-artpiece relationship are just two notable signature pieces. The exhibition, for its size, is remarkably comprehensive.
“Look around,” Neiman said. “There’s a lot of art making going on here.”4
