Artist Story: Michelle Bolinger

Michelle Bolinger, Untitled, 2007

A correspondence with CAR Researcher Stacie Johnson  

My general impression about the Chicago art scene is that it is diverse and accessible. It can be overwhelming to learn about all of the different galleries, alternative spaces, funding sources, and resources in general. But if you begin by just going to openings or lectures here and there, you begin to meet people and learn more. Chicago is big enough to have more to offer than most cities, yet people are still kind and approachable. My boyfriend moved here for grad school, so we met a lot of artists through his program as well. Also, a friend pointed me to the CAR website and that was how I found my studio right away. It was extremely helpful to get working right away and I was able to meet a couple people in my studio building.

How do you find out about openings or lectures?

I just read the paper! The Reader was my primary source for learning about openings and art events around town. By visiting all sorts of events and places I learned what places interested me the most. I would sign up for mailing lists at the galleries I was interested in too. That way you receive an email when there is an event. It was also helpful just to wander around. I knew there were two major art gallery districts and it was helpful just to walk through the neighborhoods and pop into different spaces.

Compared to your experience in Seattle, what has been the biggest surprise about Chicago's art scene?

I don't think I really had any expectations, therefore no surprises. I knew there were more museums, galleries and events and I looked forward to how those new resources would change my work. I think it is important to move around, travel, and experience new places and people. It always invigorates and challenges my practice.

How does your community of artists in Chicago differ from your community in Seattle?

Chicago's art community is undeniably larger and more diverse. Even more international. On a personal level, it was a challenge to get involved since so many artists here have attended local schools and colleges and share that experience. Coming out of grad school here in Chicago, students have an introduction to the community with their graduating shows.

I went to graduate school in Seattle and stayed there a year after graduating, so my entrance into the professional art world in Seattle was cushioned by having a community from school. It was great to stay there after finishing school for this reason. It can be frustrating not to have this advantage in a new place and trying to get people to give you a break. I still get frustrated in that regard but I am learning how to get my work out here.

What kind of employment have you been able to find in Chicago and how has this helped form your community?

I have had a variety of jobs since moving to Chicago. My first job was at the MCA and it was great to run in to people there and to be aware of the changing exhibitions. I left the MCA to teach at Harold Washington College. I teach off and on at other colleges as well, and I always enjoy meeting the faculty and learning about their work. In addition to teaching, I work at a gallery in the west loop. Being involved with the galleries certainly helped me learn a lot about local artists and how the galleries differ from each other.

How does teaching and working at a gallery affect your role as an artist?

Working at the gallery has given me the opportunity to learn about a lot of artwork I may not have otherwise. Teaching helps keep me grounded and in touch with the fundamentals of my painting practice. You get to re-live these very basic ideas and challenges that excite beginning artists. By working at a gallery and teaching, I am partaking in two very different aspects of the art world. While I am constantly learning in both of these positions, and while they certainly affect who I am, I would not say they affect my practice in a direct way. The things I stress in the classroom are not always what I practice in the studio. I was able to have my first solo show in Chicago at the college I teach at, and it was a wonderful experience and comfortable first showing here.

What is a piece of advice you would offer to an artist friend about to move to Chicago?

It has always been of utmost importance to get the studio practice up and running first. Moving is a big pain, but I think getting back to work right away is important. By starting a studio practice right way, you just feel more engaged and capable of talking about your current work with more gusto!

After that, you have to make your self known. There are so many artists today and no one is going to come looking for another one! Go to galleries and openings and talk to new people. It is helpful to make a community for yourself. Also, research what spaces may be having a call for entries or a juried show you could apply for. You have to get yourself and your work out there.

Do you plan to stay here in Chicago? Or, are you aiming for New York or Los Angeles?

Chicago has been really good to me so far. I have met so many wonderful people in the art community and I have had success in getting teaching jobs, which I wouldn’t have had in Seattle. I hope to get a few more shows in the coming year as well. So, I am content for now. However, I would like to be in New York eventually, but not anytime too soon.

Michelle Bolinger received her MFA in painting from the University of Washington in 2005. She currently lives and works in Chicago, Illinois. Her work has been exhibited nationally including The Henry Art Gallery, Crawl Space, Francine Seders Gallery and the Jacob Lawrence Gallery, all in Seattle, Washington. In addition she has shown at SoFA Gallery in Bloomington, IN, The Gormley Gallery in Baltimore, MA, and A.I.R. Gallery, NY, NY. In Chicago she has shown at the Chicago Cultural Center and Harold Washington College’s Presidents Gallery. Her second solo exhibition at Francine Seders Gallery will be in fall, 2008.