The COMP Magazine Claire Molek - Art Wing & Building a Base

Claire Molek has set upon that long and winding journey to establish a platform for artists of her generation and a collector-base to support their efforts. On the coldest and windiest January day of this year, The COMP Magazine trekked out to Molek’s Oak Park salon to take a look at her growing collection of young artist’s works, discuss her long connection to Chicago, the new venture Art Wing, her strategy for creating more opportunities for emerging artists, and what’s on the horizon in 2016 and beyond.

“It’s Too Late” opening reception, June 2015
photo credit: Lightworks360

In our conversations, you indicated that you are truly invested in the City of Chicago and establishing more recognition for its emerging artists. Perhaps, we can begin with you offering an introduction to your connection to Chicago and why you see this effort worthy of note.

I’m primarily interested in building, in strategy and structure and how these foundations mutate our cultural landscape. In this, and I suppose this is a bit of a political space and a much longer conversation, I feel that there is no better service that I can offer than in serving emerging artists, artists being the driving force, the core, the cement and the flourish of an architectural plan. In practical terms, Chicago is simply one of the best places to make art in America and we’re exporting some of the most highly favored emerging and mid-career artists in the market, and it’s important to me that we celebrate that. Meanwhile, more and more of the general Chicago public is ready to be a part of this house – and for whatever reason, I want to help build that bridge and I want to make the bridge into a home. And I guess it is because I know we can do it here and I am loyal to it happening here because it is happening right this moment, and here I am.

Nick Jirasek and Erin Babbin at the old gallery, This Is Not The Studio, circa 2009
photo credit: Claire Molek

What do you see as being your most challenging obstacles in establishing an art collector base for your generation? Do you have any specific strategies you are attempting to implement?

I’ve found that the most difficult roadblocks in establishing the next generation of collectors is probably within the industry and within ourselves as opposed to outside of all of it. We have a lot of ideas about who we are and we need to start focusing on where we’re going as an industry and why and for what and for who, then how we can best communicate with and educate others about how to explore the landscape with us. And I think we are doing that, I think a lot of awesome people are up to that, it’s just a bit of a bumpy road and kind of hard to see that it is happening because we’re still carrying this big bag of old and prestigious ideas. But ultimately, I have a lot of ideas about myself that don’t serve me in my service to others, so my most challenging obstacle in helping to establish a structure for this is myself. As I said, you know, this is already happening, the collector base is growing and it will keep growing. All we have to do is keep the doors open and keep clearing, cleaning – constantly – so we can let everyone in, in the most authentic way possible.

“Silent Funny” installation view, February 2015
photo credit: Jackie Furtado

So, what’s ArtWing? Can you share with us an introduction on this project?

Art Wing is the business I’m building with Anders Lindseth, we’re building it with the intent to empower both artists and collectors by making it easier, convenient, educational and fun to participate in the marketplace. The broader goals are to provide a safe and hospitable space where we can all learn about art, the specifics revolve around creating a transparent space where the emerging marketplace can really breathe. In simple terms, Art Wing is a physical store with a massive amount of art from a broad survey of the best local emerging artists we know and we meet. We’re working hard to be open in the coming months.

Members of Brave New Art World throwing around big huge bouncy balls for Rhona Hoffman’s exhibition closing,
August 2013

Are there any past exhibitions or projects for which you are proud to have worked upon?

I’m actually in a point in my life where everything I’ve accomplished or might have felt some pride for in the past is being seen through a lens of error more than anything else – I’m pushing myself to be better than I was, and in that, I guess I’m most proud of this project I’m working on because it forces me to really look in the mirror and admit to myself what didn’t quite work in the past. Though I wouldn’t call it pride just yet. I’ll be proud in 10 years from now when the work we’re doing with Art Wing helps to bring art into the real lives of Chicagoans and catapults the careers of all the artists we’ve worked with. And then I’ll be combing over everything trying to figure out how to make it better again.

Artists featured from left to right are Dan Rizzo-Orr, Mika Horibuchi, Ellis von Sternberg, Claire Molek, Valentina Zamfirescu, Kenrick Mcfarlane, Nick Nes Knowlton and Anders Lindseth at Silent Funny, February 2015
photo credit: Jake Lingan

Who are some of the artists you are currently interested in? What piqued your interest about their art practice?

I think a lot right now about and am mostly preoccupied by Banrei, Ariel Baldwin, Julia Haw, Kira Scerbin, Kenrick Mcfarlane, Anders Lindseth, Marcelo Eli, Nick Nes Knowlton, Ellis von Sternberg, Valentina Zamfirescu, Dan Rizzo-Orr, Mika Horibuchi, Kristina Pedersen, Kevin Maginnis.. A lot of it is that I feel in tune with their work, like on some plane or another I am evolving with them, like I’m in on a secret. I connect most deeply with work from artists that are not imposing limits on themselves or on their work and I am interested in them because they make me feel astounded and inspired. It’s never really anything all that specific, for me an artist is and I hear them or I don’t.

The beach is my refuge, with artist Julia Haw in Tulum, 2015
photo credit: Claire Molek

Do you have any ongoing curatorial philosophies or intent that connect the artists you are currently working with?

I feel that I’m doing the best work when I’m pushing my philosophies out of the way to make room for the artist. And because the artists I work with tend to be way smarter than me, I think they have a sense of that, I suppose that is what connects them. In another way of speaking, I look for magic, my intention is to share that magic, and artists that make magic do seem to have this one thing that connects them, but only in that it is a certain je ne sais quoi, and perhaps better unnamed if we are to continue growing into the luscious garden I see so vividly unfolding before us.

Claire Molek, “Self-portrait”, circa 2004

We are now at the outset of 2016. Do you have any specific goals that you hope to complete of the New Year?

¡∞&* yeah! To open Art Wing with a bang! Before the summer is over! To blow all the minds! To make a living for all the artists and a bridge for new collectors! To become myself again and again! To never be defeated and to always be in love!