Episode 969: Abby Pucker and Chanelle Lacy… It’s Cool to Care?

Chicago’s vibrant art scene, while rich in talent and venues, confronts a persistent challenge: the absence of effective connections between artists, institutions, and audiences. This issue was the focal point of a recent discussion hosted by the podcast badatsports.com, featuring Abby Pucker, founder of the cultural platform Gertie, and Chanelle Lacy, its Head of Programming, Partnerships & Membership.

Returning to Chicago amid the COVID-19 pandemic, Abby Pucker embarked on a listening tour that uncovered a paradox within the city’s cultural landscape. Despite an abundance of museums, galleries, and active artists, many locals expressed a sense of exclusion and uncertainty about how to engage with the scene. This disconnect inspired the creation of Gertie, an initiative aimed at bridging the gap between existing cultural resources and potential audiences.

The conversation delved into the broader systemic issues affecting Chicago’s art ecosystem. Notably, the city consistently produces exceptional artists and cultural workers, yet sustaining a career beyond early stages remains difficult. Discussions highlighted how Chicago’s celebrated independence can sometimes foster isolation, potentially limiting opportunities for artists seeking growth and wider recognition.

A critical question emerged regarding the city’s cultural identity: when does pride in independence shift into a defensive stance that hinders collaboration and expansion? The dialogue explored the need for infrastructure that supports artists’ retention and development, enabling them to build audiences and establish lasting careers within Chicago.

Central to this effort is Chicago Exhibition Week, scheduled for September 14–20, 2026, which Gertie is spearheading to enhance accessibility across the city’s cultural venues. This event aims to simplify entry points for new audiences by coordinating marketing efforts, creating comprehensive maps and directories, and fostering partnerships among galleries, museums, and collectors.

The hosts also tackled the complex question of art’s intrinsic value. They emphasized art’s role in fostering empathy by presenting diverse perspectives and facilitating challenging conversations. Furthermore, they noted how involvement in art cultivates curiosity, connection, and a sense of inclusion in cultural dialogue.

The discussion also touched on strategies for cultivating new art enthusiasts, a task complicated by digital distractions and social media habits. Efforts to encourage audiences to move beyond online platforms and experience art in person remain a central challenge for Chicago’s cultural community.

Beyond programming, Gertie’s structure and business model were scrutinized, particularly its choice to operate as a for-profit organization rather than a nonprofit. This approach was examined in the context of the broader art economy, which often relies heavily on philanthropy and grants. The conversation considered the implications of funding models on organizational agility, mission focus, and long-term sustainability.

In exploring these themes, the dialogue underscored the complexities involved in building a resilient art ecosystem that balances economic realities with cultural missions. It highlighted the need for new frameworks that support artists’ livelihoods and nurture audience engagement without overdependence on traditional fundraising methods.

While many details about Gertie’s future initiatives and long-term impact remain to be seen, the conversation illuminated critical questions about Chicago’s cultural infrastructure. It emphasized the importance of connectivity and inclusivity in fostering a thriving arts community capable of sustaining both creators and audiences.

This evolving discourse invites stakeholders across Chicago’s cultural sectors to reconsider how they collaborate and engage, aiming to transform the city’s renowned artistic independence from a siloed stance into a dynamic, interconnected force.