Nancy Gildart

SUGs Gallery, 1995-1996

I joined SUGs very soon after I started the BFA program as a transfer student (other
degrees, other life). Iain Muirhead was in my Multilevel Figure Drawing class and I
saw him working outside of Gallery X one day and asked what he was doing. I was
looking for a way to get involved – I was old enough to be a parent of most of the students in my classes – so a lot of the activities at SAIC were not really for me. I think I became a director by default because my life experience gave me some gravitas and because Michael Ryan and I became friends. I always felt like an equal with Iain and Amavong Panya and they treated me that way.

It was important to me that undergraduates have the same chances to show work as graduate students and I believe we evaluated proposals with this in mind. I believe we tried to show work in a variety of media and presentation formats – these were often what pushed us to build out Gallery X so that the space became more and more adaptable and professional.

In 1994, there were very few opportunities for students to show work at SAIC. Exhibitions and Events ran Betty Rymer and Gallery 2 and there were only two times a year that a student could submit work for group shows. SUGs gave more students the time and place to show work. We ran four spaces and did eighteen different shows the year that I was involved. We did shows that involved intense installation and intense topics. One student, an undergrad sculpture student, built a cabin in Gallery X. There were tutus frozen in blocks that melted for the duration of the show. There was sound. We showed William Cordova. We had a memorial exhibition for Artemio Gaucuma, a student who had drowned in the lagoon at Ox-bow.

I learned so much from working with SUGs, not the least of which is thinking about installation as I plan my work – it’s not an afterthought. I’m not afraid of thinking big about my studio projects and often have projects that take years to finish and have many layers of entry. In my job in CAPX I often work with students who are submitting proposals and/or artist statements for exhibition opportunities. Having gallery experience helps me help them understand what information an exhibition space needs from them in order to evaluate their work and exhibition proposal.

Edra Soto

SUGs Gallery, 1999-2000

I became interested in curating before I became aware of what being a curator means. I was so taken by other students work that I decided to organize an exhibition of their works. This was my first experience curating an exhibition. Back in 1999, SUG’s was at a location that didn’t attract much public traffic. It was a fun challenge.

It is invaluable for students to have the opportunity to experiment and materialize their ideas. Mentors like Michael Ryan, someone that managed and advised me at the time, were instrumental in the formative aspects of my career as an independent curator.

I curated an exhibition comprised by female artists. It was not my intention, but it was at the time the work that spoke to me and that I could see clear connections and conceptual overlaps amongst the pieces. One of my favorite artists that was involved in this exhibition that I titled “Glam Salon” was Lauren Kelly. 

This was a very positive experience that gave me direction and confidence. Since 2012, I created and co-direct The Franklin with my husband in the backyard of our home.

Annie Jin Chang

SITE Director, 2017-2018

Familiar with my goals and skills in working as a leader in the creative field, my former roommate who became a very good friend told me about the position and encouraged me to apply. I have to admit that without this encouragement, I wouldn’t have thought I would have a chance to be SITE/SUGs Galleries’ Administrative Director for fall 2017-spring 2018.

I have always been enthusiastic and curious about the work of my peers, which translates to advocacy, support, and sharing opportunities. My time at SITE/SUGs allowed me to do that on a larger scale.  My experience at SITE/SUGs helped me with skills of diplomacy and self-representation via writing and photos as a professional. 

It was really important for me to create space for dialogues for the marginalized within the SAIC community and to learn as an individual.  As a team of directors, I was lucky that we were interested in dismantling and questioning power structures and colonialism. This included highlighting the voices such as those of POC, immigrants, LGBTQ, and disabled communities. It also included providing opportunities for those who are underrepresented at SAIC such as those of undergraduates, MA or non-studio programs which are sometimes not prioritized as their counterparts in the graduate and MFA programs.  

SITE fostered a great sense of belonging and community for me at SAIC as it gave me space to work collaboratively with those who are not in my program. We have such talented artists at SAIC and being able to share it at the galleries gave me the best satisfaction in that school year.