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Meet Natalie Popovic Schuh of Regards

Today we’d like to introduce you to Natalie Popovic Schuh.

Natalie, please share your story with us. How did you get to where you are today?
After college, I worked at Contemporary Art Museum St. Louis for a year before I went to graduate school. I knew I wanted to work in the arts, but wasn’t sure what that entailed exactly. Working in a contemporary art museum was a great introduction to the field and I got to meet curators, artists, and other art world professionals and it had a profound effect on me.

The museum had a wonderful Director who really changed the course of the institution for the better and it made me want to be a part of that community. I then went to graduate school in London at Sotheby’s Institute of Contemporary Art to study the history of Contemporary Art and that too was a very important influence on me. It was an incredible opportunity to be in such a vibrant city and the art scene there was, and still is, one of the best in the world.

My Professors were actively working in the contemporary art world (as curators, as writers, etc.) and introducing us to galleries and museums in the UK on a weekly basis. When I wasn’t in class, I was busy visiting galleries, museums and libraries, trying to take in as much as possible. Additionally, I traveled around Europe to see major exhibitions and biennials. Highlights included going to see Documenta, Venice Biennale, and Skulptur Projekte Münster. It was eye-opening to see these historic events first hand. After graduate school, I moved to Chicago.

Originally, I wanted to move to New York but thought Chicago would be an interesting choice and smaller city to break into. I also love the Midwest and wanted to be back in that area of the country. I had an internship at Donald Young Gallery (while I finished my graduate thesis), which in my opinion (and I think most would agree) was the best gallery in Chicago. Donald represented internationally renowned artists and didn’t just show paintings on the wall. The gallery showed video artists, installations, sculptures, and work that you didn’t see in other Chicago galleries.

Even though I was at the gallery for a short time it had a huge influence on me from the type of work the gallery showed, to how the gallery was run (with smart, hard-working employees), to the dedication the gallery had to the artists. After that, I worked at Carrie Secrist Gallery as the Director for almost 4 years. It was a rewarding experience, and I was able to work closely with artists and see exhibitions planned from the beginning to end.

I also enjoyed the fast pace environment of the gallery and getting to introduce people to gallery artists and talk them through an exhibition or a certain piece of work. After that, my husband and I moved to Los Angeles for a year and although we met lifelong friends and were introduced to many interesting artists, it wasn’t the city for us. Moving back to Chicago, my husband and I knew we wanted to open an art gallery and thought no better time than the present.

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Nothing in the art world is “smooth”. It’s a tough business and I’d have to say it’s not for the faint of heart. While I love Chicago as a city and I am glad our gallery is based here, sometimes I wish Chicago wasn’t so conservative when it comes to art. I wish more people visited galleries and were more engaged with the art scene here, but we just try to focus on what we are doing and move forward.

I also wish more Chicago collectors and museums supported Chicago based artists and didn’t wait for them to get a New York gallery to solidify their worthiness in the art world market. Chicago has an abundance of a good artists, galleries, and museums and we should be proud of that.

Alright – so let’s talk business. Tell us about Regards – what should we know?
My partner, Mike, and I own a commercial art gallery called Regards located in Ukrainian Village.

We specialize in contemporary art and representing emerging artists. We tend to show artists who respond to space and I think we are known for minimal exhibitions with a conceptual slant. I like to think we are known for being approachable! We like to talk to everyone that comes to visit the gallery and we are more than happy to walk anyone through the current show on view. We may also be known for a certain bulldog that comes to work with us every day and loves to greet visitors.

I am proud of our dedication to our artists, we rarely say “no” to any idea for an exhibition and try to support the artists we work with so that we can assist them in realizing their exhibition. Without the artists, there is no gallery, and we try to remember that in everything we do. This isn’t a vanity project for us, it’s about putting important, thought-provoking art on view for all to see.

Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
Most importantly, my husband, Mike is a huge part of the gallery. We come from different backgrounds. Mike is an artist, has an MFA, and came from working in museums, and I come from the commercial gallery world; we approach things differently but work together very well and that relationship has been very beneficial. I can make quick decisions (often just from my gut) when need be, and Mike is incredibly patient and likes to really think things through, and that unique combination has helped us run the gallery efficiently. Also, having someone I trust endlessly is another important aspect of running the gallery.

Two Chicago galleries that had an influential impact on Mike and I were Donald Young Gallery and Rowley Kennerk Gallery. Both showed powerful, smart, exhibitions that were unlike anything you saw anywhere else in the city. They seemed to not follow any trends, and they stood out from everyone else. They had a unique taste (which is rare) and style to their gallery programs.

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