Despite my family’s best efforts, I stuck my foot down and here I am in the arts. I didn’t want to be a scientist or engineer…
In the hallowed halls of creative spaces where imagination takes form, where the silent language of artworks and sculptures speaks amidst gleaming fluorescent lights, and the humming of the motors which power some of the more animated works, I reflect on the quiet alchemy required to create these works and the skill and motivation to keep these spaces alive. What unseen forces conspire to bring these narratives into our gaze, to nurture the fledgling talents crammering to be seen and heard, and to preserve the legacy of form? To helm a gallery, a cultural center dedicated to the three-dimensional, is to navigate a labyrinth of artistic vision, community, patron needs and wants, and the ever-present demand to meet a bottom line. It is a role that commands not just an appreciation for aesthetics, but the tenacity of a seasoned person, a certain kind of shrewdness, and an unwavering passion. One such person we have come to discover is Grace Chin, Executive Director of The Sculpture Center in Cleveland’s University Circle District.
Having met Grace Chin through an associate in the arts, we were afforded the opportunity to meet with her. The day of our scheduled meeting I received a text early in the morning hours before most folks awaken, Chin is already in motion. She and I communicate and coordinate our meeting together at The Sculpture Center. She’s just prepared her daughters for school and soon will be out the door; likely fielded a few donor emails, and is soon to walk me through the high-ceilinged exhibition space where we will be filming.
As I make my way to meet with Chin, I reflect upon some of the source material about Chin’s background in preparation for the meeting. Recalling her background as I speed down MLK Blvd, Chin’s journey as an aspiring sculptor to Executive Director, and her time in arts administration to her personal creative endeavors, I can’t help to think about her fascinating background–but also what it must be like to lead an organization such as The Sculpture Center in a place such as Cleveland. It is, fittingly, sculptural—molded by the pressures of life, unexpected shifts, and a relentless pursuit of meaning while having the ability to carve space for self.
As I entered the gallery space I paused every few feet to examine every square feet of space… every piece of work, feeling the weight of silence suddenly speak and call to me. I reflect on each installation while Chin settles in and gets things going at the center. As she cuts on the lights, turns on her computer and makes the space ready, I begin to wonder who makes these moments happen as I gaze at some of the exhibition works? How does a certain group of people decide what stories get told? Who holds the keys to these cultural spaces—not just the institutions which house these artifacts—but the heart and soul of communities? But it’s Grace’s presence that truly commands my attention. Poised, bubbly, warm, and clear-eyed, she’s a bit wonky but in a good way. I also sense shyness and a high intellectual mind. She reminds me of those rare individuals who can juggle budgets, projects, operations, and just about everything while balancing the emotional weight of being a cultural steward, all while managing the daily demands of family life. As we begin our interview we chit chat a bit, mostly about our mutual connections and shared interests. “I never set out to be here,” she tells me with a smile. “But here I am in the arts.”
The air in The Sculpture Center hums with a quiet energy, a palpable sense of creative potential waiting to be unveiled–the center itself being a masterpiece, an aged building with exposed brick, wood beams, clean white walls, large glass windows for maximum transparency and natural lighting with architectural features that dazzles the eyes and senses. Nine shows a year grace its two galleries, often in a dynamic side-by-side presentation that sparks unexpected dialogues. For early career artists, The Sculpture Center’s “Revealed” series offers a crucial first boost, a platform where space and support become catalysts for burgeoning creatives. It is a delicate ecosystem, both literally and metaphorically, this world of nonprofit arts, and at its center, Chin serves as both architect and gardener, nurturing growth while ensuring the foundation remains strong.
The lifeblood of any cultural institution, particularly a nonprofit one, is a delicate balance of artistic ambition and fiscal responsibility. For Chin, her prior experience in development roles has proved invaluable, navigating the often-turbulent waters of fundraising with a seasoned hand. The annual budget of The Sculpture Center, typically around $300,000, saw a significant surge in the past year, reaching $750,000, thanks to a transformative community-based award from the city of Cleveland and the leadership of Chin. This infusion of funds underscores a vital aspect of Chin’s approach: connecting art directly with the community it serves, fostering a relevance that extends beyond the traditional art world.
This “new relevance” she envisioned manifests in initiatives like the Spotlight series, an annual exhibition aimed at igniting important conversations about the lives of people and communities. This approach extends to the very artists The Sculpture Center champions. Recognizing the unique challenges faced by sculptors – the need for space, equipment, and opportunities to truly see their three-dimensional visions realized – Chin is acutely aware of the supportive environment her organization provides, particularly to marginalized groups that sometimes find it challenging to find spaces for their works to be seen. It’s not just about exhibition space–it’s about fostering a sense of community, a nurturing ecosystem that mirrors the mentorship she herself found so vital during her formative years at Dartmouth.
As Marco Ciccarelli, The Sculpture Center’s former President, aptly noted upon hiring Chin, her “experience and enthusiasm for the role of sculpture and art in our community is inspiring”. This enthusiasm is palpable in her vision for the organization, a vision that encompasses not only supporting emerging sculptors and visual artists of Ohio and the greater region, but also encouraging the preservation of Ohio’s public outdoor sculpture art. This dual focus speaks to a deep commitment to both the creators and the broader cultural landscape.
My first job was in arts administration at the Cincinnati Symphony… I was there for three years and it was an amazing first job. I had a great boss who taught me a lot.
The air in The Sculpture Center hums with a quiet energy, a palpable sense of creative potential waiting to be unveiled–the center itself being a masterpiece, an aged building with exposed brick, wood beams, clean white walls, large glass windows for maximum transparency and natural lighting with architectural features that dazzles the eyes and senses. Nine shows a year grace its two galleries, often in a dynamic side-by-side presentation that sparks unexpected dialogues. For early career artists, The Sculpture Center’s “Revealed” series offers a crucial first boost, a platform where space and support become catalysts for burgeoning creatives. It is a delicate ecosystem, both literally and metaphorically, this world of nonprofit arts, and at its center, Chin serves as both architect and gardener, nurturing growth while ensuring the foundation remains strong.
The lifeblood of any cultural institution, particularly a nonprofit one, is a delicate balance of artistic ambition and fiscal responsibility. For Chin, her prior experience in development roles has proved invaluable, navigating the often-turbulent waters of fundraising with a seasoned hand. The annual budget of The Sculpture Center, typically around $300,000, saw a significant surge in the past year, reaching $750,000, thanks to a transformative community-based award from the city of Cleveland and the leadership of Chin. This infusion of funds underscores a vital aspect of Chin’s approach: connecting art directly with the community it serves, fostering a relevance that extends beyond the traditional art world.
This “new relevance” she envisioned manifests in initiatives like the Spotlight series, an annual exhibition aimed at igniting important conversations about the lives of people and communities. This approach extends to the very artists The Sculpture Center champions. Recognizing the unique challenges faced by sculptors – the need for space, equipment, and opportunities to truly see their three-dimensional visions realized – Chin is acutely aware of the supportive environment her organization provides, particularly to marginalized groups that sometimes find it challenging to find spaces for their works to be seen. It’s not just about exhibition space–it’s about fostering a sense of community, a nurturing ecosystem that mirrors the mentorship she herself found so vital during her formative years at Dartmouth.
As Marco Ciccarelli, The Sculpture Center’s former President, aptly noted upon hiring Chin, her “experience and enthusiasm for the role of sculpture and art in our community is inspiring”. This enthusiasm is palpable in her vision for the organization, a vision that encompasses not only supporting emerging sculptors and visual artists of Ohio and the greater region, but also encouraging the preservation of Ohio’s public outdoor sculpture art. This dual focus speaks to a deep commitment to both the creators and the broader cultural landscape.
The selection of artists and the curation of exhibitions form the very essence of The Sculpture Center’s mission. The “Revealed” series for example, a cornerstone program, exemplifies this commitment to emerging talent. Previously known as W2S, the name was intentionally changed in the fall after Chin’s arrival. As she explained with a touch of wry humor–another noticeable characteristic which Chin exhibits– Chin shared that “W2S sounded like insider information or a strange reinvention of Y2K”. This small but significant change reflects her understanding of the importance of clear communication and accessibility in connecting contemporary sculpture with a broader audience.
The “Revealed” series operates through an open call, with a diverse exhibition committee awarding solo exhibitions to four to six early-career artists each year. This rigorous selection process ensures a high caliber of work, often representing the artists’ first significant opportunity to showcase their vision on a larger scale. Chin speaks passionately about the transformative power of this experience, noting, “I’ve heard many artists say, ‘Oh my gosh, my work can now breathe.’ And that says a lot to me about the importance of giving artists this opportunity”.
Chin’s own background as a sculptor provides a unique lens through which she views the challenges faced by artists. She readily acknowledges the limitations she encountered after graduating from Dartmouth, the difficulty of finding the necessary “space, equipment and facilities to work”. This firsthand understanding fuels her commitment to supporting the needs of sculptors, a commitment that extends beyond mere physical resources to encompass exhibition opportunities and professional development. While The Sculpture Center doesn’t currently provide studio space or equipment, the potential of their campus with a large fabrication studio nextdoor and unobstructed large open lower space just beneath the wood floors of the main galleries and office space hints at future possibilities for greater direct support and the potential of even some very swanky events and happenings.
Chin’s transition from practicing artist to arts administrator was, in part, a response to the challenges of defining oneself as an artist and navigating the often-vague landscape of the art world. She found herself relying on her “organizational skills to move into arts administration”, a pivot that ultimately led her to a position where she could advocate for and uplift the very community she once navigated as a creative. Reflecting on her time at Dartmouth, Chin believes the foundational understanding of providing a nurturing environment was most formative. The mentorship she received from her two mentors and professors instilled in her the importance of support and guidance, something she consciously seeks to provide to the artists exhibiting at The Sculpture Center. This includes assisting with installation, facilitating conversations about their artistic intentions, fiscal literacy, and ensuring their work is presented thoughtfully to the public.
At my school growing up I was called out of my name. People thought that it was really weird I could understand and not speak Chinese – I actually think that’s common.
But a lot of it I think was wanting to assimilate and be like everyone else…
Beyond the immediate concerns of exhibition and artist support, Chin is deeply committed to engaging the broader community. The Spotlight initiative, for instance, aims to connect art and site to spark “important conversations about our lives and communities at home and across the nation”. This reflects a belief in the power of art to provoke thought, challenge perspectives, and foster a deeper understanding of the world around us. This commitment to community engagement extends to fostering dialogue with diverse voices. She has actively sought partnerships, including with FRONT International: Cleveland Triennial for Contemporary Art, elevating The Sculpture Center’s visibility on a larger stage. The prestigious Joyce Award secured for Puerto Rican artist Edra Soto further exemplifies this dedication to supporting artists of color and facilitating the creation of innovative, community-driven new works.
Chin’s approach to community engagement is deeply personal and intentional as we discovered during our interview. She speaks of working with nationally recognized artists and having them come to Cleveland to conduct research, meeting with communities of color, and including the stories and voices of residents and leaders in the actual creation of their work. This “method of sharing the arts” as she put it, she believes, is a reflection of what’s happening in Cleveland but also a larger story of what’s going on nationally.
The financial realities of running a nonprofit arts organization are never far from mind with Chin. She acknowledges that fundraising is a challenge no matter what. She even went as far as stating that “Cleveland can be a difficult place to sustain and run an arts organization,” especially for someone like her, hinting at her gender and heritage. Her strategies involve not only traditional arts funding avenues but also leveraging the community-focused nature of their programming to access non-traditional sources. The Spotlight series, with its emphasis on engaging specific communities of those marginalized, opens doors to a broader range of funding opportunities, though it also requires a significant investment of time and effort in building relationships within certain communities.
The recent Transformative Arts Fund award from the city of Cleveland, which significantly boosted their budget, is a testament to the effectiveness of this community-driven approach. However, this particular funding supports a project in the Asia Town neighborhood, working with an artist of color to transform a space into a public community gathering place representative of both the artist and the community. This innovative project underscores Chin’s commitment to embedding The Sculpture Center within the fabric of the city.
Looking ahead, sustaining this vital work requires ongoing innovative fundraising strategies and community partnerships. While the recent grant is a significant boost, the long-term financial health of The Sculpture Center relies on cultivating a diverse base of support that aligns with its mission and ambitious programming.