A Monumental Studio
"As a sculptor, I talk about using your head, your heart, and your hands—you think about things, you feel things, and then you use your hands to try to represent what that is, in some material."
- Richard Hunt
Cathedral-like Space
In 1971, Hunt embarked on a transformative journey when he acquired a decommissioned electrical substation from the Chicago Railway Systems Company, a historical gem constructed in 1909, nestled on West Lill Avenue in Lincoln Park. This vast, cathedral-like space, adorned with towering 45-foot-high windows that flooded the interior with generous streams of natural light, boasted an imposing overhead bridge crane—making it an ideal sanctuary for the creation and maneuvering of large-scale sculptures. The expansive environment allowed Hunt to dramatically elevate the dimensions of his welded masterpieces.
Richard Hunt's studio at West Lill Avenue, Chicago, ca. 1973.
An Artistic Hub
In addition to the ample workspace, Hunt set up a foundry within this new studio, evoking memories of his formative experiences in Florence during the late 1950s, where he first delved into the intricate art of casting. This facility opened doors for him to explore new series of cast works in both bronze and aluminum, further expanding his artistic repertoire. For much of the next fifty years, Hunt called this vibrant space home, both living and creating amidst its storied walls. Over the decades, the studio evolved into a thriving cultural hub, as the artist passionately hosted an array of live music performances, art exhibitions, and dynamic dance events throughout the ‘70s, ‘80s, and ‘90s, driven by his heartfelt dedication to fostering the broader arts.
Thomas Jefferson “T.J.” Anderson conducting a rehearsal for a performance at Hunt’s West Lill Avenue studio, Chicago, 1978.
Scaling Up
The overhead bridge crane in Hunt's studio was ideally suited for moving large sculptures, and allowed Hunt to significantly increase the scale of his welded works. In the decades that followed, Hunt's ability to create large-scale commissions was supported by this expansive and flexible studio space, along with assistants to help him move and erect these monumental works. He also collected and stored large metal sheets and piles of scrap metal to have at the ready to fulfill his improvisational and monumental creations.
Richard Hunt in his West Lill Avenue studio with Bronx Victory (1978), Chicago, ca. 1981.
Studio and Laboratory
"Situated in Chicago’s Lincoln Park neighborhood, the building is a repository of Hunt’s vast trove of pieces and parts of metal objects—some scrap, some not, and many seemingly in the process of being formed into artworks. Inside, small metal works destined for indoor settings sit comfortably near parts that will be used to model larger, outdoor sculptures. It is a metal shop as much as it is a studio and a laboratory that aligns with the Fordist self-sufficiency of Hunt’s studio practice."
- Courtney J. Martin, Richard Hunt, 2022
Richard Hunt with studio assistants in his West Lill Avenue studio, Chicago, ca. 1980.