As a former Chicagoan, I was delighted to read Ed Winkleman’s very optimistic note about the rebirth of Art Chicago. I think the strategy – folding the fair into a larger civic cultural festival called “Artropolis” – makes a lot of sense. It will be interesting to see how much overlap there is between the crowds for several contemporary-art events, for the almost equally large antiques show that will run concurrently in the Merchandise Mart (the largest commercial building in North America), and for the symposium on “hegemony and resistance in the global cultural economy.” Compared to last year’s fiasco, when the once-mighty fair (before the Armory, before ABMB) was barely saved in extremis from not opening, this is an excellent development.
However, one innovation strikes me as likely to draw criticism: The NEW INSIGHT section, described as “an amazing display of the future emerging talent in the art world… comprised of artwork from 24 graduate students at 12 of the country’s most influential Master of Fine Arts programs,” including CalArts, Yale, RISD and the Art Institute of Chicago. Especially given the fact that these students were selected by renowned Renaissance Society director Susanne Ghez, I’m predicting a stampede by neophiliac collectors to buy their work. Unless some draconian mechanism has been put in place to make sure that doesn’t happen – an idea which might be considered advisable in some quarters, but would almost certainly be a) an infringement of some Constitutional right and b) totally ineffective in the face of aggressive collectors.
Offhand, I cannot recall ever seeing a section of exclusively graduate-student work displayed as part of an art fair. (Although one certainly comes across the occasional artwork by a graduate student who’s already joined the roster of a participating gallery.) In this sense, New Insight marks the latest stage in the crumbling of the wall between art schools and the art market, the earlier stages having been 1) the prowling of art-school studios by dealers and collectors, 2) the growing professionalization of degree shows, and 3) the “School Days” show at Jack Tilton last spring. Honestly, this is a topic on which I feel divided. Part of me sides with the logic that led Columbia arts dean Bruce Ferguson to close the studios of first-year grad students to collectors. Then again, I think, maybe it’s totally reactionary to think that we can sequester students from the art market, or even that doing so would be a good idea. Thoughts?