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Artworld Salon » Blog Archive » The season of our disconnect
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The season of our disconnect

Tuesday June 21, 2011 | 14:21 by András Szántó in New York City | permalink

bigstockphoto_ear_2677195I got back from Art Basel this weekend on a plane full of artworld types, with fresh impressions for my interesting disconnects file.

First, between the ebullience of the art fair and the dark financial clouds roiling over Europe, where states teeter on the edge of insolvency and people are taking to the streets. There is a yawning chasm right now between the revived luxury spending boom and the malaise that grips the bottom ninety-eight percent. The subject kept coming up, quietly but persistently, at parties around town.

Second, during an Art Basel Conversation I moderated on the future of museum collecting, a London-based curator from Bangladesh pressed the assembled directors, and in particular Chris Dercon of the Tate Modern, when and how they will genuinely engage his community and others like it—not just through occasionally showcasing artists, but in a deep way. All agreed that, good intentions and planned initiatives notwithstanding, we’re a long way from making art institutions truly inclusive.

The third contrast arrived by way of the 430-page summer issue of Artforum. The tome was not in my mailbox, which proved too small, but on my doorstep. It was shrink-wrapped with the current issue of Bookforum, which includes a review of a new book on the “internship economy,” by Ross Perlin. Titled Intern Nation: How to Earn Nothing and Learn Little in the Brave New Economy, the study documents the stunning and roundly depressing rise of unpaid labor in our creative industries. One can see why Bookforum reviewed it. The art world, it seems, can fill a glossy with almost as many ad pages as the September issue of Vogue. Yet how many of those ads were placed by young folks working for a pittance, or pro bono, just to get a shot at a job?

These disconnects—from broader economic reality, from cultural complexity, and equitable labor practices – point to chronic imbalances in the art world and in its relationship to society. One might be a wet blanket to bring them up in the midst of summertime fun. Even so, perhaps it’s not too romantic to suggest that art, and the institutions that advance it, should, among other things, engage our better moral senses and our common trials and aspirations, or risk irrelevance.

Any other disconnects on your radar?

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