“Art fairs will continue to flourish until the bottom falls out of the art market, or until dealers, who invented them, decide that there is a better way to do things.” — Roberta Smith, New York Times
Back in 2006, in an article titled “A storm of art as Baselmania engulfs Miami,” New York Times art critic Roberta Smith predicted that
Art fairs will continue to flourish until the bottom falls out of the art market, or until dealers, who invented them, decide that there is a better way to do things.
The global recession never quite saw the bottom fall out of the art market, but it has arguably spawned a number of dealer-invented alternatives to the more traditional art fair model, such as Independent in New York, Sunday in London, and ABC in Berlin. But back in 2006, Smith highlighted one pioneering effort as an indication of what she thought the future held:
Two dealers already on this quest are Ronald Feldman, a longtime SoHo gallerist, and Joe Amrhein of Pierogi, a Williamsburg fixture. They have rented a raw one-story building in the Wynwood district here and filled its 12,000 square feet with works by artists they represent.
Fast forward to 2010, and the model Pierogi and Feldman built has evolved into a venture that now includes seven contemporary art galleries, including London’s Hales Gallery, who began participating in 2007, and New York’s BravinLee programs, Postmasters, P•P•O•W, and (my own gallery) Winkleman, who all join for the first time this year. The focus of this expanded effort, called simply SEVEN, is in creating an exhibition experience within the context of Miami’s art fair week defined by the needs of each artist’s work. The press release on the event’s website explains this idea in more depth. What the press release doesn’t explain is how each decision about SEVEN (whether on marketing, installation placements, shipping costs, etc.) is agreed to by us, the participating dealers, and that the costs are so significantly less than participating in one of the larger fairs that the 24,000 square foot space we’ll be sharing this year offers an opportunity to present work in Miami that would be cost-prohibitive, if possible at all, at the big box fairs. Because each of the participating galleries’ programs include presenting large-scale installations, for the first time we new participants have the chance to bring such work to Miami and better reflect what we’re about to that audience. Continue reading “The Appeal of SEVEN”
The abundance of unusually available VIP cards that started to circulate a few weeks before the Armory week foreshadowed what was to come: a slow fair with dealers putting the best face, few red dots in sight —now with the pretext that they are not anymore in vogue—and a rather enjoyable Armory vernissage on Wednesday night where art could be seen at a more leisurely pace. Only that the art on view turned was rather safe and unchallenging, in the best cases tending to small works by major artists — a good compromise between maintaining quality and affordability. Dealers appear to hang in there, many more accessible and nicer to customers than usual, trying not to compromise their prices, although the word out there was that all price tags were negotiable.
I thought about the early years of decline of the Thomas Blackman Art Chicago fair in the late 90s, where major galleries started pulling out, the over-commercial quality bar started to descend, and modernist works and even furniture started to appear. Only that, as we well know, what we are seeing this week in New York is the symptom of something much larger. It has hit the art world so hard that we are still trying to come to grasps with it while remaining in autopilot. This past December in Miami there was still a sense of denial and a series of jovial comments of the kind of “well, the market was so unreal and out of control, now we have come back to reality”. But now that the Dow went under 7,000 and reality is much worse than previously thought, it is much harder to remain upbeat. Perhaps sales may turn out to be better than expected, but right now the current system of multiple fairs feels incongruous. The crowds may be still there, but without sales, an art fair booth becomes little more than an expensive, overblown ad. Continue reading “Wishful remedies”
There is a question circulating around the art world blogosphere: Will Art Basel Miami Beach, and all of its attendant satellite fairs, be a gallery killer?
The rationale behind the question works something like this: Given the way the art world’s schedule runs, one assumes that most galleries paid for their art fair real estate many months ago. And given that many galleries have begun to rely upon their fair sales to remain profitable, if not solvent, in a down turn, the art fairs begin to look like a bigger and bigger gamble, akin to doubling down on an otherwise iffy hand. With the US economy in tatters, and knowing that the full scope of the financial crisis has yet to come into focus (not to mention the dismal performance of the fall’s contemporary art auctions), can there be any doubt that real buyers will be few and far between, and that only those galleries with (enough) cash already in the bank will still be around this time next year?
I do not relish what I believe to be the answers to these questions. The sought after purification of the art world’s soul will be seen–if LA MOCA’s potential collapse has not shown it already–to affect the avant-garde and the opportunists alike. So I ask, where is the silver lining? What should an optimist for the future of the art world be looking for? What might we find in Miami that we did not expect or could not have foreseen?