"Few art-historical moments are eulogised quite like New York's Downtown scene in the 1970s and 80s. At Frieze New York (until 17 May), the city's late-20th-century history of experimental artistic production anchors a number of gallery presentations: a monumental linear abstract painting by the veteran New Yorker Virginia Jaramillo dominates Hales's stand, while Champ Lacombe is showing archival footage and artefacts from Antoni Miralda's Gesamtkunstwerk restaurant-cum-art project El Internacional, which operated in Tribeca between 1984 and 1986."
"As the city's dealers and collectors reach back to this radical recent past, the realities of a more commercially-minded present are front of mind, thanks in part to the artist Josh Kline's widely discussed essay "New York Real Estate and the Ruin of American Art." Published this February in the academic journal October, it argues that the city's prohibitively high rents have entirely eliminated the potential for its artists to foster risk-taking practices."
"Kline hardly articulates a new phenomenon by decrying New York's exorbitant costs, and his polemic belongs to a long tradition known as the "Why I'm Leaving New York" essay. But the article has nonetheless gripped art world discourse. Published a few months after the democratic socialist Zohran Mamdani won the New York City mayoral election on a platform of affordability, its central question is poignant as ever: what must be sacrificed in order to live here?"
"If mounting financial pressure is corroding the imaginations of New York's artists, it is also forcing young galleries to stretch themselves during the city's turbo-charged May art season. For several small New York galleries, this means simultaneously participating in multiple art fairs. In Frieze's Focus sec"
New York’s Downtown experimental art scene of the 1970s and 1980s is presented through gallery programming tied to late-20th-century production. Hales features a monumental linear abstract painting by Virginia Jaramillo, while Champ Lacombe shows archival footage and objects from Antoni Miralda’s El Internacional, a restaurant-cum-art project that operated in Tribeca from 1984 to 1986. As dealers and collectors look back to this radical past, current commercial pressures become central. Josh Kline’s essay in October argues that prohibitively high rents have eliminated artists’ potential for risk-taking practices. The affordability question also affects young galleries, which respond by stretching operations and participating in multiple art fairs during the May art season.
#new-york-art-scene #downtown-experimental-art #art-market-and-real-estate #affordability-and-rents #art-fairs-and-galleries
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