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Cooper Cole

Why Artists Make Better Landlords: An Interview with Akin Collective’s Oliver Pauk and Michael Vickers

by Rea McNamara on June 20, 2016
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The belief that artists are too independent or focused on their career to self-organize needs to die. Artists have the capacity to be both generous and great.

Take, for example, the affordable housing movement, and the artists dispelling the traditional artist-as-gentrifier-enabler role. Theaster Gates transformed vacant and abandoned buildings in his neighborhood on Chicago’s South Side by establishing a foundation, and then partnering with the city and developers to rehab a public housing complex into mixed-income housing. In Houston, Rick Lowe’s Project Row Houses covers six blocks in the Third Ward, providing affordable housing for low-income tenants. Mark Bradford’s Art + Practice not only brings contemporary art programming to Los Angeles’s Leimert Park, but also provides social services for youth in the city’s foster care system. Artists have the potential to readdress urban displacement and ensure affordable space still exists for art by pulling up their sleeves and playing a bigger entrepreneurial role in real estate development.

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AC Repair: Toronto’s Littlest White Cube

by Rea McNamara on April 8, 2016
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Add AC Repair & Co. to the long list of galleries now setting shop in Junction Triangle, the city’s newest gallery district. Founded by curators Emma Clough and Jess Carroll, it’s a unique entry in the commercial gallery scene thanks to its small scale and non-traditional walls. It’s literally a 324 square foot garage, with no running water or toilet.

“We were inspired by galleries that were making creative use of unconventional space in cities outside the traditional ‘art capitals’, such as the recently-closed Appendix gallery in Portland, as well as Young World in Detroit,” says Clough and Carroll in an email interview with AFC.

This interest plays into Clough and Carroll’s sales strategy: keeping costs low so they can take a chance on selling work by artists lacking the “kind of commercial legacy that a lot of gallerists are looking for,” says the duo. “Toronto has a lot of great, young artists who find it hard to align themselves with commercial galleries as they find that they’re intimidated or their freedom is restricted. Because AC is such a small, raw space with low overhead, we have the freedom that a larger commercial gallery does not. We want to work with artists who are pushing the envelope.”

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by Paddy Johnson on December 5, 2014
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Unlike years prior, where the sales were so quick dealers actually lost track of what they sold to whom, NADA was a little quieter. Nobody was complaining, as pretty much everyone had made back their costs and then some, but perhaps some of the other satellite fairs such as UNTITLED. have finally managed to tear away a share of the emerging market.

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Miami Project is Good and Here to Stay

by Paddy Johnson and Corinna Kirsch on December 8, 2012
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Art Basel Miami has a new fair in town, and if Miami Project’s first run is any indication, it will be a player for years to come. That has a lot to do with the fair’s organizers, artMRKT Productions, a company operated by Max Fishko and Jeffrey Wainhause that is known for its fairs in Houston, San Francisco, and the Hamptons. This experience has clearly paid off, as they were able to draw 33 solid exhibitors, and produce a beautiful fair.

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