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independent

Who’s Wearing the Pants at Frieze Week?

In which Michael Anthony Farley and Paddy Johnson nerd out and discuss Frieze and NADA and the changing art fair landscape.

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The Art F City Survival Guide to the 2016 Armory Week Fairs

by Michael Anthony Farley and Rea McNamara on February 29, 2016

Do you like art fairs? If yes, you are in luck! If not, get the hell out of New York City this week. Art fairs are multiplying like Gremlins, and mutating as they spawn. We now have specific art fairs for everything: paper, video art, solo projects, Asian art, curator-driven booths, independent artists, dykes, shiny things, boring shows… there’s something for everyone.

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Let;s Table t4e Conversation w/@gallerist #Independent

by @gallerist on March 6, 2015

Damn, it feels good to be an aesthete.

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AFC’s Art Fair Coverage Roundup

by The AFC Staff on March 10, 2014

Last week was a blur. We ran around to the Armory Show, Independent, Moving Image, Spring/Break, and the ADAA Art Show, all in order to bring you a bevy of slideshows, reports, and a “We Went To.” We’re proud of our coverage, and hope you’ll like reading it, too. Enjoy.

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Independent Art Fair Slideshow and Commentary 2014

by Paddy Johnson and Whitney Kimball on March 7, 2014

Earlier in the day we debated whether the Independent was anything other than a fair (it’s not). Now we discuss the art in the fair. We had a lot more to say about the Independent than we did the Armory Show, so that’s at least one good sign for its future.

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Friday Links: Looks Old, but It’s New

by Corinna Kirsch and Whitney Kimball on March 7, 2014

After so many art fairs, we feel woozy. Just like this Garfield. [Imgur]
“My guest tonight is an activist working to transform poor neighborhoods with art,” said Stephen Colbert, introducing last night’s talk show guest Theaster Gates. “Well, that explains all the chalk outlines in Chicago,” he added. [The Colbert Report]
Sydney Biennale protesters prevail! Luca Belgiorno-Nettis, the Biennale’s chairman and director of Transfield Holdings, a contractor for Australia’s network of immigration detention centers, has resigned. In addition, the Biennale has formally cut all ties to Transfield Holdings. [The Guardian]
California gets a new art fair, Silicon Valley Contemporary. The fair, opening in April, aspires to introduce techies to the joys of collecting art. [Silicon Valley Contemporary]
What animals, these journalists using their cars to chase down the presumed founder of Bitcoin! [Reuters, Slate, The Internet]
Martha Schwendener visits the Independent art fair and finds “plenty of work that looks old but is actually new, and vice versa.” Nostalgia abounds. [The New York Times]
Another sparkling Baer Faxt Report this morning contains a rant about the Basquiat estate’s authentication lawsuit against Christie’s. “Might their action for $1 million, alleging copyright issues really be driven by an enormous bill the IRS is seeking from the estate??” Baer wonders. Also from Baer Faxt: Botero has left Marlborough Gallery. [Gossip]
Seriously, Josh Baer is on a roll. He notes that Sell You Later is selling a quarter of its art market algorithms to ten people for $3,500 each. They’ve already sold out, although Sell You Later’s calculations are a little murky; the “web presence” factor, for example, might put somebody like Tauba Auerbach in the “peaking” category because she’s between shows. Tellingly, the list is also made up of artists who seem to do well at the fairs. The algorithms also capture art world gender bias. [Sell You Later]
Sell You Later also got a mention in a recent New York Times assessment of the super-rich-driven contemporary art boom. As Ben Davis predicted in 9.5 Theses on Art and Class, the success of top sellers is both luring more producers and creating more stress on a middle which can’t sustainably compete. Leaving the market to so few individuals is also a dangerous trend. The Times quotes Anders Petterson, the founder of ArtTactic: “if prices rise too much, this clique could lose interest and move on to something else, and if they lose interest, a lot of other people would lose interest as well.” [The New York Times]
Media has come out with a few more delayed but in-depth Robert Ashley obits, which celebrate the composer’s role in re-imagining opera and music, in the TV age. This was true while he was alive, too, but few people seemed to celebrate his legacy, save for avid admirers like Dave Ruder, who staged an outdoor “Perfect Lives” tribute across the city in 2011. Ruder’s written a beautiful obit on how Robert Ashley changed his life. Meeting Ashley, to him, was “meeting Shakespeare or Mozart.” [obit]

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The Art Fairs In Review

by Paddy Johnson on March 11, 2013

Missed the art fairs last week? Can’t get enough of art fair pictures? We’ve got you covered. Here’s a recap of how we spent our time last week.

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The Independent Perfects the Art Übermarket

by Whitney Kimball on March 8, 2013

In 2010, forty of New York’s up-and-comer galleries sailed downstream to avoid the Armory’s stench of death. Maybe it was the massive crowds or the lack of sunlight that made Thursday night’s opening so grim, but, four iterations later, the Independent has unmistakably assumed the mantle of young establishment.

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Moving Image, a Fair With Purpose

by Corinna Kirsch on March 8, 2013

Slowly but surely, galleries are reaching a breaking point with the art fair circuit. Escape isn’t an option for most galleries. Instead of opting out, we’re seeing a rise in specialized fairs, those that provide an alternative to the white-walled booth model. Moving Image is one of those fairs, and it has all the makings of a solid future.

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independent

The Independent Perfects the Art Übermarket

Moving Image, a Fair With Purpose

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