John Canaday, for those of you too young to remember, used to be senior art critic on the New York Times, and hence, some felt, the most powerful art critic in the country. I remember a Sunday column of his about a woman in the art department of Appalachian State University who had put together an exhibition so fine that he praised it unstintingly. This was particularly impressive to a New Yorker because at the time the very name of the university conjured up an isolated pocket of insularity where it was hardly expected art would be taught, let alone exhibited—and abstract art at that. Canaday’s Appalachian connection appeared again at College Art, as we saw him on the panel, “Recurring Regionalism: The Southern Rim.” The title came from an earlier conference of the same name.
The most talked-about art writing of 1987 College Art Association week was Janet Malcolm’s New Yorker profile of Ingrid Sischy, editor of Artforum. Hilton Kramer, introducing “Has Success Spoiled the American Art World?,” explained how Malcolm found Sischy not “profilable” and so profiled instead a “Cook’s tour of the seamy aspects of the world [Sischy] is obliged to move in.” We, apparently more accustomed than Kramer to the ways and means of artists, thought the scene sounded like just folks and began to wonder anew about Kramer’s sense of the fitness of things. From there he segued into a depiction of the runaway art world of the last five to ten years—the proliferation of art critics, the inflation of indifferent art, and the turning of art into a commodity for the moneyed middle class.
Future generations researching the good old days at the College Art Association’s Annual Conference may take this panel for a distillation of its moment, as it casually splices ideals, philosophy, jargon, celebrity, and non sequitur with talk of art-as-money. We see also the intense longings, the search for uplift, the demands for salvation that are increasingly deposited in art. The most interesting discussion of the panel addressed whether they belong there.
Titled “What Price Art,” and provocatively subtitled “The Economics of Art: An Agenda for the Future,” the conference promised to explore the economics of the visual arts market, with practical details on costs and price structure provided by “national experts in economics, finance, law, public policy, art and journalism.”
In April 1987, New York magazine ran a story on “Art Fever,” picturing socialite art collectors on the cover and evoking the hum of art rapidly transmuting into gold in the text. By 1989 the business press was routinely showing graphs that proved the superiority of art over stocks as long-term investments, and art-talk events across the land took on the flavor of “Cashing In”—a panel held, please note, at a business college.