Real Estate: Living and Working

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Artists get gentrified out of the neighborhoods they’ve rescued. Can real-estate professionals and activists be hired or made available to advise artists? Can mortgages or loans be made available to make ownership possible? Is the dispersal that gentrification creates necessarily bad, or can it be renewing?

The Market Is the Moment

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The question “How the Market Gives Form to Art” is one I ask not at all cynically. I think it’s the question of the ’80s and a difficult one to answer. My premise is that the drastic change in the art market over the last twenty years has effected a change in the condition of the artist as modernism defined it, that is, as outsider. The artist’s life is still difficult, the speculative nature of his or her work remains the same, generating insecurity and so providing a continuum with earlier times. However, today, opportunities are far more numerous than they were two decades ago and this seems to have reduced the artist’s identification with the marginal.

Picture This

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Following the symposium’s keynote presentation, the first panel featured two figures from the highly influential Pictures Generation—the artists Robert Longo and Matt Mullican—along with Morgan Fisher, a substitute for the absent Troy Brauntuch. The panel’s moderator, Julia Robinson of New York University, introduced the speakers and loosely moderated a discussion on their personal and professional experiences with the artist Jack Goldstein, the subject of a retrospective at the Jewish Museum.

New York, New York, New York

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What did this evening’s panelists—three artists who had moved to New York from across North America around the turn of the century—have in common? If you guessed a burning desire to find success—whether that be money, fame, or gallery representation, or just an audience for their work—you’d be wrong. The correct answer is couch surfing. All three artists, Noah Becker, Sue de Beer, and Ryan McNamara, none of whom is a native New Yorker, spent many nights crashing on their friends’ sofas without a place of their own.

In Love with Itself

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A packed room rustled and bustled in anticipation of this star-studded panel organized by Hrag Vartanian, a former art critic who now edits the blogazine Hyperallergic. Vartanian truly “understands the Bushwick meme,” according to Peter P. Hopkins, the director of the Bogart Salon, a social space in a gallery building called 56 Bogart Street in Brooklyn. Not simply a “cheerleader,” Hopkins continued, Vartanian also “interrogates” the Bushwick art scene—whatever that means.