The Influence of Mega-Galleries on Museum Exhibitions: A Concerning Trend
Museums have often proclaimed themselves as independent from the art market, but recent trends suggest otherwise. In today’s art world, sales often lead to fame, which in turn leads to retrospectives and more sales. The current spring season in New York is a prime example of this phenomenon, with high-profile exhibitions at top Manhattan museums featuring artists represented by a single gallery: Hauser & Wirth. This has raised concerns about the growing influence of mega-galleries in shaping museum exhibitions.
Hauser & Wirth, with its vast resources and global reach, has become a major player in the art world, representing over 100 artists and estates. Its artists, such as Jack Whitten, Amy Sherald, Rashid Johnson, and Lorna Simpson, have been the focus of recent museum shows in New York, including the Museum of Modern Art, the Whitney Museum, the Guggenheim Museum, and the upcoming Metropolitan Museum of Art exhibition. This concentration of Hauser & Wirth artists in New York shows suggests that a single gallery’s program can determine a significant portion of museum exhibitions.
While it is not new for galleries to fund institutional shows, the extent of Hauser & Wirth’s involvement in these exhibitions remains unknown. Galleries often provide funding for printing catalogs, licensing images, and financing receptions. However, the dominance of mega-galleries in museum programming raises concerns about the “growing influence of a small number of galleries in a rapidly consolidating art market,” as noted by Julia Halperin in her 2015 report for the Art Newspaper.
The consequences of this trend are particularly significant given the demand for greater diversity in the art world. The current emphasis on artists of color, queer artists, and women artists should be reflected in museum exhibitions. However, the reliance on blue-chip dealers for eligibility raises questions about who gets to be recognized by museums. The current situation feels like an apex of a mega-gallery monoculture, where a small set of dealers determine which artists’ works are showcased extensively.
This situation appears to be unique to the US, and specifically to New York. If we look abroad, we see a different museum landscape with institutions organizing shows for artists without major gallery representation. For example, the Sharjah Art Foundation in the United Arab Emirates held a retrospective for Māori painter Emily Karaka, and Tate Modern in London organized a widely praised retrospective for the late artist Leigh Bowery. These examples demonstrate that major galleries are not a prerequisite for international institutions to curate significant exhibitions.
The discrepancy between international art festivals, which often showcase untested talents, and the exhibition programs of New York museums further highlights the issue. New York museums tend to rely heavily on established talents represented by mega-galleries for their retrospective shows. This suggests a mismatch between the demands for diversity and experimentation, and the institutions’ choices in recognizing and supporting underrepresented artists.
Recommendations for the Industry
In light of these concerns, it is crucial for museums to take a critical look at their exhibition programs and consider a more inclusive approach. Here are a few recommendations:
Expand Representation: Museums should actively seek out artists who may not have major gallery representation but whose work is significant and deserving of recognition. By diversifying their roster of artists, museums can help counterbalance the influence of mega-galleries.
Collaborate with International Institutions: Engaging with international institutions that have successfully organized exhibitions for artists without major gallery representation can provide valuable insights and alternative approaches.
Support Emerging and Marginalized Artists: Allocate resources and exhibition space to support emerging artists, artists of color, queer artists, and women artists. This can be achieved through dedicated programs, open calls, and collaborations with community organizations.
Engage in Curatorial Experimentation: Museums should embrace their role as platforms for curatorial experimentation and take risks by showcasing works by untested talents. This can foster innovation and contribute to a more diverse and dynamic art scene.
Educate the Public: Provide accessible and comprehensive educational programs that help audiences appreciate and understand a wider range of artistic practices. This can help break the influence of mega-galleries by creating a more informed and discerning public.
By implementing these recommendations, museums can maintain their relevance as institutions dedicated to promoting diverse and meaningful artistic experiences. It is crucial to resist the concentration of power and influence in the hands of a few galleries, and instead prioritize the recognition and support of a diverse range of artists.
Artists like Santiago Yahuarcani, who may not have mega-gallery representation but possess immense talent and contribute unique perspectives, deserve the opportunity to have retrospectives in prestigious museums. Museums need to take risks, challenge the status quo, and ensure their exhibition programs truly reflect the variety and depth of contemporary art.
Preface: Collections and the Culture of Collecting
In the digital age, where information and knowledge can be accessed at the tap of a finger, the role and value of traditional collections have come under scrutiny. However, the allure of collecting, as a human pursuit that dates back centuries, remains strong. In this edition of the MMCA Studies, we delve into the world of collections and the culture of collecting, examining their historical significance and contemporary relevance.
Throughout history, collections have played a vital role in preserving and showcasing human achievements, artistic expressions, and cultural artifacts. Ancient civilizations like the Egyptians, Romans, and Greeks amassed collections of valuable artifacts, evidencing their craftsmanship and societal values. These early collections served as a testament to their civilization’s achievements and defined their cultural identity.
In the Renaissance era, collections took on a new dimension. Curiosity and scholarly endeavors drove princes, intellectuals, and artists to gather objects of beauty and knowledge, shaping the idea of the “cabinet of curiosities.” These cabinets, precursors to modern museums, housed an eclectic mix of natural specimens, scientific instruments, artworks, and cultural artifacts. They served as microcosms of the world and sparked the pursuit of knowledge and artistic inspiration.
As societies progressed and museums became more formalized, collections transitioned from individual cabinets to publicly accessible institutions. Notable examples include the British Museum, the Louvre, and the Metropolitan Museum of Art. These museums broadened their collections, encompassing diverse cultures, historical periods, and artistic movements. Through these collections, the collective memory of humanity was pieced together, reflecting the diverse narratives and expressions of our global culture.
Fast forward to the present day, where collecting has become pervasive on social media platforms. With hashtags like #sneakerheads, #bookstagram, and #vinylcommunity, a new wave of collectors has emerged, shaping and redefining the culture of collecting. These contemporary collectors build communities centered around shared passions, using their collections as vehicles for personal expression and connection.
However, contemporary collecting poses challenges as well. The rise of digital media has introduced intangible collections, raising questions about the preservation and accessibility of digital artifacts. Additionally, the commodification of collecting, driven by market trends and speculative investment, challenges the intrinsic value of collections as sources of knowledge and cultural heritage.
In the following articles, we explore a range of topics related to collections and the culture of collecting. From the historical underpinnings of collections to the digitization of archives, we invite you to join the discussion surrounding the importance, significance, and future of collecting in our ever-evolving world.
The MMCA Studies 2024 is dedicated to Collections and the Culture of Collecting.
The inherent desire to understand and interpret the world around us has been a fundamental characteristic of human civilization throughout history. From ancient societies that sought to explain the mysteries of the natural world through myth and religion, to the Renaissance when innovation in art and science brought about a new era of exploration and discovery, humans have continuously strived to expand their knowledge and deepen their understanding of the world they inhabit.
Today, in the fast-paced and interconnected world of the 21st century, this pursuit of knowledge is more relevant than ever. The digital age has brought about a wealth of information and opportunities for learning, enabling individuals from all corners of the globe to access knowledge and engage in dialogue like never before.
In this article, we delve into the central theme of “Knowledge and Innovation in the Digital Age,” shining a spotlight on the transformative power of technology in shaping our understanding of the world. As we explore this theme, it is important to reflect on the historical context that has brought us to this point.
Throughout history, major leaps in knowledge and innovation have often been prompted by societal shifts. For instance, the invention of the printing press by Johannes Gutenberg in the 15th century revolutionized the dissemination of knowledge, making books and information more accessible to the masses. This breakthrough paved the way for the Renaissance and the Scientific Revolution, which fundamentally challenged existing beliefs and propelled humanity into a period of intense intellectual curiosity and experimentation.
Fast forward to the present day, and we find ourselves amidst the ongoing digital revolution. The internet has transformed how we access and share information, enabling a level of connectivity and knowledge exchange that was unimaginable just a few decades ago. With the click of a button, we can access a vast array of knowledge, connect with experts across disciplines, and contribute to a global conversation that transcends borders and boundaries.
However, with the immense opportunities presented by the digital age also come significant challenges. The proliferation of misinformation, the erosion of privacy, and the digital divide are just a few of the complex issues that we must grapple with as we navigate this new era of knowledge and innovation.
As we examine the impacts of the digital age on knowledge and innovation, we will explore how individuals, institutions, and societies are adapting and responding to these challenges. We will delve into the role of education in fostering digital literacy and critical thinking skills, the ethical implications of emerging technologies such as artificial intelligence and virtual reality, and the importance of inclusivity in ensuring that the benefits of the digital revolution are accessible to all.
Join us on this journey as we navigate the complexities of the digital age and explore the role of knowledge and innovation in shaping our present and future. Through thought-provoking analysis, engaging discussions, and insightful interviews, we aim to shed light on the opportunities and challenges that lie ahead and inspire a deeper understanding of our rapidly changing world.
Attend the Virtual Open House at Bard Graduate Center to learn about our NYC campus, outstanding faculty, thriving and close-knit community, and institutional relationships with institutions such as the Metropolitan Museum of Art, Brooklyn Museum, and American Museum of Natural History.
A cave, bones, ruins, painting, and an art you can climb into – these elements of our human history have captivated our minds and imagination for centuries. They hold the power to transport us through time, unraveling the mysteries of the past and offering glimpses into the lives of those who came before us.
In this article, we embark on a journey to explore the captivating intersection of archaeology and art. From ancient artifacts buried deep within the earth to the masterpieces adorning the walls of revered museums, we delve into how art has allowed us to connect with our ancestors and study the evolution of human civilization.
The Power of Archaeological Artifacts
Archaeological artifacts are like fragmented puzzle pieces that endow us with invaluable knowledge about the past. Each piece tells a story, providing a glimpse into the rituals, beliefs, and customs of ancient civilizations. These artifacts offer a tangible connection to our ancestors, allowing us to transcend time and experience the lives they led.
One remarkable example is the discovery of intricate cave paintings in Lascaux, France. Created over 17,000 years ago, these prehistoric masterpieces depict animals, hunting scenes, and abstract symbols of the time. Through these paintings, we gain insights into the daily experiences, artistic capabilities, and spiritual beliefs of our early human ancestors.
Exploring the Ruins of Ancient Civilizations
As we venture from caves to the remnants of once-thriving civilizations, we find a treasure trove of art hidden amidst the ruins. From the awe-inspiring murals of Pompeii to the intricately carved reliefs of ancient temples, these art forms are time capsules that allow us to study the cultural, religious, and historical aspects of societies long gone.
Take, for instance, the iconic Mayan city of Chichen Itza in Mexico. Among its grand architectural remnants stands El Castillo, a pyramid adorned with sculptures and carvings that hold profound cultural significance. These art forms guide our understanding of Mayan mythology, social hierarchies, and architectural advancements.
Art as a Medium of Time Travel
Art has the unique ability to transport us into different periods of history, enabling us to experience the world through the eyes of our ancestors. Museums are gateways to these time-traveling adventures, housing precious artifacts in carefully curated displays.
Consider the Metropolitan Museum of Art in New York City, with its vast collection of antiquities from around the globe. Here, Egyptian sarcophagi whisper tales of pharaohs and their beliefs in the afterlife, while Greek sculptures evoke the mythological narratives that shaped their worldview. These artifacts, meticulously preserved, provide a tangible link to distant cultures and the realms of imagination they nurtured.
The Global Heritage and Responsibility
As we immerse ourselves in the beauty and significance of archaeological art, we must also recognize the responsibility entrusted to us. The preservation and protection of these cultural artifacts is essential to honor the diversity of our shared human heritage.
By studying and appreciating the art of the past, we not only gain a deeper understanding of our roots but also foster a sense of compassion and empathy towards different cultures. It reminds us that despite our differences, we are all part of an intricate tapestry of human history.
“The art of the ancients remains eternally present, whispering tales of our collective past and offering inspiration for our future.”
A cave, bones, ruins, painting and art you can climb into.
The Rising Value of Joan Mitchell Paintings: Rockefeller University’s Auction and Future Trends
On November 19, Sotheby’s will auction two paintings by Joan Mitchell from the prestigious collection of Rockefeller University. This significant event has sparked discussions about the rising value of Mitchell’s works and the potential trends in the art industry. City Landscape (1955), estimated at million to million, and an untitled painting from the same year, estimated at million to million, showcase Mitchell’s prowess as one of the foremost artists of the Abstract Expressionist movement.
Rockefeller University’s Decision
Rockefeller University, despite its substantial financial stability with a .5 billion endowment, has chosen to sell these paintings to fund future biomedical research. Christie’s vice chairman, Max Carter, explains that the university believes that utilizing the proceeds for the advancement of scientific endeavors would benefit mankind more than merely displaying the artworks on their walls (ARTnews). This decision highlights the heightened appreciation for art’s potential to contribute to important causes.
Additionally, the paintings have rarely been seen by the public, primarily seen by campus staff, visitors, and renowned scientists, including 26 Nobel laureates in medicine and chemistry. City Landscape was exhibited twice in 1955 and 1957, while the untitled painting had never been exhibited before. Both works remained on the campus since their acquisition in 1958, with City Landscape hanging in the Abby Aldrich Rockefeller Dining Room and the untitled painting displayed in the university president’s residence (ARTnews).
Rockefeller University’s Previous Artwork Sales
This is not the first time Rockefeller University has sold artworks to fulfill its financial objectives. In 1977, they sold Jacques-Louis David’s 1788 painting Antoine-Laurent and his Wife. The sale’s proceeds, around million, were used to endow professorships and graduate fellowships. The painting was acquired by oil industrialist Charles Wrightsman, who then donated it to the Metropolitan Museum of Art (ARTnews).
Rising Values and Auction Records
The recent record-breaking sales of Joan Mitchell’s paintings have contributed to the growing interest in her works. Last November, an untitled painting from around 1959 sold for .2 million at Christie’s, surpassing Mitchell’s previous record set in 2018 with Blueberry (1969), which sold for .6 million. Other notable sales include Sotheby’s auctioning four guaranteed Mitchell paintings, with the highest-selling one, Noon (ca. 1969), fetching .6 million. Furthermore, David Zwirner gallery sold a Mitchell diptych titled Sunflowers (1990–91) for million during this year’s Art Basel (ARTnews).
Trends and Future Predictions
The auctioning of Joan Mitchell’s paintings from Rockefeller University’s collection reflects several trends within the art industry. Firstly, the increasing recognition and value of Mitchell’s works signify a growing appreciation for female artists from the Abstract Expressionist movement. As the art world continues to acknowledge previously overlooked artists, the demand and prices for their works are likely to rise.
Additionally, the sale of artworks by prestigious institutions to fund important causes reflects a broader shift in the art market. Philanthropic endeavors driven by art sales are becoming more common, allowing art collectors and institutions to contribute to areas beyond the traditional art world. This trend is likely to continue as the art market evolves and adapts to societal demands.
Furthermore, the scarcity of significant paintings from Mitchell’s early years and the historical significance of the artworks being auctioned contribute to their high estimates and anticipated success at the auction. As art collectors become more interested in acquiring rare and historically significant pieces, the value and demand for such artworks are expected to increase.
Recommendations for the Art Industry
With these trends in mind, there are several recommendations for the art industry as it moves forward. Institutions and collectors should continue to prioritize acquiring and preserving historically significant artworks, especially those by underrepresented artists. This not only enriches the art world but also contributes to a more inclusive and diverse cultural narrative.
Transparency and ethical practices in the art market are of utmost importance. As the market values continue to rise, it is crucial to ensure that all stakeholders, including artists, institutions, and collectors, engage in fair and ethical transactions. This includes fair compensation for artists and proper provenance research to protect against fraudulent practices.
Lastly, the integration of technology in the art market should be embraced. Platforms that facilitate art sales, engage collectors, and provide educational resources can expand access to art for a wider audience. Embracing digital platforms and technologies can make the art world more accessible and inclusive.
In Conclusion
The auction of Joan Mitchell’s paintings from Rockefeller University reflects the rapidly evolving art market and the increasing value placed on historically significant artworks. As institutions and collectors prioritize social causes, support for underrepresented artists, and ethical practices, the art industry will continue to thrive and contribute to society. The rising popularity of female artists from movements like Abstract Expressionism and the integration of technology will shape the future of the art world.
References:
ARTnews. (n.d.). Rockefeller University to Auction King Fish of Joan Mitchell Paintings. Retrieved from https://www.artnews.com/art-news/market/rockefeller-university-joan-mitchell-paintings-auction-13438/
