I’ve noticed a few people credit Reaganomics — or the growing wealth gap — with the art world boom. A few weeks ago, I pointed to a quote by Santa Fe dealer Peter de La Fuente, who blamed Obama for the New Mexican city’s art problems:
“I hate to be a snob, but what we’re getting now is a bunch of 99 percenters, and they’re very appreciative, but they’re not collectors,” he said. “The people who are collectors, my clients, are the 1 percent, people who can afford art and fine art and expensive art …
“We [need] to get rid of Obama and let the people make money again. Profit is not a bad thing. It’s what makes this country go.”
And now in the Wall Street Journal, Deborah Kass, who is talking about what it was like to move to New York as an artist in the 1970s, has this to say:
“In the ’80s, with Reganomics, everything started changing. Dallas and Dynasty. Money became very fashionable. It was the tax breaks for the last 30 years that made the art world into what you expected to be a part of. It’s the one place where trickle-down economics worked.”
All this makes me wonder if the issue is being framed accurately. Is there a misconception about art and the reasons for its success or is this reality? The boom in private money flowing into all things art comes at a time when public arts money continues to shrink in the United States and elsewhere but is there a bigger shift at work? Is the misery of others really the source for the prosperity for art?Take Our Poll
From Remedios Varo to Francisco de Goya, artists have long turned to witchcraft as subject matter.
The auction house partnered with Highsnobiety to sell “Art Handler” shirts for up to $125, drawing ire from workers in the field who say they’re overworked and underpaid.
Funded fellowships support on-site graduate and postdoctoral research spanning a variety of disciplines on cultural works in the center’s collections.
Black-crowned night herons have not returned after abandoning their nests during a building project at the Chicago History Museum.
What is a feminist picture? A MoMA exhibition is the latest to attempt to answer this question.
Students work in a collaborative studio environment with a faculty of practicing artists and premier facilities in the heart of Boston.
With exhibitions like Sing Our Rivers Red, Danielle SeeWalker, JayCee Beyale, and others make visible the number of missing people for whom they are demanding proper attention and justice.
In this assemblage of multinational artworks, a cohesive postcolonial canvas fails to fully emerge, owing to Dream City’s lack of bold vision.
Students in this two-year graduate program in New York enjoy access to the Hessel Museum of Art, the CCS Bard Library and Archives, and opportunities to curate in practice.
The British monarch and Donald Trump have both tried to impose neoclassical architecture on their countries — and one of them actually succeeded.
Willem de Kooning’s “Woman-Ochre” was sliced out of its frame at the University of Arizona Museum of Art in a notoriously brazen theft.
The advent of AI generators has led to an avalanche of rip-off artworks that have used Grzegorz Rutkowski’s name as a prompt.