The gallery industrial complex

A new year. A new New York mayor. Old problems with art in New York. I have a collection of complaints and a few (very few) ideas for change.imgres

As Holland Cotter observes in the New York Times, “Money — the grotesque amounts spent, the inequitable distribution — has dominated talk about art in the 21st century so far. It’s a basic fact of art history. Emperors, popes and robber barons set the model for the billionaire buyers of today. Of course, it is today that matters to the thousands of artists who live and work in this punitively expensive city, where the art industry is often confused with the art world.

“The distinction between the two, though porous, is real. The art industry is the nexus of high-price galleries, auction houses and collectors who control an art market renowned for its funny-money practices. In numbers of personnel, the industry is a mere subset of the circle of artists, teachers, students, writers, curators and middle-range dealers spread out over five boroughs. But in terms of power, the proportions are reversed, to the degree that the art world basically functions as a labor source, supplying the industry with product, services and exotic color but, with the age of apprenticeships long gone, only uncertainly sharing in its wealth.

“Do I exaggerate? A bit. The argument can be made that labor is benefiting from its ties to management, in a high-tide-floats-all-boats way. Visit art schools or galleries, and you get the impression that a substantial portion of the art world is content to serve as support staff to a global ruling class.

“The reality is that, directly or indirectly, in large ways and small, the current market system is shaping every aspect of art in the city: not just how artists live, but also what kind of art is made, and how art is presented in the media and in museums. I got tired of money talk a while back. Rather than just sputter with indignation, I figured it would be more useful to turn in another direction, toward art that the industry wasn’t looking at, which is a whole lot of art. But reminders keep pulling you back to the bottom line. With every visit to the gallery-packed Lower East Side, I see fewer of the working-class Latinos who once called the neighborhood home. In what feels like overnight, I’ve watched Dumbo in Brooklyn go from an artist’s refuge to an economically gated community.”

More at: http://www.nytimes.com/2014/01/19/arts/design/holland-cotter-looks-at-money-in-art.html?_r=0

 

That prison industrial…..

We are living in boom times for the private prison industry.imgres-1

The Corrections Corporation of America (CCA), the nation’s largest owner of private prisons, has seen its revenue climb by more than 500 percent in the last two decades, reports Mother Jones. “And CCA wants to get much, much bigger: Last year, the company made an offer to 48 governors to buy and operate their state-funded prisons. But what made CCA’s pitch to those governors so audacious and shocking was that it included a so-called occupancy requirement, a clause demanding the state keep those newly privatized prisons at least 90 percent full at all times, regardless of whether crime was rising or falling.

“Occupancy requirements, as it turns out, are common practice within the private prison industry. A new report by In the Public Interest, an anti-privatization group, reviewed 62 contracts for private prisons operating around the country at the local and state level. In the Public Interest found that 41 of those contracts included occupancy requirements mandating that local or state government keep those facilities between 80 and 100 percent full. In other words, whether crime is rising or falling, the state must keep those beds full. (The report was funded by grants from the Open Society Institute and Public Welfare, according to a spokesman.)

“All the big private prison companies—CCA, GEO Group, and the Management and Training Corporation—try to include occupancy requirements in their contracts, according to the report. States with the highest occupancy requirements include Arizona (three prison contracts with 100 percent occupancy guarantees), Oklahoma (three contracts with 98 percent occupancy guarantees), and Virginia (one contract with a 95 percent occupancy guarantee). At the same time, private prison companies have supported and helped write “three-strike” and “truth-in-sentencing” laws that drive up prison populations. Their livelihoods depend on towns, cities, and states sending more people to prison and keeping them there. Continue reading “That prison industrial…..”