[Dixielandjazz] THE ARTS & THE YOUTH MARKET

[Steve barbone]

Short snip from a long article, It demonstrates that there is a growing
"YOUTH" market in the visual arts in NYC. It is a parallel development to
the youth market in Aural Arts like OKOM. "Love at First Sight" easily
translates to "Love at First Hearing".

Yep, "Life may not be the party we hoped for ... but while we are here we
might as well dance!"

"PS 1" referred to in the article, is an old elementary school converted
into an art museum.

Note the last paragraph where "PC' rears its ugly head. :-) VBG.

Cheers,
Steve Barbone


March 18, 2005 - ART REVIEW - GREATER NEW YORK - By MICHAEL KIMMELMAN

Youth and the Market: Love at First Sight
 
THE second "Greater New York," the youth-besotted, cheerful, immodestly
ingratiating jumbo survey of contemporary art, has opened to the predictable
mobs at P.S. 1 in Queens. It roams from roof to basement, weaving in
stairwells, a ramshackle behemoth.  .  .  .

"Greater New York" happened, a messy, unformed rival and gambit, upbeat,
offering multimedia efforts but with a stress toward paintings -
well-behaved, clever, snappy paintings by young artists, of the sort making
some headway in galleries. These were works suited to the dawning of a new
art market boom. 

As an act of civic boosterism, "Greater New York" also advertised a local
horde of insouciant twenty-somethings, eclectically steeped in rock, 60's
revivalism, personal codes, surrealism and cartooning, among other things,
and serving up dollops of blooming sophistication and charm. Skill was a big
selling point: a shambling, winking sort of virtuosity, not too heavy, easy
to buy into, and drawing from old art and pop culture as if interchangeably.

As before, "Greater New York" is organized by a curatorial team from P.S. 1
in conjunction with its parental partner, the Museum of Modern Art. It has
already prompted counterestablishment protests: a clutch of women picketed
the opening, noting the 2-to-1 ratio, male to female, among the 167 artists
selected.  .  .  .