In 2024, the New York art scene experienced significant changes, with beloved galleries closing and prominent artists and museum directors passing away. Despite these losses, the art scene continued with galleries holding exhibitions for both living and deceased artists, and museums hosting well-attended shows that challenged traditional exhibition norms. Several major New York museums were closed for expansion but planned to reopen in 2025.
Two ARTnews senior editors discussed the year in New York art, noting a trend of gallery shows focusing on deceased artists. They highlighted exhibitions like Eileen Agar at Andrew Kreps Gallery and Sarah Grilo at Galerie Lelong & Co, as well as Tatsuo Ikeda at Fergus McCaffrey and Ione Saldanha at Salon 94. The conversation also touched on museum exhibitions honoring deceased artists such as Käthe Kollwitz and Elizabeth Catlett.
The editors expressed concerns about the prevalence of shows featuring deceased artists, suggesting that it may be easier to praise past works than to acknowledge the political activism of contemporary artists. They also noted a shift in the perception of the Whitney Biennial, which was considered less politically charged compared to previous years. People often forget that artists sometimes have to work in specific ways to avoid censorship, imprisonment, or even death. Reflecting on the Hammer Museum’s exhibition "Radical Women," it is evident that many artists subtly commented on the dictatorships they lived under. This contrasts with artists in the US who work subtly but do not face the same treatment, perhaps due to a denial of the fascist takeover mentioned by Democrats leading up to the US presidential election. Artists have always been attuned to societal shifts, and this edition of the Biennial further proves this point.
The debate around what art is considered safe was a central theme in the Whitney Biennial, similar to the 2019 edition. P. Staff’s installation Afferent Nerves raised questions about safety, with critics questioning its radical nature. The theme of fragility, particularly of certain people’s bodies, was central to Staff’s work. The lack of critical engagement with the art by some critics was highlighted, showing a shift in the art world’s reception of politically charged artworks.
Other works in the Biennial, such as Charisse Pearlina Weston’s smoked glass sheet and Suzanne Jackson’s gravity-defying paintings, also explored themes of risk and fragility. The collapse of Eddie Rodolfo Aparicio’s sculpture during the show highlighted the material risks artists take in their work. Despite the potential dangers, artists continue to experiment and push boundaries in their art.
Arthur Jafa’s exhibition at Gladstone Gallery stood out for its representation of violence, particularly in his film *****. The re-editing of scenes from Taxi Driver to feature Black victims was challenging for viewers, raising questions about the necessity of such graphic representations of violence. Kara Walker’s shift towards more metaphorical representations in her new collages at Sikkema Jenkins & Co. reflects a broader trend in the New York art scene towards less shocking art.
Overall, New York’s gallery shows this year were deemed safe, indicating a shift in the art world towards less controversial and more delicate themes. A significant amount of discussion has occurred, including in these pages, regarding the uncertainty of the market and the world in general, which may explain the recent turn of events. A prime example is Jadé Fadojutimi’s recent exhibition at Gagosian. While I may face criticism for this statement, the paintings seem to be created specifically to hang over a wealthy individual’s off-white couch. I have been following this London-based artist from afar for a number of years now and have been intrigued by her abstract approach. Unfortunately, the paintings in this exhibition did not meet my expectations.
The comment Fadojutimi made to the New Yorker about her move from London’s Pippy Houldsworth Gallery to Gagosian was rather unfortunate. She mentioned that she "outgrew Pippy" and didn’t want a more personal relationship. While it is understandable to outgrow a gallery due to high demand, there is no need to be disrespectful. Midsize galleries like Houldsworth already face challenges. It is worth noting that larger galleries have been poaching artists from smaller ones, which is seen as a positive step in a growing career.
The art world in New York has become less eccentric and the ecosystem is in need of attention. It is important for the powers that be to take more risks and not just focus on selling mediocre paintings. Only a few galleries are taking risks, such as Thomas Hirschhorn’s Gladstone show, which was unique and provocative. Other oddities from this year include shows by Nikita Gale, Pat Oleszko, Catalina Ouyang, Amanda Ba, and more. While these are exceptions, there have been many boring shows this year.
Despite the challenges, there have been some standout shows this year, such as Hugh Hayden’s exhibition at Lisson Gallery and "Five Women Artists in 1970s Los Angeles" at Ortuzar Projects. These shows have provided fresh perspectives and deserve recognition. The return of the "nerdy blockbuster" in New York in 2024 has been an interesting trend to observe. Guggenheim Foundation Die Aufnahmen von Aufführungen des Alvin Ailey Dance Company werden hoch über der Show projiziert, aber der Fokus liegt hauptsächlich auf Kunst, die keine ausdrückliche Verbindung zu Ailey selbst hat.
Dieser Ansatz gelingt manchmal, insbesondere in den Abschnitten, die der Moderne gewidmet sind. Es spielt keine Rolle, ob Ailey tatsächlich Gemälde von Rubem Valentim betrachtet hat, einem autodidaktischen brasilianischen Maler des mittleren 20. Jahrhunderts, der manchmal Motive aus der afrikanischen Kunst anspielte. Die Show legt nahe, dass Ailey auf ähnliche Weise wie Valentim gearbeitet hat – beide griffen auf die Vergangenheit Afrikas zurück, indem sie Elemente über Abstraktion wiederentdeckten. Einerseits funktioniert die Show in diesen Momenten gut als Landkarte von Aileys reichem Geist. Andererseits lässt die Ausstellung die zeitgenössische Kunst, so großartig sie auch sein mag, wie eine Randnotiz wirken.
Manchmal muss eine Retrospektive nicht mehr als das sein, und ich hätte mir etwas Konventionelleres gewünscht. Aber dennoch, was für eine schön gestaltete Show! Und was für eine Freude, sie neben der Ralph Lemon-Ausstellung im MoMA PS1 zu sehen, die ebenfalls um den Tanz herum zentriert ist – etwas, das man in großen Shows wie diesen selten sieht. Es scheint, als ob Museen jetzt wirklich Risiken eingehen. Glaubst du, dass das auch 2025, Max, so weitergehen wird?
MD: Ich könnte mir definitiv vorstellen, dass diese Art von Risikobereitschaft weitergeht, aber ich glaube nicht, dass die Ailey-Show vielleicht das beste Vorbild dafür ist. An dem Tag, an dem ich dort war, kam ich gerade rechtzeitig für eine der begleitenden Tanzvorführungen von Ailey II. Ich verließ die Vorführung mit dem Gedanken, mehr darüber zu erfahren, wie Ailey den modernen Tanz transformiert hat, aber das fand ich nicht in den Galerien. Ich fand die Kunst, die gezeigt wurde, nur tangential mit Ailey verbunden. Der Großteil der Ausstellung konzentriert sich auf schwarze diasporische Künstler, die Tanz auf die eine oder andere Weise dargestellt haben, mit einigen Archivdokumenten aus Aileys Karriere. Ich weiß, dass der Titel der Show, "Edges of Ailey", darauf hindeutet, aber wenn man sagt, dass man die erste Museumsausstellung über Alvin Ailey auf die Beine stellt, dann muss man tatsächlich das Werk von Alvin Ailey untersuchen.