Exactly one year ago, the collector, dealer and sometime columnist Adam Lindemann was roundly criticised for an article he wrote in the New York Observer, in which he announced: “I’m not going to Art Basel Miami Beach this year. I’m through with it. It’s become a bit embarrassing, because why should I be seen rubbing elbows with all those scenesters, people who don’t even pretend they are remotely interested in art?”
In what he now says was a satire (he did indeed come to the fair), Lindemann exhorted those who care about contemporary art to “Occupy Art Basel Miami Beach” to “correct the ills of global art fairdom once and for all, and to send the dealers, the artists and especially the art-fair companies our message of protest”.
In the months since, however, others have started to express doubts about the state of the contemporary art world. Recently, a number of art-world figures have broken ranks, claiming that the high prices being spent on art invite trophy-hunters and oligarch investors, not serious appreciation.
Although there have always been complaints about the pernicious influence of the market on art, and the ease with which rich patrons sway taste, this was counterbalanced by the critical discourse about the cultural value and meaning of art. Today, the noise around the market has amplified, while independent critical debate is diminishing. “Art and money have slept together since the beginning of time. It’s the same as it ever was, only more so—there are more people with more money, spending more money more publicly,” says the critic Jerry Saltz.
The Art Newspaper