The Park Avenue Armory in New York City came alive this fall with the Art Dealers Association of America’s (ADAA) annual The Art Show. Now in its 36th edition, the event opened on October 29th with a benefit preview in support of the Henry Street Settlement, which has been providing aid to New Yorkers in need for over 130 years. This year’s cultural preview event raised over $1 million, continuing The Art Show’s tradition of meaningful philanthropy. Over the years, the event has contributed more than $38 million to the Henry Street Settlement, its greatest source of funding.
Henry Street Settlement plays a crucial role in the community, offering more than 50 programs that address education, employment, shelter, health, wellness, and arts initiatives. A highlight of its cultural outreach is the Abrons Arts Center, which provides artists with performance and exhibition opportunities while engaging the public with arts education programs.
The benefit preview drew over 2,300 guests, including art collectors, dealers, artists, and philanthropists dedicated to supporting art and social causes. Attendees explored the aisles of 75 member galleries, over 40 of which featured solo artist exhibitions. As they sipped cocktails and enjoyed hors d’oeuvres, the crowd buzzed with conversations about art and the evening’s festivities.
Walking the show floor this year revealed a noticeable shift in the galleries’ exhibitions compared to past editions. The Art Show now reflects a broader and more contemporary approach to art. While some traditional galleries continue to feature Impressionist, Modern, and pre-war works, the event increasingly embraces a diverse range of contemporary styles, signaling a market realignment. The emphasis on solo artist presentations underscores this change.
As guests entered, they were greeted by the striking Hollywood-style photography of Tina Barney at the Kasim Gallery booth. The exhibit represented a departure from the show’s usual focus on heavy-hitter modernists like Picasso or Matisse, marking a significant market shift. This evolution illustrates how the ADAA is adapting to the changing tastes and economic realities of art collectors.
One standout of the show was Hirschl & Adler Galleries, which featured James Guy’s 1939 mural, “The Camouflage Man in a Landscape.” At first glance, the vibrant, bold colors gave the impression of a contemporary work. However, the mural, composed of six panels, delves into the surrealist world of the 1930s, depicting the trials and tribulations of that era with renewed relevance.
Berry Campbell Gallery celebrated female empowerment with an all-women artist roster. The exhibit challenged traditional gender norms in the art world, showcasing the work of Mary Abbott, Alice Baber, Janice Biala, Bernice Bing, Dorothy Dehner, Lynne Drexler, Perle Fine, Judith Godwin, Elaine de Kooning, Ethel Schwabacher, and Yvonne Thomas, trailblazing women who defied conventions with their creativity and self-determination.
Another captivating presentation came from Yares Art, which featured the vibrant paintings of Larry Poons. At 87 years old, Poons continues to impress with works like “Punch Above Your Weight,” an eight-foot-long painting from his 2023 series, and the equally bold “Souled,” standing five feet tall. His latest pieces are a testament to his enduring energy and creativity, drawing considerable attention from collectors and art enthusiasts alike.
Two Palms Gallery presented a lively, colorful exhibition by Katherine Bernhardt, featuring her new series of monotype prints. Bernhardt’s work brought to life nostalgic TV and movie characters, from Cookie Monster to the Pink Panther and Miss Piggy. The gallery’s bright pink display walls amplified the playful nature of the pieces, creating a visual celebration that harkened back to the spirit of Pop Art icons like Andy Warhol and Roy Lichtenstein. This whimsical display offered a stark contrast to the more traditional artworks seen throughout the show.
Michael Werner Gallery paid tribute to the past with a stunning collection of Francis Picabia’s pencil portraits. Each delicate drawing captured the essence and personality of his subjects with masterful precision. The series of life-like renditions was a poignant reminder of Picabia’s enduring influence and a gem for connoisseurs of classic art.
As guests roamed the art-filled aisles, the atmosphere remained fresh and inviting. The success of the show in terms of sales remains unclear, as the ADAA does not disclose sales figures. However, a few galleries reported successful transactions, though details were scarce. The art market has seen a general economic downturn, with Sotheby’s recently requiring a billion-dollar bailout and secondary markets experiencing lower sales. Yet, auction houses worldwide have posted moderate gains in 2024.
The Art Show also reflects a broader generational shift in wealth and patronage. The post-war generation’s influence is waning, with younger collectors now stepping into the spotlight. This new wave of art enthusiasts is reshaping the landscape of cultural support, redefining how art is appreciated and traded.
The ADAA continues to be a cornerstone in the commerce of art and patronage, playing a pivotal role in sustaining support and facilitating the generational transfer of art and cultural stewardship. As the art world evolves, The Art Show stands as a beacon of change, celebrating both tradition and innovation.
