#class, Organized by Jennifer Dalton and William Powhida at Edward Winkleman Gallery. 2010.

On view now and with events taking place daily until March 20 is an exhibition/conference called #class (h-tag class) at Edward Winkleman Gallery. Artists Jennifer Dalton and William Powhida have created what the artists describe as “a ‘think tank’, where we will work with guest artists, critics, academics, dealers, collectors and anyone else who would like to participate to examine the way art is made and seen in our culture and to identify and propose alternatives and/or reforms to the current market system. By ‘current market system’ we mean the commercial model and attendant commodification of art, but also the unquantifiable, intangible, unpaid aspects of participating in the art world.”

At Winkleman, the artists have created three different areas, including a Think Space, a Work Space, and a Market Space, that represent the existing structures and multifaceted spaces that artists inhabit. Entering the gallery, you immediately see the Think and Work space; the Market space is, interestingly, in the back of the gallery where you can put a bid on original works by the artists (pictured above: Purchase Agreement, Powhida and Dalton, 2010 & Ed’s Rules, Powhida, 2010.) These pieces ask you to state your rationale for wanting to own them and then name your own price. A committee, including the artists themselves will review your claims and make a decision. 

There are also several resources and supplemental materials online: a live webcam feature, links (Ben Davis’s 9.5 Theses on Art and Class is an enlightening breakdown of class systems in the artworld), a schedule of the events taking place, and more.

Both artists have created work in the past critical of the artworld: Powhida’s recent indictment of the New Museum was presented on the cover of the Brooklyn Rail, and Dalton has engaged viewers with work that provides souvenirs to take home or by asking questions, “Are Times of Recession Good For Art?“

The issues of access and distribution in the arts are pressing concerns and are determined by funding and the valuation of arts in our culture. If we intend to support the arts and art education because we find value there, what is the best way to do that? 

Arts education has a great many contributors that deal with learning and learners on a daily-basis in the public schools, community organizations, galleries, and studios of NYC. Many of the organizations have been founded by artists, and almost all employ artists as freelance instructors, writers, curriculum developers, evaluators, etc. Education is a central part of the lives of many artists and the fact that artists are increasingly taking over commercial gallery spaces to do this is heartening (especially for ARTime, since we already use them as our classrooms!)

What’s left to do but begin participating in the discussion, which could be the real purpose of art.

#class
Winkleman Gallery - 621 West 27th Street
until March 20, 2010