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This paper empirically tests the extent to which economic restructuring and gentrification affect viability and vulnerability businesses, with specific focus on arts and cultural industries in West Chelsea from 2000 through 2012. Based on the theoretical framework, gentrification stage model and adopting discrete-time survival analysis, we separately compare the risks of opening and closing between businesses established before/early stage of revitalisation (early-arrivers) and those established in the later stage (late-arrivers) within West Chelsea, versus their counterparts in the remainder of the study area in New York. We find that West Chelsea has been an advantageous location overall for late-arrivers in surviving in their market, while the early-arrived gallery and individual artists’ enterprises have faced a higher risk of their operations closing. On the other hand, a higher proportion of new gallery and arts and cultural industries remain attracted to West Chelsea after 2000, suggesting that firms in those industries may be benefiting from the agglomeration effects and localisation economies associated with colocation. The higher opening probability of lodging venues (e.g. hotels) and other amenities signals an overall transformation of the neighbourhood and influx of new uses (and visitors) observed during this time frame. [ABSTRACT FROM PUBLISHER]

In late 1912, the Duveen Brothers opened their first purpose-built art gallery in New York City at 720 Fifth Avenue. Sited in a residential neighborhood favored by the Gilded Age elite and borrowing its architectural vocabulary from the Beaux-Arts tradition, it signaled the epitome of upper-class domesticity, but the building was also a finely tuned machine for the business of selling art. This article explores how these two distinct modes of operation were managed and integrated, utilizing a virtual reconstruction of the now demolished building developed from the original architectural plans recently discovered in the archives at the Getty Research Institute. [ABSTRACT FROM AUTHOR]

This article describes one way that unknown and 'emerging' artists with limited exhibition history or reputation take steps towards developing their careers. Artists cannot apply directly for exhibition opportunities, therefore they develop social associations with gallerists that are described as being 'kind-of-friendly-with'. Using a descriptive ethnographic narrative drawn from a case study of artists as they navigate an evening of commercial gallery openings in New York's Chelsea district, it is argued that establishing a career in contemporary visual art depends on the ability to render one's self visible to other participants in an art world. Rather than viewing the symbolic value of artworks as antagonistic with the economic art market, artists seek to establish social associations in which different forms of value are interrelated. In conclusion it is suggested that this is an art world in which the 'economic world reversed' is inversed. [ABSTRACT FROM AUTHOR]

The article focuses on Austrian performance in the past and at present. Topics discussed include an overview of the Swiss art gallery Hauser & Wirth on Manhattan's Upper East Side in New York, its features on the works of the Vienna Actionists, described as the most explicitly transgressive of the European postwar avant-gardes, and a review of the show entitled "RITE OF PASSAGE: The Early Years of Vienna Actionism, 1960-1966." It also explores what critics find disturbing about Actionism.

The article looks at the Guild Art Gallery, a commercial art gallery in New York City from 1935 to 1937 primarily showing the work of Jewish artists. The article outlines the founding of the gallery by artists Margaret Lefranc and Anna Walinska and cites artists whose works were shown there including Arshile Gorky, Boris Aronson, and Sigmund Menkes. Topics include Menkes's painting "The Torah" and the gallery's relations with Jewish art collectors and the Jewish community.

The article looks at the intersections between visual art and theater in the U.S. in the mid-19th century, focusing on the work of American painter Junius Brutus Stearns, particularly his 1847 painting "Hannah Duston Killing the Indians." It looks at theater in New York City, drawing a contrast between the genre of melodrama performed primarily in venues with working-class audiences and the genres and venues aimed at upper-class audiences. It analyzes how the costumes, lighting, and other elements in the painting suggest theatrical influence and discusses how it failed to garner the approval of the American Art-Union Gallery, an important art patron at the time. Other topics include Stearns's painting "The Marriage of Washington" and the portrayal of Indians in American art of the period.

While significant scholarly attention has been paid to retail in gentrified neighborhoods, the origins of this specific form of urban commerce are less clear. The history of New York’s SoHo neighborhood provides a way to explain how and why art galleries, boutiques, and restaurants have come to define the retail landscape of gentrification. It also can help scholars answer two important questions about the arts and city life: how do artists and art galleries spark retail growth? Furthermore, outside of the economic activity created by the sale of art, how do they inspire economic development and gentrification? In the case of SoHo, the art market, government arts funding, and the sweat equity of artists were of central importance in drawing visitors into the neighborhood. These artistic tourists eventually became the customer base for area retail, shaping its distinctive commercial landscape. [ABSTRACT FROM PUBLISHER]

In this article the author discusses aspects of the sculpture of Louise Bourgeois. Under examination is Bourgeois' 1964 exhibition at the Stable Gallery in New York City. Sculpture on display at the show was described as being small, lumpy and without reference to the human body or any other identifiable form. As a result critical response, which was widespread, was mostly dismissive of Bourgeois work, and called into question her basic talent, sculptural execution and her professional momentum.