A couple of weeks ago the New York Times ran a lengthy article profiling what writer Penelope Green described as â€œa new wave of gallerists who for a grab-bag of reasonsâ€”economic, philosophical and purely pragmaticâ€”are turning their homes into art galleriesâ€ in New York City. Titled â€œIs it Art or Their Shoes?â€ the piece’s headline image featured Sarah Gavlak, one of the curators of such spaces, wearing a bright red mini-dress whilst sitting primly on her cream-colored bedspread, framed on either side by the artworks displayed on her bedroom walls.
Green goes on to note that Gavlak’s home is “stunningly spare”:
Ms. Gavlak’s personal effects are in one of two walk-in closets; artwork is in the other. Like a good saloniste, she eats breakfast on a tray in bed and then slides it underneath the dust ruffle. Her kitchen is as clean and uncluttered as that of a model apartment in a new condominium. (Home gallerists as a whole are not given to the display of random tchotchkes; further, they know how to hide their hair brushes and the Verizon bill).
This description made me laugh. Although no two apartment galleries are alike (therein lies the true beauty of the form), if you visit a domestic art space in Chicago you’re apt to see freely trafficking pets (and kids), overstuffed bookshelves, and cozy kitchens where something yummy-smelling always seems to be bubbling on the stove. Whereas Gavlak has transformed her entire home into an exactingly considered art installation (a tactic that I admittedly find compelling) many (though certainly not all) of the domestic art spaces I’ve visited in Chicago favor an alternative tactic: one that embraces the unabashedly lived-in. Read more