Why the New York Art World Runs on the European Cultural Calendar

Like the city it inhabits, the New York City art market never really sleeps. However, as though part of its own seasonal system, its calendar of events kicks off with fresh energy every autumn—and the timing of that rebirth aligns with a great deal more than just kids going back to school. According to Erin Remington, director of curation at Saatchi Art, September has served as the start of the New York art season for as long as any of its participants can remember. 'To my knowledge, it really has always operated this way, as it follows a more European calendar where typically those countries take the entire month of August off for summer holidays,' she told Observer. 'Many simply close down for the end of summer and don't plan to have an exhibition until the beginning of September.' Sign Up For Our Daily Newsletter Sign Up Thank you for signing up! By clicking submit, you agree to our terms of service and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime. See all of our newsletters While Remington credits traditional European art schedules for inspiring the New York clock, she acknowledges the Big Apple now returns the favor by influencing the rest of the world, especially Paris, London, Berlin and Milan. 'The New York City opening affects the rest of the world as it is the gateway for the U.S. market,' she added. 'The art world is global, but the largest spending power remains in the United States with New York City at the center.' Citing history, Hailey Widrig, founder and appraiser at Art Partners Advisory, traces the September tradition back to the combination of the legendary Paris salons, which took place at the end of August through September, and the establishment of American Labor Day to mark the return to school and the end of summer vacations: 'With World War II, many European artists and dealers fled to North America, bringing the salon tradition with them. The calendars naturally synchronized between art world capitals in Europe—primarily Paris—and New York City after the war. It has continued on this pattern since then.' Patrice Samara, president of Triumph Communications Group, said that the relative proximity of luxe vacation spots—and the summer art scenes tucked away within them—makes it easier for New York's gallery owners and buyers to check out for the warm weather months in the manner of their European colleagues. 'It's a well known fact that gallery owners and art aficionados vacate New York for the traditional summer watering holes of the Hamptons, the Berkshires, the Cape, Martha's Vineyard, Europe or the Greek Islands,' she said. 'Summer closures are certainly part of the equation, but they are more a reflection of a larger cultural rhythm than the cause itself.' Samara concurs with Remington, saying that September became the natural starting point for the annual New York art schedule because it marks a reconvergence of the international art world: 'Collectors return from Europe. Curators resume institutional programming. Museums unveil their major exhibitions. Auction houses begin their fall sales. Universities reopen. Artists return to their studios with renewed momentum.' The result is an irresistible ecosystem of galleries, museums, fairs, critics, collectors and the international press moving in one autumnal direction—though it's worth noting that the phenomenon is relatively new. 'For much of the 19th and early 20th Centuries, there was no singular 'opening' of the season as we understand it today,' Samara explains. 'Exhibitions were organized throughout the year, often around the schedules of individual institutions or artists. The concept gradually emerged as New York's gallery districts matured—along 57th Street, later in SoHo, eventually Chelsea and now spreading to other neighborhoods such as The Bowery.' Both Samara and Widrig look to the 1960s and 1970s as the era when September became the preferred time for galleries to open their best shows of the year. 'During the art market expansion of the 1980s and 1990s, the tradition solidified,' Samara added. 'The increasing globalization of the art world, coupled with the rise of international art fairs and worldwide media coverage, transformed what had once been an informal practice into a highly anticipated annual event. While there is still no official ribbon-cutting ceremony, everyone in the profession understands when the season begins.' While New York certainly considers itself the center of the art world, Remington, Widrig and Samara all agreed the most important element of this September significance is what it signals to other creative capitals around the world. 'Formidable institutions and galleries around the United States—in Miami, Philadelphia, Cleveland and Los Angeles—each look to New York because the season opening is less a local tradition than a signal that the international art calendar has shifted into high gear,' Samara added. With the increasing globalization of the art world, New York's alignment with international cultural calendars should come as no surprise. London launches its strongest programming in September and October. Paris experiences an annual resurgence with autumn exhibitions coinciding with major international events that draw global attention. Berlin's season gains momentum after summer with museum openings and gallery weekends. Finally, Milan and Madrid unveil important exhibitions in the autumn. 'New York may receive enormous attention because of its market influence, but nearly every major cultural capital operates according to the seasonal cycle,' Samara concluded. 'What distinguishes New York is the concentration of influence. Decisions made here often ripple through museums, galleries, collectors and artists worldwide. A major museum exhibition, a breakthrough gallery presentation, or a significant acquisition announced in New York can influence collecting trends, institutional programming and critical conversations across continents.' More from New York