Jenny Feinberg at Serendipity Labs Hollywood, July 25, 2018. Photo by Kikuye Sugiyama
Since exploding onto the scene ten years ago, co-working has touched almost every part of urban — and, increasingly, suburban — life. It has transformed people's relationships to their workplaces, accelerated the growth of the gig economy, and grown to be a major renter/owner of commercial real estate in cities around the world. Now co-working is poised to change the business of art and the lives of artists as well.
Painter Jenny Feinberg had just moved to Los Angeles from San Francisco when she learned that Serendipity Labs was looking for large scale abstract art for its new Hollywood location. The turnaround was quick, but Feinberg was able to fill the space with her colorful paintings. "It happened to be two blocks from my studio. I literally walked the canvases over with a friend."
Feinberg sold all her works at that first Serendipity Labs show, and she credits the opportunity for launching her career in Los Angeles. "I booked five shows after that Serendipity one because there's something about having a solo exhibition that makes you look more established. You need a first validator who wants to let your art breathe life."
John Arenas, CEO of Serendipity Labs, feels it's part of his mission to be that first validator. Serendipity Labs provides artists with a commission-free venue to mount a six-month solo show — and, as Arenas pointed out, the space is architecturally sophisticated and welcoming to guests and potential clients. "With some of the exhibition spaces that emerging artists have access to," he said, "you don't want to park there at night."
Whether it's with their art program or community events, Serendipity Labs focuses on figuring out what works best and then replicating that success at all their locations. (Since her first exhibit at their Hollywood location Feinberg has already shown at four other Serendipity Labs.) At The Yard, a New York City-based co-working company with additional sites in Boston, Philadelphia and Washington, D.C., independently curated art gives each location a unique look and feel.
When an artist contacts Michaeline Sander, head of The Yard Art Program and founder of Sander Design & Art Consulting, she goes over their portfolio and arranges an introduction to one of the consultants who curate shows at each location. "I put artists in touch with curators who share a similar outlook and style," said Sander. "I connect them so that they can begin a relationship and see if they want to work together."
A good fit between creator and curator is essential because artists only show once at The Yard. "A lot of our members move between locations, especially in New York City. When they're in our Williamsburg and Lincoln Square locations, for example, they get completely different shows. It's like going to two art galleries in a day," explained Sander.
But co-working spaces are not galleries. The people who see the art on the walls of a co-working space are primarily the members who pay to work there. So both Serendipity Labs and The Yard discourage art with an explicit agenda.
"Serendipity Labs wants to steer away from becoming a platform for messages we can't manage," said John Arenas. "Our guidelines are designed to reflect our brand values of trust and respect of all our members." Michaeline Sander of The Yard concurred. "We try to be very aware of the different people who are working in our spaces, so we have rules about what is appropriate."
But that constraint on content is balanced by a distinct advantage for an artist looking to connect to a buyer. Art exhibited in a co-working space can be appreciated in a setting much more like a home or workspace than a gallery.
"My clients — the people who buy art — have always been happy to see art in a lived space. They can imagine how it will look on a wall at home," said Sarah Crown, an independent curator at The Yard's Columbus Circle location in New York City. "The gallery experience has zero distractions. But, ultimately, where art lives is not on a gallery wall."
Paintings by Dov Talpaz at The Yard, Columbus Circle. Photo: Alexa Hoyer
Unlike a space filled with carefully selected decor, co-working locations that
feature art and host openings introduce members to the idea of owning original art. Encouraging people to think of themselves as collectors is a passion behind many involved in art at co-working spaces.
"This program gives people a comfortable way to be around art, to understand it, to say, 'Wow, I really love this. I've been looking at this piece for three months, it's in my price range and I've had time to think about it. I can buy it,'" said Michaeline Sander.
Even if they're not looking to buy a painting or build a collection, the art is still a focal point for conversation and connection. "It's important for the community to have discussions that go beyond work," said Sarah Crown. "You're obviously not going to have a conversation with a fellow member about a yellow wall. But if there's a piece of art there, that would be a reason to start talking."
Cleo Bergman, Senior Community Manager at The Yard Columbus Circle, pointed out that the quarterly art exhibits also help her to be more effective in her role. "The members in our space are so focused on their work that they sometimes don't even say hi. But when a new show goes up and they first walk in, they see the art and they're like, 'Hold on—what?' It becomes a wonderful talking point for us, the community managers, to understand our members better — how they enjoy it and what it makes them feel. The art reminds them why they chose our space."
Is exhibiting at a co-working space better than exhibiting at an art gallery? What's becoming clear is that each venue addresses different needs — for artists and for their potential customers.
Rebecca Darlington, a New York City-based artist who works in various media, believes that an exhibit at a co-working space is a valuable opportunity that artists should embrace — especially those who live in cities where space is at a premium and the competition for gallery representation is fierce. She recently completed a successful show at The Commons.
Rebecca Darlington showing her paintings at The Commons, NYC. Photo: Benjamin Wolff
"For me, it was the perfect match. My artwork was the right size for those big beautiful walls, people were in and out of the space all the time, and it's the Upper East Side of Manhattan. In New York I'm a small fish in a big sea — this was an opportunity to show and get my foot in the door."
Che Morales, the resident curator at The Yard's Herald Square location, wants artists to have a new appreciation for that kind of "exposure," a word that gets a bad rap among creatives in many fields.
"I don't emphasize sales at these shows. I think of it as a different way for an artist to 'work their work,'" said Morales. "When you have an exhibit up how many times are you bringing gallerists, or companies, or people you want to work with, to this space? Not only are you having an art show, but you also have this amazing studio in Herald Square that you can use to your liking for three months."
Curator Ché Morales and artist Pajtim Osmanaj at The Yard, Herald Square. Photo: The Knockturnal
Are co-working/artist partnerships a passing trend or something that changes the arts and business landscape for the long term? It's too early to know, but new models inspire new thinking. And both Morales and Feinberg have ideas they're eager to try.
"We've had artist talks [at The Yard], but interactive workshops are where we're going next — where people can come in and actually make something themselves. When you get into the creative process people take that experience home, they're excited," said Morales.
Feinberg is equally interested in exploring how creativity happens. "People are always fascinated by seeing an artist in her element. So, for me, it would have been even more satisfying to have produced several works in the space itself leading up to the exhibit. When you watch something come to life you want to have a relationship with it. Then you fall in love with it."
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Published here on Forbes.com
September 6, 2019
