Meredith Rosen’s Impact on the Atlantic Art Market



Former psychiatrist’s office in the basement of an Upper East Side townhouse shares space with a parlour-level unit in a pre-war brownstone with leopard-print-carpeted hallways. Both spaces house Meredith Rosen Gallery’s eclectic programme, showcasing cutting-edge contemporary names and under-acknowledged 20th-century European artists, finding success in New York and beyond.

Vienna-based conceptual artist Anna Jermolaewa debuts work at the Venice Biennale, exploring war and oppression through memories of Tchaikovsky’s Swan Lake. The gallery’s artists Anna Uddenberg and Tobias Spichtig wrap up solo shows in Europe as well.

Meredith Rosen’s focus on debuts and reintroductions showcases unvetted talent, with a mantra of “If I’m not scared, it’s not interesting enough.” The gallery’s multigenerational eye brings together young artists and under-appreciated European figures for a unique mix.

From a large 34th Street storefront to the current East 80th Street location, Rosen’s gallery has evolved in its mission to present new talent and rediscover historical artists. The gallery’s participation in Art Basel events showcases experimental installations and exhibitions, challenging conventional notions of sellability.

Rosen’s upcoming presentation at Art Basel features Swiss artist Irène Zurkinden’s paintings from the mid-20th century, exploring her role as a precursor to feminist artists. By bridging past and present, the gallery aims to engage viewers in critical dialogue and play.

Maintaining a low-profile yet active presence on Instagram, Rosen shares memes tagged with “#artdealing,” sparking conversation about the art market. These memes serve as a Rorschach test for the industry, prompting reflection on its complexities and contradictions.



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