For those of you who are not particularly interested in the art world, the news that London’s Cork Street is about to undergo a major redevelopment may be of little interest. Following on the heels of the eviction of the Gemäldegalerie collection of Old Master paintings in Berlin, which I wrote about last week, it now appears to be the turn of the modern and contemporary art world to feel the boot. That being said, in the case of London, perhaps this will be a good wake-up call to the present art establishment in Britain that they do not have permanent control over the cultural narrative which they believe they hold by right.
Historically Cork Street in London’s Mayfair district has been the home of many of the city’s major sellers of modern and contemporary art since the previous century, probably due in part to the fact that the Royal Academy is very close by. Painters like Francis Bacon and Joan Miró first found their major British patrons here, as each gallery tried to compete to identify the next big thing in modern art, a process which continues to this day. Other streets around Cork Street itself have taken up some of the slack as well, since the amount of available space is limited, though for a certain well-heeled segment of the population, having a Cork Street address has remained the most prestigious thing you can hold as a modern/contemporary art dealer, rather like having your suits made on nearby Saville Row.
Personally, although I did go to Cork Street quite a bit when I lived in London, I spent most of my time on that particular stretch of pavement visiting friends who worked there, or patronizing fine drinking establishments bearing that address. My “beat” was Old Master painting, which has its own stomping grounds on Bond Street and Albemarle Street in particular, not far away. As it happens, from the point of charm or architecture there is little or nothing particularly attractive or even gracious about Cork Street itself to commend it to the visitor: it is simply another street in the West End, with lots of store fronts and a mixture of brick, Portland stone, and concrete buildings.
However even if you have little or no knowledge of modern and contemporary art, the name “Cork Street” itself has become practically synonymous with new ideas in art over the past century, and is often referenced or visited in literature or screenplays. In John Galsworthy’s monumental “Forsyte Saga” for example, the respectably Edwardian Forsytes end up being dragged into the avant-garde world of the 20th century in part through the association of members of their family with Cork Street. In one sequence, Soames Forsyte unwittingly visits an art gallery owned by his Cousin June, whom he has not seen since a falling-out some time ago, and is perplexed by a contemporary painting on display entitled “The Future Town”:
Soames turned his head a very little.
“How are you?” he said. “Haven’t seen you for twenty years.”
“No. Whatever made you come here?”
“My sins,” said Soames. “What stuff!”
“Stuff? Oh, yes–of course; it hasn’t arrived yet.
“It never will,” said Soames; “it must be making a dead loss.”
“Of course it is.”
“How d’you know?”
“It’s my Gallery.”
Soames sniffed from sheer surprise.
“Yours? What on earth makes you run a show like this?”
“I don’t treat Art as if it were grocery.”
Soames pointed to the Future Town. “Look at that! Who’s going to live in a town like that, or with it on his walls?”
June contemplated the picture for a moment.
“It’s a vision,” she said.
- John Galsworthy from “The Forsyte Saga Vol. III: To Let” (1921)
Now, as real estate prices in London continue to escalate, international property developers have decided to demolish two large buildings on the street, replacing them with luxury residences and mixed-use space. This will involve the eviction of eleven existing art galleries, seven of which have already been told to vacate their premises by June of this coming year, including the oldest continuously operating on Cork Street. Naturally the art community in London is rather upset, and protests have been lodged with appropriate authorities.
To now, the reaction from government has been that property owners are free to do what they wish with their own properties, and canceling a lease with advance notice is without question the right of the landlord over the tenant. Moreover, it is not the role of the state to proscribe that commercial art galleries must be preserved on a particular site or street. Given how far into socialism Britain has fallen in recent decades, this rather common-sense approach is rather surprising, I must say.
While from a historical perspective no doubt many will be sad to see the end of this enclave and its affiliation with the art world, in truth such things are almost inevitable. Cities change with the passage of centuries, and the center for the production and vending of a particular commodity shifts as well. After all, it has been quite some time since lime was processed and sold on Lime Street in The City, the term for London’s financial district and historic center, and there hasn’t been a “May Fair” in Mayfair, from which the neighborhood’s name originally sprung, since 1764. Cork Street in the 18th and 19th centuries had nothing to do with the art world, and over time the galleries presently located there will likely pop up somewhere else.
Although it is unfortunate when communities fall apart, perhaps this change can be viewed as a positive development. By shaking things up and having to re-think their identities, the better galleries will survive in some new fashion, the weaker ones will fold, and new ones will take their place, in some other corner of the British capital. Nothing we human beings make with our own hands lasts forever, which we must keep in mind in this life, but sometimes these experiences of shaking things up or loose is just what we need to change course and do something positive. And no doubt many in the contemporary art world could use just such a good bursting of their balloon.
View of Cork Street, London