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Auxiliary Projects, a new project space in Bushwick, only opened this past November. In the interim between its first and second shows, artists and co-founders Jennifer Dalton and Jennifer McCoy spoke with ARTINFO about the genesis and hopeful future of the new collaborative gallery, which is designed to promote more collectors among the 99 Percent, and a more communally minded art market.

ORIGIN

Both Dalton (who shows at Winkleman Gallery) and McCoy (who shows at Postmasters), have been working artists in New York for close to 20 years, which inevitably means they’ve spent some serious time thinking about the economy of art, who buys art, and how to sell art. “We have both been thinking for a long time that it’s weird to make things that we can’t afford. It’s weird to make things that artists can’t afford. It’s weird to make things that middle-class people can’t afford,” explained Dalton.

The two started talking seriously about Auxiliary Projects about a year ago, and mentioned it to fellow artist James Huang, who put things in motion when he completed 20 pieces for a series before the women had even found a space. These included some ingenious small works, taking the form of Swiss Army knives made out of felt, Plexiglass, and plaster, which became the centerpiece of the space's debut showcase.

ALTERNATIVE HOW?

Rather than depending on wealthy donors, collectors, or foundations, Auxiliary Projects generates income through selling contemporary works intended to be affordable for middle-class people. Every exhibition is a solo show of an artist Dalton and McCoy are actually interested in, with a few signature works included to offer context for a series of hand-made multiples. These are all priced at less than $300, bringing them into the realm of attainability for many people. Huang’s show, which opened just after Hurricane Sandy, was a resounding success, selling 25 of 36 works.

Auxiliary Projects is committed to spotlighting artists who haven’t yet had large platforms to show their work in New York. In addition to exhibiting them, the space aims to “introduce people to ownership at the same time that they’re discovering these artists,” explained McCoy, seeding a love for art beyond the usual circles of the super-wealthy.

MAKING IT WORK

The gallery’s space is tiny and open only on weekends and by appointment, which keeps the overhead low. For now, Dalton and McCoy are committed to the project through June. If they don’t go into the red, they will look to find a longer-term home for the gallery. As Dalton told ARTINFO,  “We can’t do anything that is draining resources, but if we can make this sustainable, then we’ll keep going.” Auxiliary Projects will not represent artists, though they do plan to keep an inventory of work by artists who have shown at the gallery.

A show of drawings, paintings, and sculptures by Michelle Forsyth opens at Auxiliary Projects this Friday. 

To see images from Auxilary Projects, click on the slideshow.