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Dia Chelsea, keeper of the avant-garde flame
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Dia Chelsea, New York. Photo: Elizabeth Felicella. Courtesy of Dia Art Foundation,
New York.
For major museums and galleries, a renovation is a statement. The announcements usually look the same: X starchitect will lead Y’s redesign that cost Z millions of dollars. Z is always a big number.
But the Dia Art Foundation has opted to tweak the traditional formula instead of going big, it has opted to go subtle. The Minimalism-focused organization opens its renovated 20,000-square-foot home in West Chelsea, New York, on Friday after a two-year renovation.
In 2018, when Dia first announced a fundraising campaign to upgrade its campuses, including a redesign of its three contiguous industrial buildings in Chelsea, it said the goal was to raise $90 million. That’s a big number, to be sure. But only $20 million an uncharacteristically small figure for such a prominent project was put toward the renovation in Chelsea. The rest was put back into the organization’s endowment for futur
Dia reopened in Chelsea, after a two-year renovation Photo: Elizabeth Felicella, courtesy of Dia
In 1987, when the Dia Foundation established an outpost for art in what was then a low-slung spread of taxi garages and auto repair shops, the Chelsea of today was unimaginable. At five storeys, Dia’s building was one of the tallest in the area, which felt remote from the dozens of galleries, bars, shops and high concentration of artists in SoHo. That lack of distraction was perfect for Dia, which carved space out of time for the long, slow absorption of its commissioned, year-long exhibitions.
Yet in a scenario that has been repeated so frequently it seems to have been ordained by an unnamed master of the universe, art made a wilderness safe for development. Dia sold its building when structural repairs proved more expensive than building anew, which it only did in Beacon, but it held onto three other properties on West 22nd Street. Unfortunately, succeeding may
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Once upon a time, you could stand on the roof of 548 West 22nd Street, up among the water towers of Manhattan, with views out over the Hudson to New Jersey, and watch the city shimmer and reflect on the surfaces of one of Dan Graham’s glass pavilions. It was a New York moment. You could go downstairs, following the blue and green glow of a Dan Flavin light sculpture lining the stairwell, and see shows by leaders in contemporary European and American art reaching back to the 1960s. The galleries here, at Dia Center for the Arts, were some of the first to display Richard Serra’s
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