11.08.99

11/08/99

1982-1985

VII

In 1982 a second group of galleries began to form that more resembled an attitude of legitimization and commercialization. They were the David Ruetter Gallery , Thomas Neumaier Gallery , and Michael Dunsford Gallery. Multicultural Gallery and CWSS Gallery marked the beginning of grant supported programs with a more defined agenda. In time, Installation and Sushi would also follow this model of program funding. In 1983 to 1984 added Bunny Conlen Gallery, Pawn shop 2 Gallery, Patty Aande Gallery, Mark Quint Gallery , Natalie Bush Gallery, Richard Peterson Gallery , and Cygnus Gallery. By 1985 La Jolla Museum had gained enough confidence in this arts district and opened a small satellite space where Thomas Neumaier had previously been located. This event and time marked the height of the gallery scene.

1985

VII

I As the public visibility of artists had proliferated from 1980 to 1985 so had working resident studios also diminished. Much of the reason for this was the loss of available space due to gentrification efforts and empty unaffordable space created by over-speculation. Working artists who were not previously dependent on a supportive art market to maintain workspace found unimproved space unavailable and the commercial galleries they participated in unable to provide the economic support to allow access to the new improved loft opportunities. This was becoming the new reality. Loft/living started to replace live/work utilization.