Background
Founded in May of 2020 while quaratined in a small NYC apartment, Panel Society began as an attempt to represent and make explicit the commodity status of much artwork in the 21st century while embodying an alternative model unexplicitly within. Branded as sku.partners and borrowing its visual and written language from the websites of private equity firms like D.E. Shaw, it was “invested in creating a community through sheer ownership”. It prized “a culture of shared aesthetic experience across people of diverse geographies, interests, and professions”. And it created an imaginary space for spontaneity and contemplation between strangers within a corporate-styled website that ostensibly sold artwork.
Upon its launch, panels were ostensibly for sale for $999. However, most of the panels “for sale” were carefully packaged and planted in a particular site for the possession of an attentive and serendipitious owner in New York City. They were found on a bench in Madison Square Garden and the entrance of Carnegie Hall. They could have been found in many other locations, and those who did not get in contact are anonymous.
It was important to create a “zone” where instead of being bought, the objects could only be experienced through being found. And for the experience of serendipity to inform one’s experience of the object rather than the price paid or the expectation of its increase in monetary value. To make art that one could not possibly acquire through financial means.
Within this zone, it was interesting to make works that would be primarily released to places that felt meaningful and then most likely lost amongst the sea of people who chanced upon the same place at the same time.
Since its rebranding in 2021, Panel Society is limited to expanding its membership through gifting only. The Panel is an item with its own personality. And each title is ultimately determined by the name of the person who owns the work.
fruitofara@gmail.com
It was important to create a “zone” where instead of being bought, the objects could only be experienced through being found. And for the experience of serendipity to inform one’s experience of the object rather than the price paid or the expectation of its increase in monetary value. To make art that one could not possibly acquire through financial means.
Within this zone, it was interesting to make works that would be primarily released to places that felt meaningful and then most likely lost amongst the sea of people who chanced upon the same place at the same time.
Since its rebranding in 2021, Panel Society is limited to expanding its membership through gifting only. The Panel is an item with its own personality. And each title is ultimately determined by the name of the person who owns the work.
Inquiries
fruitofara@gmail.com