For decades, New York has served as both a sanctuary for artists and an ever-evolving canvas for their work. Every street corner of this city is a mosaic of cultural expression, from the sanctioned street art adorning the exteriors of businesses to the intricate murals commissioned by the city that sprawl and stretch across the subway stations. In neighborhoods like Chelsea, known for its high concentration of art galleries, creativity is traded like currency, tick-tacked and negotiated among the initiated.
But New York’s identity as an arts hub is not just about the people who create it, but also about the businesses—big and small—that foster an environment where art is not only appreciated but integrated into everyday life. So it should come as no surprise, then, to learn some of New York’s best hotels have been putting a lot of time, effort, and money into acquiring and displaying unique art collections in their lobbies and public spaces. A perfect example is Park Lane New York, the iconic hotel on Central Park South, which recently replaced all of the artwork on its lobby level with work solely created by women artists in celebration of Women’s History Month.
To bring the initiative to life, the property worked with two female curators from Creative Art Partners—Gemma Godfrey, Senior Curator, and Madison McRonald, Director—to select pieces that complemented the hotel’s light-filled, Parisian art nouveau-inspired bar Rose Lane and lobby spaces and make an instant impression on guests. And make an impression it did: the exhibition was such a hit that it has been extended throughout the summer months.
“In the cultural hub that is New York City, we’re fortunate to have countless opportunities to view unique and exquisite works of art, an experience that we wanted to continue bringing to our guests and diners regularly,” Niles Harris, Managing Director & VP at Park Lane New York, told me. “As luck would have it, we were making some small upgrades to the Rose Lane lobby bar around the same time the art installation was scheduled, so we had some entertaining encounters with regulars that noticed something was different in the space. These regulars took a keen interest in the works and noted that the eclectic mix of the pieces chosen brightened up the space and brought a freshness to the atmosphere.”
This strategic embrace of the arts highlights a broader trend across the city, where businesses are not just consumers of art, but active participants and promoters of cultural dialogue, creating a dynamic space that enriches the experiences of New Yorkers and visitors alike.
To find out more about the exhibition, we spoke with Gemma Godfrey and Madison McRonald at Creative Art Partners.
The collaboration between Park Lane New York and Creative Art Partners seems to have been pivotal in this project. How did this partnership come about, and what roles did each party play in selecting the artwork?
Gemma: Park Lane New York’s dedication to including a meaningful and relevant art collection as a part of their design ethos was something that really inspired us to want to work with them, and made the partnership click automatically. Our mission to make great art more accessible, and provide clients with innovative art services was a seamless blend with Park Lane’s own vision. Park Lane’s initiative for a Women’s History Month exhibition was exciting for us—we hold such value in the women artists within our collection and we knew immediately that we could create a collection here that was truly special for both of our brands. It was a perfectly collaborative relationship between our curatorial team and the Park Lane team on selecting the artwork. After sending selections, we had collaborative decisions on what artwork should be included to bring this collection to life.
Given the Parisian art nouveau-inspired ambiance of the lobby and the spaces throughout the hotel, how did you and the other curator approach the challenge of selecting pieces that would complement these aesthetic elements while still making a bold statement?
Gemma: One of the many curatorial benefits I have at CAP is working with an expansive, diverse collection (there are over 15,000 artworks in the collection currently). When curating from this kind of collection, it is possible to both align with design aesthetics while also being able to present a collection that illustrates a theme like Women’s History Month. Even within the Women’s History Month theme, I was able to carefully tailor a collection that is both cohesive and truly unique for the space.
Madison: We had to ensure that we were selecting a group of incredible female artists that also played into the incredibly beautiful architecture and design in the space of the hotel. It’s a bit like a puzzle, in the sense that we are putting together various styles that speak to each artist’s individualism, while also ensuring that this artwork is accentuating the space and vice versa. Upon completion of this collection, not only do we have a beautiful aesthetic display, but we also have this incredible and relevant group of women that speak to the importance of female artists is such a lucrative industry.
Featuring sisters Petra and Sydney Cortright together must have been a unique aspect of the exhibition. Can you tell us more about their works and why they were chosen for this showcase?
Gemma: When we received the request for this collection, I knew Petra’s work had to be included. Petra has been pushing the boundaries of art practice and art making since the inception of her career, working in video as an early pioneer of the “net art” movement in the early 2000s (her video “VVEBCAM (2015)” was recently acquired by MoMA as part of their permanent collection). Her sister, Sydney Cortright, actually used to work with CAP as a curator, and has started building her painting practice over the past two years. As a curator working very closely with the collection, I’ve been able to see Sydney and Petra’s work evolve, and showing them both helped the collection to be diverse in aesthetic while also weaving in a more subtle, personal narrative of sisterhood into the collection.
Madison: We thought it was a fun idea to have the sisters on display together as a show of this dynamic and incredible duo. Petra has become an absolute superstar in the art world with her digital paintings and video expressions. Sydney’s work is a beautiful contrast to Petra’s as she works with acrylics on canvas. So the juxtaposition of Sydney’s organic old-school style on display next to Petra’s modern take on painting results in something truly beautiful and unique.
The decision to extend the exhibition through the summer due to its popularity is a testament to its impact. How do you feel this speaks to the power of female artistic expression in public spaces?
Gemma: As a young woman, I feel, and can see our culture undergoing a kind of awakening/reckoning when it comes to supporting and cultivating the careers of women creators and amplifying women’s stories. The request for the exhibition in itself, and the subsequent request to extend it beyond the month illustrates a hunger that businesses, institutions, and the public have to continue to support the careers of women artists. I also think that there are more and more women being given positions of power and decision making in these spaces, and I often see a direct correlation between having women in positions of decision making and the support for initiatives like this.
Madison: We were thrilled to hear that the consensus was to keep the collection in place. We think that the importance of women in the art industry (or any industry) goes far beyond just one month. Having Women’s History Month as a reason to spark the conversation and have these amazing artists on display was incredible, and even more incredible that the collection was so well received even beyond the highlight of Women's History Month.
Could you discuss the criteria used for selecting the artists and their works? Were there particular themes or messages you aimed to highlight through the exhibition?
Gemma: It was important to me to include works that were diverse between mediums and aesthetics—to really show a range of women artists and their practices, which to me is part of the power of curating a full collection to celebrate Women’s History Month. For example, Rebecca Ackroyd’s piece “Another time piece (2020)” that sits above the fireplace is a bright, pink artwork that depicts a kind of floral shape, that, upon closer inspection, has the numbers and hands of a clock imposed on the fleshy floral surface, which can raise all sorts of reflections on the condition of being a modern woman.
Separately, you have works by Elizabeth Ibarra, whose artworks in the collection are these beautifully delicate little sketches of abstracted figures. Elizabeth speaks often about the influence of motherhood and pregnancy on her work, and the work “Moon Spill (2019)” was created while she was pregnant. Then you have Leila Spilman, whose work “Grandpas Garden (2023)” is part of a series of abstracted photographs, creating a visual that is more of an ethereal texture that generates a feeling, rather than is immediately representative. Showing a breadth of work allows for new modes of interpretation to arise—not all the works are going to be what the viewer might interpret as a work by a “woman artist,” but they rather are able to stand alone as artworks that are made by women.
How do you believe the exhibition aligns with or contributes to the broader conversation about women's representation and visibility in the art world?
Madison: It’s an important objective of CAP’s to shine light on artistic contributions from any group that may not always get the recognition that’s deserved. We believe that by highlighting and showcasing these incredible artists in such an iconic hotel and space then we can, essentially, take a step towards enlightening the general public on what they have to offer the art world. As progress in this industry is being made and representation is being given to those who deserve it, CAP is honored to be a part of that progression and, hopefully, inspiring other girls and women to follow all their artistic dreams.
Art often sparks conversation and reflection. What discussions or reflections do you hope guests will have when experiencing the artwork?
Gemma: I hope people are able to take in the collection as a whole, and have the opportunity to connect with one or two pieces. Being personally moved by an artwork or just simply intrigued (or even disliking an artwork) is a crucial way of getting people involved in the art conversation. If the guests are able to learn more about the work and understand it as a collection of women artists, I hope they see the breadth of artwork represented. If they happen upon it as just a group of amazing artworks, I hope it highlights the beauty of the space they are in, that has been cared for by the people around them, intentionally crafted as a backdrop for the moment they are in this space at the hotel.
Madison: I think one of the coolest parts of working with CAP is the ability to show incredible gallery and museum level fine art to people who wouldn’t normally see it, i.e. the people who don’t have a huge desire to go gallery hopping or spend the day at the MoMA. Essentially, it’s a great way to get people in front of art and discuss art that’s not normally so accessible. So I think any conversation that is sparked about a collection, whether that’s questioning potential imagery in an “abstract” piece, or what drives an artist's practice, is always very exciting to us.
How do you envision the role of art evolving in hospitality spaces, particularly in how they can celebrate and promote diverse voices?
Gemma: Art is an incredible way to communicate narrative and demonstrate a brand’s commitment to promote and celebrate diverse voices, and in general, a brand’s commitment to supporting artists is unique in itself. Often, art can be seen as a purely decorative tool, but when brands and their teams are intentionally able to work towards building a narrative behind it, it only becomes a stronger force.
Madison: CAP’s vision for art in hospitality spaces is ever expanding, we believe that having fine art accessible in more restaurants, bars, hotels, social clubs, etc. gives artwork like this the chance to be seen by so many more people that they would if they were in the confines of a museum. CAP’s hospitality division has flourished in numerous other great spaces around New York City, as well as LA and Miami.
