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Newsgrist
where spin is art
http://newsgrist.com
{bi-weekly news digest}
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Volume 3, no. 12 (June 17, 2002)
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Previous Issue:
http://www.geocities.com/newsgrist/newsgrist3-11.html
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CONTENTS:
- *Splash* ECOVENTION at CCAC
- *Quote/s* First Reports from Documenta...
- *Url/s* world's teeniest website; n3xt
- *Art After NAFTA* Tim Griffin's NY globalism
- *Detention Inventions* Matt Mirapaul up against the wall
- *The Young & The Restless* The new new thing...
- *Book Grist* Sandbox Mag: The Incarceration Issue
- *Obit* Holly Solomon, Adventurous Art Dealer, Dies at 68
- *Classified* sublet available(LES); room to rent
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*Splash*
ECOVENTION
environmental art at the
Cincinnati Contemporary Art Center
see splash page: http://newsgrist.com
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*Quote/s*
"The nineties are over..."
"a gigantic set of the world that narrates the accidents of history
through an enduring inventory of the century that has just expired."
from ArtForum Online, 06.13.02:
The First Reports from Documenta 11...
http://www.artforum.com/news/week=200224#news2967
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*Url/s*
1) world's teeniest website
http://www.guimp.com
2) n3xt
http://www.n3xt.com/
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*Art After NAFTA*
As the world turns
A local show takes on the theme of globalism in art
By Tim Griffin - Time Out NY June 13-20, 2002, Issue #350
By now, most of the art world's major players have departed New
York for Kassel, Germany to attend Documenta-a once-every-five-
year exhibition that takes the pulse of contemporary art. If you
believed the word on the cell phone during recent weeks, most of
these frequent flyers were skeptical about this year's show, feeling
that it would be big on ideas but short on visual pleasure. But,
according to Documenta's organizer, Okwui Enwezor, such grand
scope is inevitable, considering the worldwide cultural transform-
ations that have weakened our ideas of nation states and personal
identity alike; to his mind, art must look at its own shaky founda-
tions and "pursue the possibility of cracking the kernel of globalist
discourse."
As alternately heady and vague as Enwezor's statement may seem,
the sentiment behind it has become a core subject for younger
artists and curators. While previous underground generations got
themselves stoked on Sartre, today's big tome on students' book-
shelves is Empire, a critical analysis of globalism by Michael Hardt
and Antonio Negri. Still, you don't have to go to Germany to get a
lock on this view. For starters, visit "Empire/State: Artists Engag-
ing Globalization," a group show at the CUNY Graduate Center
curated by the Whitney Independent Study Program.
Clearly, the curators have based their show on Empire. A wall text
resonates with the book's proposition that numerous convergent, or
separate but parallel, economic and political forces are superceding
national boundaries to reformulate culture and people, rich or poor.
Among the first works on view is a series of photographs by Sergio
Muoz-Sarmiento of massive building complexes constructed in
Mexico to house corporations that migrated from the United States
after the passage of the North America Free Trade Agreement
(NAFTA). The buildings' facades, which bear no logos, are
vaguely reminiscent of Frank Stella paintings and Donald Judd
sculptures. Elsewhere, a large drawing by Mark Lombardi is titled
"Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the
Arming of Iraq c. 1979-1990." Gathering information from public
news outlets, the artist constructed a mainframe of curving lines in
which well-known individuals like Brent Scowcroft and Henry
Kissenger are enmeshed within a larger network of people and
agencies responsible for the rise of the Iraqi military and the fall of
a major Italian bank. A few raw images by Martha Rosler are
among her strongest. Taken from her "In the Place of the Public"
series of the 1980s, they depict scenes from airports in which, for
example, a Wall Street Journal advertisement declares, MAYBE
THERE IS A SUBSTITUTE FOR EXPERIENCE. The images
were made at the start of a period in which emotional values
would be attributed to branded architecture--first, in such
environments as airports and, later, in stores such as Niketown.
Most other selections here are unfortunate. Fatimah Tuggar's
"Working Woman" and Allan Sekula's "Waiting for Tear Gas
[white globe to black]" amount to little more than didactic
journalism.
By far, the best work is by Wolfgang Staehle, who presents a real-
time, 24-hour-a-day webcast image of the Empire State Building.
Projected onto a gallery wall, the piece invokes Andy Warhol's
film of the structure, yet is aligned with the contradictions of our
time: While Internet-based, the work can only be seen in a gallery
setting--much as our "free" press is being limited in its coverage of
the current war. Strikingly, the image is of a building that stands
only a few blocks from the exhibition. The radical divide between
the building's iconic status in a mass medium and its physical
presence is stunning, if not entirely unfamiliar to New Yorkers
whose architecture has been regularly appearing on CNN since
September 11.
It is precisely this component of reality, of art itself as a circum-
stance of culture, that is largely missing from the show. But other
New York exhibitions have offered plenty to consider in this sense:
The signs of identity-driven introspection amid fragmentation are
seemingly everywhere. The Whitney Biennial certainly reflected a
fractured art scene, with different regional and aesthetic sensibilit-
ies butting against each other. At the Studio Museum in Harlem,
"Black Romantic" similarly looks beyond the gallery circuit in an
effort to reformulate "black art." Arguably, even Ed Ruscha and
Richard Prince look inward to explore the idea of masculinity in
their current exhibitions. The sense that the personal and local are
being revisited and redefined amid overwhelming and abstract
global forces infuses all of these shows.
Still, the most concrete example of these tidal forces is only now
set to appear. In 1997, Swingline, the Queens-based stapler
manufacturer, joined the queue of companies that left the city for
Mexico after the passage of NAFTA. Some 400 people lost their
jobs; many of them had worked their entire lives for the company.
On June 29, 2002, the Museum of Modern Art opens its interim
exhibition hall in one of the corporation's closed factories.
"Empire/State: Artists Engaging Globalization" is on view at the
Art Gallery of the Graduate Center City University of New York
through July 14
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*Detention Inventions*
Within Walls and Memories: Dimensions of Detention
By MATTHEW MIRAPAUL
NYTimes | ARTS ONLINE
http://www.nytimes.com/2002/06/10/arts/design/10ARTS.html
When Jenny Polak began working on Varick Street in Lower
Manhattan in 1996, she was unaware that the nondescript building
across the street from her new job was a detention center for the
United States Immigration and Naturalization Service. She soon
noticed that this was no ordinary office. For instance, when going
out for lunch, she said, "you would sometimes bump into a
shackled guy being pulled along."
Ms. Polak, a British artist living in New York, became so curious
about what lay behind those walls that, through contacts at
immigrant-rights groups, she solicited drawings of that building,
the Varick Service Processing Center, and other I.N.S. detention
sites. Because these centers often prohibit the taking of photo-
graphs, their interiors are rarely glimpsed by the public. The rough
sketches of floor plans she received, made by detained immigrants
and their visitors, were the starting point for "Hard Place," an
unsettling new digital-art project created by Ms. Polak during an
artist residency at the Lower East Side Tenement Museum. The
artwork can be viewed on the museum's Internet site, at
http://tenement.org/HardPlace
Disturbed by what she perceived as harsh conditions, Ms. Polak set
out to share her discoveries on the Internet. But rather than make a
Web-based documentary project like 360degrees.org, which
realistically depicts prison cells and other environments in the
criminal-justice system, she decided to develop an online artwork
that would better advance her political agenda.
The first drawing of the inside of a detention center arrived
anonymously by fax in 2000. Others were delivered personally, on
crumpled scraps of paper that had been passed from hand to hand.
Working from these crude blueprints, Ms. Polak used an archi-
tectural software program to create virtual versions of 10 detention
centers, including three in the New York region.
As depicted, they are windowless warrens of cramped cells,
claustrophobic corridors and drab common areas. For the most part
they are shown without human figures.
In an interview Ms. Polak was quick to note that, given her source
material and the restricted access to the detention centers, she
cannot verify the authenticity of her 3-D renderings. Nor is
accuracy necessarily her aim. Instead, she said, she is straddling
"a fine line between actually presenting plans of these places for
everyone to see and saying it's people's memories, it's a reconstruc-
tion of a nightmare."
Yet the renderings are accompanied by documentary materials that
are clearly meant to convey why detention sites have raised
concerns among human-rights groups. They complain that detained
immigrants are deprived of their civil rights and subjected to un-
pleasant conditions. (Immigration officials in New York and
Washington did not return calls for comment, and the man who
answered the phone at the Varick Street center would not say if it
was still being used for detainment.)
At "Hard Place," clicking on a keyhole icon, for instance, gives
access to pages of detention-center rules and other prisonlike
procedures. One detainee sent a sketch of handcuffed wrists raised
in prayer. There are poignant audio clips, one from another
detainee who said: "I'm not a criminal. I didn't do anything wrong.
Why am I here? For what?"
Although Ms. Polak acquired drawings of only 10 sites, it took her
more than a year to collect them. One of her methods was to ask
immigrant-rights groups to send e-mail solicitations to the families
of detainees. The mother of a detainee in Louisiana passed the
message to her son, who then mailed a package of drawings and
documents to Ms. Polak. In other cases detainees' lawyers would
slip sketches to Ms. Polak after a court hearing. But, she said,
"mostly I was told that people wouldn't be able to make these kinds
of drawings with impunity."
As one peers through successive keyholes, a grim reality emerges.
Nina Felshin, a curator at Wesleyan University, said, "The layered
way in which her Web site reveals information operates as a kind
of structural metaphor for the layers of secrecy that prevail within
the executive branch of the U.S. government."
Ms. Polak, 44, is a London native who came to the United States in
1990 to study at the School of Visual Arts in Manhattan. She
campaigned against 1996 immigration laws that led to the detention
of hundreds of foreigners. "Hard Place" was conceived in part as a
reaction against that. "People should know what it will mean for
their neighbors if they are picked up by the I.N.S.," she said, "It
should not be sugared."
But the points that "Hard Place" was intended to make were not as
likely to be accepted after Sept. 11 and the adoption of broader
government powers to detain foreigners in the interest of national
security. Ms. Polak's four-month Tenement Museum residency
began in October, when public opinion had become decidedly more
defensive about foreigners.
She remained undeterred. She said: "People got more scared. I got
a bit more scared myself. But it became even more pressing to get
information out as people were being herded away at such a rate."
She and her Web designer, Lauren Gill, plunged ahead.
Jeff Tancil, who runs the museum's artist-residency program,
acknowledged that the artwork was critical of the Immigration and
Naturalization Service and its treatment of foreigners. But so far
the work "hasn't generated any controversy," he said. While that
lack of controversy isn't disappointing, he said, "given the
reactions to Sept. 11, it's a little surprising."
Regardless of how one responds to the work's politics, Ms. Polak
has cleverly appropriated computer-aided design software for her
own ends. Typically, such programs are used to design glittering
new buildings, and much has been made of how these software
tools have liberated architects from rectilinear shapes. Historians
also use the programs to reconstruct virtual versions of ancient
cities. For "Hard Place" Ms. Polak, who was trained as an architect
and now works as a graphic artist, did nothing more than use the
software to put her bleak houses in order.
Her approach is reminiscent of another online art site dealing with
detainment. In March the Library of Congress put 200 Ansel
Adams photographs on the American Memory section of its Web
site: http://memory.loc.gov/ammem/aamhtml The images were
taken in 1943 at the Manzanar War Relocation Center for
Japanese-Americans.
Unlike Adams's landscape photographs, which are imbued with a
divine light, these images are closer to snapshots. Verna Curtis, the
library's curator of photography, said Adams donated the photo-
graphs in 1963 without restrictions as to how they could be used,
to make sure that the internment camps were not forgotten. "This
was a matter of conscience," she said.
With "Hard Place" Ms. Polak seems to have a similar motive. She
said: "It makes a lot of difference if the ordinary person, whose
neighbor is of Muslim or Arab origin, can see the netherworld that
those people might be threatened with. The whole business of
`we're so frightened of everybody' just has to be laid to rest."
'Hard Place' by Jenny Polak and Lauren Gill:
http://tenement.org/HardPlace/
http://360degrees.org
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*The Young & The Restless*
Betting on the young outsiders: the new new thing
Schools fear that market-fever could stifle experimentation
and create a made-to-order art
By David dArcy
The Art Newspaper - June 2002
http://www.theartnewspaper.com/news/article.asp?idart=9533
NEW YORK. The Mink Building, an installation in itself, is a
19th-century, brick built fur warehouse swept clean for this years
Columbia University School of the Arts 2002 MFA Thesis
Exhibition.
Bemused neighbourhood passersby, on the Harlem corner across
from a live poultry market, gawk into the ground floor through
windows that replaced plywood boards a few weeks ago. Inside,
past a life-like sleeping cat by Isami Ching and a larger-than-life
sculpture of the Incredible Hulk by Jon Conner, is Kevin Zucker's
black and white painting of a room interior over a computer-
generated grid. Three untitled landscape paintings by Tom
McGrath, 24, show stark New York highways in the rain through
a car windshield. Beyond portraits in yellow-green by Dana Schutz
are Yasmine Chatila's monochromatic paintings, also photo-based,
of bullet-scarred apartment buildings in Beirut.
"Student show" was the epithet used to malign a 2002 Whitney
Biennial that many found weak and, worse, uncommercial. Yet this
student show seems to represent the Zeitgeist for some dealers and
collectors. In a market infatuated with youth, they are watching the
art schools the way that Hollywood talent agents track film
festivals for the next "Blair Witch Project," and Columbia, they say,
is one school to watch. "I see dealers at all the grad school openings,"
said Zach Feuer, a recent graduate of the Museum School of the
Museum of Fine Arts Boston. At 23, Mr Feuer is a veteran player
in this new market. He began curating shows in his Boston apart-
ment when he was only 19: "I couldn't drink at my own openings."
Feuer sold out his friend Kevin Zucker's show at his Chelsea
gallery, LFL, last year. Mr. Zucker's next show sold out in February
at Mary Boone. In September, Mr. Feuer will double the size of his
space and give Tom McGrath his first gallery show. Until then, the
paintings from McGrath's thesis show are for sale through Feuer
for $6,000 -- while they last.
A recent show at I-20 Gallery in New York, "Morbid Curiosity,"
exhibited work by students at the Art Center College of Design in
Pasadena California, which Acme Gallery had previously shown in
Los Angeles. "It has definitely accelerated as a trend. Its been there,
but it hasn't gotten as much attention as its getting now," said Jay
Coogan, associate provost of the Rhode Island School of Design,
who in response to student requests is organising a RISD show this
summer at Brooklyn Front to bring their work closer to critics and
dealers.
Amid talk of artists and critics on the Columbia faculty fuelling the
buzz, insiders say new interest in student work is driven by
collectors who are not necessarily young. The Los Angeles
television executive Dean Valentine has bought student work in
galleries like China Art Objects. "I'm sure that there's a combina-
tion of titillation by and genuine love for the work being
purchased," said Giovanni Intra, the gallery's founder. In New
York, buyers include Dr. Bernardo Nadal Ginard, a heart specialist
who was jailed in the 1990s for embezzling money from his
Harvard colleagues to buy contemporary art. Another is Dillon
Cohen, 34, a venture capitalist who cut back buying when booms
in which he had invested collapsed. Mr. Cohen says he is now
collecting artists who are younger than himself. "I've been forced
to be more selective, but when 'm buying a younger artists
work, usually I can buy four or five pieces. Its not a significant
financial investment, but a significant investment in that artists
work."
Collectors can buy without weighing future values and without
worrying about initial costs. Paintings at student shows and at
galleries showing this work can be priced under $100, and they
rarely sell for more than $5,000. (Kevin Zucker's paintings,
once $4,000, are going for more than three times that.) Think
of penny stocks, say dealers, who suggest Wall Street parallels.
Buyers can afford to spread their money around. "Its called
spray and pray," joked Andrew Terner, a private dealer who
follows student shows.
Dealers doubt that many students will have lasting market value,
but getting in early on one who does means more than multiplying
ones initial cash outlay. Young artists remember the collectors who
supported their work in its early stages, and tend to favour them for
a first look at later works. Moreover, getting to a hot artist first
sets
a collector apart from his peers in the status-race to identify and
own the new new trophy.
"Its like anything in business: you want to discover a new product
--something fresh, something hot," says Lea Freid of Lombard
Freid Fine Arts. "Its fun. A lot of these artists are hopefully
charismatic characters, so they're marketable, they're out there,
they're hustling, they support their friends. They have their own
clique, which is safe--and a lot of them have not been to Europe."
Although Zach Feuer of LFL has already shown about 25% of the
students in the current Columbia show, he says he's not recruiting
artists, but showing his peers, just as he did in his Boston apart-
ment: "I don't think Ill be showing 23-year olds 10 years from now."
Sceptics say trendspotters are merely hyping a seasonal flavour,
now that collectors have tired of large-format photography, and
note that Charles Saatchi shopped for YBAs in bulk at London art
schools years ago.
But in America, as always, bulk is bigger. "Saatchi was the only
player. Here you've got a lot of players. Here museum committees
and collectors are involved. Everybody's desperate for painting-
its very desirable right now," says Lea Freid. "If they want to buy
10 people hoping that one of them will turn into a well-known
artist, good," says veteran dealer Richard Feigen. "I'd rather see
them do that than spend five million dollars on Jeff Koons.
They'll get better art, too."
Some of these youngsters now have what every artist and dealer
wants a waiting list. Normally, this would create an automatic
market, which Mr. Feuer wants to preempt for his young artists.
"We try to minimise that, and buy everything back in, just because
they're too young to be competing with themselves and with work
they made two years ago. I've heard about people trying to re-sell
Kevin [Zucker], but there are only eight or nine paintings out in
the world. They're pretty easy to keep track of at this point."
Even the schools fear that market-fever could stifle experimenta-
tion and create a made-to-order art. Students are already all reading
the same art magazines, says Jay Coogan of RISD, which stops
short of selling student work at its store, RISD Works, (although
students can sell their work around the corner at the schools
gallery). Another fear is that a younger generation is right behind
this one. "Young flesh is more attractive these days than older
flesh, in the flesh markets of the world," warns the painter Leon
Golub, who is 80 years old.
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*Book Grist*
Sandbox Magazine release: #10 The Incarceration Issue
CONFRONTING THE PRISON INDUSTRIAL COMPLEX
A benefit evening of documentary film, live theater and theater on
film to celebrate the release of Sandbox Magazine #10: Incarceration
Saturday, June 22nd
Galapagos Art Space, 70 North 6th Street
(L train to Bedford/1st stop in Brooklyn)
Doors open at 9pm/ID required
Suggested donation: $15 + raffle ticket
click here for full Events Schedule:
http://www.sandboxarts.org/events.html
MISSION:
Sandbox Magazine, Sandbox Performance/Installation Events and
Sandbox Webzine are projects of Sandbox Open Arts, a not-for-
profit arts organization whose mission is to encourage experiment-
ation in the visual arts, the performing arts, music, and literature
with a particular emphasis on interactive and multi-media work.
We are also particularly committed to exploring the connections
between art, culture and society. Sandbox, Magazine of Creative
& Subversive Play is published semi-annually. Each issue is theme-
based and is released in conjunction with a performance and
installation event. Our organization is run entirely by volunteers.
The magazine may be purchased in NYC at the following locations:
Clovis Press, Printed Matter, Tower Video, The New Museum
& Untitled
Editor/Curator: Sylvie Myerson; Art Director: Vid Jain
Associate Editor/Curator: Lauren Shpall;
Stage Manager: Sue Shannon
Sandbox Magazine
PO Box 150098
Brooklyn NY 11215
http://www.sandboxarts.org
sandbox@echonyc.com
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*Obit*
Holly Solomon, Adventurous Art Dealer, Dies at 68
By GRACE GLUECK
NYTimes, June 10, 2002
http://www.nytimes.com/2002/06/10/obituaries/10SOLO.html
Holly Solomon, an art dealer known for her championship of the
new and untried, for her spirited, high-stepping lifestyle and for
being the subject of a glamorous portrait by Andy Warhol that
made her a Pop icon like Elizabeth Taylor and Marilyn Monroe,
died on Thursday at Memorial Sloan-Kettering Cancer Center.
She was 68 and lived in Manhattan.
The cause was complications from pneumonia, her son Thomas
said. In its heyday, the Holly Solomon Gallery represented an
eclectic mix of talents, from the video artist Nam June Paik to
William Wegman, the painter and draftsman better known as a
whimsical photographer of Weimaraners. The gallery was
especially known for nurturing, in the 1970's, the mini-movement
known as Pattern and Decoration, a reaction to the austerities of
Minimalism.
"P & D" artists - among them Kim MacConnel, Brad Davis,
Robert Kushner, Ned Smyth, Valerie Jaudon and Thomas
Lanigan-Schmidt - used humble materials like plastic wrap and
motifs from exotic cultures to produce ornate, wildly patterned
paintings and assemblages.
In 1969, before becoming dealers, Ms. Solomon and her husband,
Horace, opened 98 Greene Street Loft, one of the first so-called
alternative spaces in New York, where poetry readings, dance
performances, concerts and art shows took place. It lasted three
years and gave very early exposure to talents like Laurie Anderson,
Robert Mapplethorpe, Mr. Kushner and Gordon Matta-Clark.
A small, vivacious woman with silver-blond hair, Ms. Solomon
was a forceful personality who regarded her artists as part of her
family. (When she moved to a smaller apartment in 1988, a group
of them designed, decorated and made furniture for it.) A
fashionista and a voracious shopper, she was always dressed in
her version of the latest, including the quirky costume jewelry
that she collected.
With Mr. Solomon, her partner in the gallery until their separation
in 1988, she gave lavish soirees at their East 57th Street apartment
for hundreds of people involved - or not - in her world. Artists
were always part of the crowd. "Unlike others who invited artists to
be the entertainment," Mr. Kushner said yesterday, "the Solomons
regarded us as guests, and they fed us very well."
An early collector of Pop art, Ms. Solomon liked to refer to herself
as a "Pop princess." Her portrait was done by Mapplethorpe, Roy
Lichtenstein, Richard Artschwager, Christo, Robert Rauschenberg
and, of course, Warhol. She was fond of relating how, for the
Warhol portrait (a nine-panel work sold at auction by Christie's last
year for $2 million), she took $25 in quarters into a photo booth
and spent hours snapping herself doing facial exercises learned as
a budding actress. Two years later Warhol produced the portrait.
The glamorous Solomon persona was tempered by a sense of fun.
Mr. Kushner, who as a young artist searched for manufacturers'
cast-off fabrics in SoHo, recalls that he was working in a local
restaurant when Ms. Solomon, already a collector of his art,
appeared in a floor-length white mink coat. Outside was her
father-in-law's station wagon and a chauffeur. "Let's go for a ride,"
she commanded, and soon they were having an uproarious time
digging in trash bins around SoHo.
Ms. Solomon was born Hollis Dworken in Bridgeport, Conn.,
where her Russian-born father ran a grocery and liquor store. She
attended Vassar College but switched to Sarah Lawrence, where
her interests in acting, art and social life were more readily
fulfilled. She soon met and married Mr. Solomon, a Yale graduate
working for his wealthy father, a hairnet and bobby-pin
manufacturer.
At first the two lived a proper, well-heeled Manhattan life. But
Ms. Solomon, enrolled in Lee Strasberg's Actor's Studio, began to
make the rounds of Off Off Broadway theaters. With time on her
hands, she took to dropping in at art galleries and museums. Her
first acquisition, a ceramic lamp by Dan Flavin, was quickly
followed by others, including a Brillo carton by Warhol that was
put to use as a coffee table.
Soon the couple had an extensive collection of Pop art, and by
1967 they were well established on the scene. On the acting front,
Ms. Solomon, under the name Hollis Belmont, appeared in a
feature-length movie, "The Plot Against Harry," made by an
independent filmmaker in 1969 (but not released until 1989), in
which she played a prostitute. In 1972 she wrote, directed and
produced "98.5," about five artists at the 98 Greene Street Loft;
it won an award at the Edinburgh Film Festival that year. But her
acting career was a failure, and she became more and more
involved with art.
In 1975, three years after the 98 Greene Street Loft had closed, the
Solomons opened their first commercial space, the Holly Solomon
Gallery at 392 West Broadway in SoHo. It was devoted to Ms.
Solomon's discoveries: young artists whose work looked beyond
that of the Pop/Minimal establishment. By 1978, after several
shaky years, the gallery was discovered by European dealers and
collectors and became a hot SoHo destination.
But in 1983 the Solomons, alarmed at SoHo's expansion and faced
with a steep rent increase, moved the gallery uptown to 724 Fifth
Avenue, at 57th Street, where, though smaller, it retained its
glittering presence. In the early 1990's the gallery moved back to
SoHo, at 172 Mercer Street, where Ms. Solomon showed her
regular artists like Mr. Paik and newer additions like Izhar Patkin.
After real estate and legal difficulties, Ms. Solomon closed that
gallery three years ago. Wanting to be in on the Chelsea action, in
the last few years she operated out of an appointment-only gallery
at the Chelsea Hotel.
Ms. Solomon's survivors include, besides her son Thomas, of Los
Angeles, another son, John, also of Los Angeles, and a brother,
Dr. Donald Dworken of Greenwich, Conn.
"She was an original, as strong a personality as any of her artists,"
said Mr. Wegman, who was particularly close to the Solomon
family. "She loved art and people. Her death, like Warhol's,
leaves a gap."
============================
============================
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============================
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