Holly Solomon Gallery

Holly Solomon Gallery Jonathan Maho 1975 1999 172 Mercer St., New York, NY, USA, 1993–99 392 Broadway, New York, NY, USA, 1975–83 724 5th Ave., New York, NY, USA, 1983–93 Principal protagonists Holly Solomon (born Hollis Dworken, 1934–2002), founder & owner in partnership with husband Horace Solomon (1929–2005), 1975–88 Specialization avant-garde art of the 2nd half of the 20th c. Founded Closed Address Previous Addresses History Holly and Horace Solomon founded the Holly Solomon Gallery in New York City’s SoHo neighborhood. It followed the 98 Greene Street Loft project, a non-commercial work space the couple rented between Sep. 1969 and Sep. 1973 to benefit visual artists, poets and performers. Some were later featured at Holly Solomon, e.g. Laurie Anderson, and Gordon Matta-Clark, who designed both the loft and the gallery. The gallery opened on 6 Sep. 1975 with a show including 19 young artists. During the first years, it was strongly associated with the Pattern and Decoration (“P&D”) movement, providing an early commercial outlet for artists such as Robert Kushner, Kim MacConnel, and Ned Smyth (all featured in the inaugural exhibition). Solomon introduced their ornamentaloriented art to Europe; shows presented at the Mannheimer Kunstverein (Dekor, Mannheim, 1977) and at the Neue Galerie - Sammlung Ludwig (Die neuen Wilden, Aachen, 1980) were mounted under her supervision. In the USA, she was directly involved in the organization of Patterning & Decoration, held by the Museum of the American Foundation for the Arts in Miami, FL (1977) and assisted on Pattern Painting at MoMA (New York City, 1977). Solomon also worked with Marcia Tucker who, as curator of the 1975 Whitney Biennial, selected many paintings by Kushner and MacConnel. The gallery more generally specialized in contemporary American art with a focus on Post-Minimalism and Anti-Modernist positions. It mainly targeted buyers interested in unsettled trends (Art for Future Collectors, 1978). Thus, unlike the couple’s private collection, built in the 1960s and including established Minimal and Pop artists (Holly Solomon was the subject of portraits by Roy Lichtenstein and Andy Warhol in 1964 and 1966, respectively), the gallery program was mainly dedicated to emerging artists whose work contrasted with those movements. Two examples are Susan Rothenberg, associated with New Image Painting, and process-oriented abstract painter Mary Heilmann. Mixed-media works and installations were also solidly represented at the gallery: its name was associated with video art pioneer Nam June Paik and with the rise of installation artist Judy Pfaff. Many of the artists exhibited at Solomon were known for their pluralistic oeuvre (e.g., Matta-Clark) and a focus on non-Western artistic forms (e.g., Kushner’s Islamic art references). 1|5 Gender and sexuality issues were characteristic of the gallery’s program. Solomon can be considered an early champion of female artists, present in great number in her program— although her judgement on related issues (e.g their “visibility”) attracted her criticisms from activists such as the Guerilla Girls in the 1980s. Solomon was a founding member of ArtTable and intervened at the A.I.R. Gallery (Artists In Residence, Inc.), two organizations fostering greater opportunities for women in the field. Her involvement with non-profit institutions included Solomon’s association with the organization of Tina Girouard: Revival at MoMA / Clocktower (New York City, 1978) and Developments In Recent Sculpture at the Whitney Museum (New York City, 1981, with pieces by Donna Dennis). Regularly, the exhibitions mounted at her gallery took place in conjunction with non-commercial shows in venues such as The Kitchen, New York City (Robert Mapplethorpe: Portraits / Sex Pictures, 1977) or The National Museum of Women in the Arts, Washington DC (Judy Pfaff: 10,000 Things / Forefront, 1988–89). In 1983, considering the Soho district less attractive, the Solomons moved to a smaller venue located on 5th Ave. From 20 Sep. they continued showing artists exhibited on W Broadway and added new-comers, e.g. Israeli performer Izhar Patkin (The Meta Bride, 1983). In the 1980s the selection of artists exhibited grew more eclectic, with P&D artists featured along international artists working in the same vein (e.g. in ceramics, with Tristano Di Robilant), and others known for a more conceptual approach, e.g. Annette Messager. Occasionally, the gallery also included established artists to its group shows, like Robert Indiana in Text and Image: The Wording of American Art (1986–87), or Robert Smithson in Early Concepts of the Last Decade (1987). Starting in the late 1980s, Solomon worked as a guest curator (Holly Solomon Curates, Janie Beggs Fine Arts, Aspen, CO, 1989) and served as a juror (Art Of The Northeast, Silvermine Guild Art Center Gallery, New Canaan, CT, 1993). Following her divorce, Solomon relocated her gallery to Mercer St., Soho, opening on 3 Apr. 1993 with a Nam June Paik show (The Rehershal, with pieces produced for the upcoming Venice Biennale). Until the end of the 1990s, the gallery showcased artists represented since its debut and others belonging to a younger generation (Melissa Meyer as of 1991, Julia Jacquette as of 1995). As a result of a conflict with its landlord, the gallery closed in Dec. 1999. Solomon continued to deal art through fairs and by appointment at New York’s Chelsea Hotel until her death in June 2002. Economic Situation The gallery business revolving around P&D artists turned successful within the first two years. Their introduction on the European market was greeted with a sold-out booth at the 1977 Art Basel fair. Collaborations with European dealers ensued (e.g., with Daniel Templon in Paris). In the beginning of the 1980s, as the gallery program gradually opened up to nonAmerican artists, Solomon tried on taking several European painters – with mixed results. Sigmar Polke’s first New York exhibition at her gallery in 1982 did not turn into a long-term collaboration; her first show with French painters, as the “Figuration Libre” movement was 2|5 introduced in the USA, was also unfruitful (Statements One – Four Contemporary French Artists, 1982). The 1980s were interspersed with several shows with emerging talents which did not result in business partnerships (The Innovative Still Life, 1985). These fruitless tries contrasted with successful collaborations engaged at the time with both young and established artists such as Christo, Patkin, and Paik. Solomon occasionally worked with her son, Thomas, who opened a gallery named Garage in Los Angeles, CA, in 1988. Launched a year before with a dual exhibition presented simultaneously in both cities (Breaking Through the Looking Glass, Fahey-Klein Gallery & Holly Solomon Gallery, 1987), their collaboration resulted in joint projects with the same artists (Luciano Perna, William Wegman, etc.). Thomas also served as a curator at his mother’s gallery (John H. Franklin: Outer Limit, 1989), after having first organized shows dedicated to the financial support of artists she championed—for instance at White Columns, Matta-Clark’s exhibition space in New York (Benefit Exhibition, 1985). Several artists originally featured at her gallery (Barry, Paik) continued being exhibited in Los Angeles by her son after her death, at the then-renamed Thomas Solomon Gallery. Artists represented Vito Acconci, 1985–99; Nicholas Africano, 1977–99; Dag Alveng, 1993–99; Laurie Anderson, 1975–93; Siegfried Anzinger, 1984; Jared Bark, 1975–83; Robert Barry, 1988–99; Glen Baxter, 1985–99; Remi Blanchard, 1982–90; Cornelia Blatter, 1988; Alighiero Boetti, 1990– 98; Francois Boisrond, 1982–85; John Bowman, 1984–90; Joe Brainard, 1981–84; Fred Brathwaite, 1985–87; Gary Burnley, 1979–92; Nancy Burson, 1987–89; Sam Cady, 1975– 94; Biagio Caldarelli, 1990–91; Mary Carlson, 1994–95; Neke Carson, 1999; Christo, 1981– 87; Cora Cohen, 1988–90; Robert Combas, 1982–85; Arch Connelly, 1985–90; Pier Consagra, 1997–99; Brad Davis, 1975–94; Donna Dennis, 1975–99; Tristano Di Robilant, 1993–97; Hervé Di Rosa, 1982–85; Glenn Downing, 1994–95; Eric Drooker, 1996; Raoul Dufy, 1984–90; Brad Dunning, 1989; Truman Egleston, 1990–92; Marianne Eigenheer, 1987–99; Suzan Etkin, 1994–99; Mengbo Feng, 1997–99; Dan Friedman, 1985–87; Doreen Gallo, 1985–87; Gerard Garouste, 1982–90; Paul Garrin, 1994–99; Tina Girouard, 1975–84; Michael Gonzalez, 1988–90; Denise Green, 1975; Michel Haas, 1983–88; Susan Hall, 1981– 84; Suzanne Harris, 1975–92; John Hatfield, 1994; Mary Heilmann, 1975–85; Antonius Höckelmann, 1985; Lisa Hoke, 1999; David Hockney, 1984–88; Horst, 1989–91; Rebecca Howland, 1994–97; Douglas Huebler, 1990–99; Peter Hutchinson, 1981 or ’91–99; Shoichi Ida, 1990–91; Robert Indiana, 1987; Julia Jacquette, 1995–99; Shirley Jaffe, 1988–95; Valerie Jaudon, 1976–99; Kiely Jenkins, 1985–86; Neil Jenney, 1975–92; Elisa Jimenez, 1997–99; Jerry Jones, 1976–90; Y. Z. Kami, 1995–98; Herwig Kempinger, 1991–92; Scott Kilgour, 1986–87; Alain Kirili, 1987–90; Christopher Knowles, 1977–86; Igor Kopystiansky, 1997–98; Svetlana Kopystiansky, 1997–98; Robert Kushner, 1975–99; Thomas LaniganSchmidt, 1975–99; Jean Lowe, 1995–98; Kim MacConnel, 1981–98; Frank Majore, 1987– 94; Robert Mapplethorpe, 1977–78; John Margolies, 1988; Virgil Marti, 1998–99; Gordon Matta-Clark, 1975–84; Kelly McCormick, 1999; Jim Melchert, 1991; Annette Messager, 3|5 1978–82; Melissa Meyer, 1990–8; Melissa Miller, 1983–95; Mark Milloff, 1980–86; Joan Mitchell, 1987–91; Miralda, 1990–91; Michael Mogavero, 1980–84; Nabil Nahas, 1986–88; Helga Natz, 1997–99; Richard Nonas, 1975–81; Dennis Oppenheim, 1985–91; Carl Ostendarp, 1989–91; John O’Carroll, 1985–86; Nam June Paik, 1986–99; Izhar Patkin, 1983–99; Cara Perlman, 1994; Jeff Perrone, 1997–98; Luciano Perna, 1989–90; Judy Pfaff, 1978–99; Richard Phillips, 1987–88; Barbara Pollack, 1997–99; Sigmar Polke, 1982; Ken Price, 1985; Janis Provisor, 1978–87; Elsa Rady, 1986–99; Jon Rappleye, 1998–99; Rodney Ripps, 1979–82; Christy Rupp, 1994–96; Kenny Scharf, 1984–85; Julian Schnabel, 1977; George Schneeman, 1975–84; Ed Shostak, 1975–80; Alexis Smith, 1975–85; Kiki Smith, 1990–92; Robert Smithson, 1987–92; Ned Smyth, 1975–90; Aldo Spoldi, 1983; Marianne Stikas, 1978–82; Thomas Stimm, 1985–86; Charles Swarts, 1994–95; Richard Tuttle, 1987– 90; Nick Waplington, 1997-1999; William Wegman, 1979–99; Lawrence Weiner, 1990-94; Lynton Wells, 1979–83; David West, 1995; Neil Williams, 1975–2001; Donald Roller Wilson, 1983–85; Rob Wynne, 1994–99; Joe Zucker, 1977–97; Robert Zakanitch, 1977 Principal exhibitions At the Shrink’s, Anderson, 1975; Film Projects and Underground Dailies, Matta-Clark, 1976; The Garden – A Collaboration, Davis, Smyth, 1977; Messager, 1978; Food and Frameworks, Bark, Davis, Nonas, Matta-Clark, Pfaff (...) 1979–80; Dreams and Visions, Kushner (cat.), 1981; The Inaugural Exhibition (Part I: An Historical Overview; Part II: New Works), Christo, Kushner, Knowles, MacConnel, Smyth, Wegman (...), 1983; The Innovative Still Life, Bates, Grayson, Hofmann, Holland, Wesselmann (...), 1985; 10,000 Things, Pfaff (cat.), 1988; Aspects of Abstraction, Cohen, Eigenheer, Jaffe, Luscher, Mitchell, Murray, Pfaff, 1988; Hotel Beauregard, MacConnel (cat.), 1991; Icons, Patkin (cat.), 1992; The Abortion Project, Smith, 1992; Jacquette, 1996; Stay Away, Recent Installations, Barry, 1999 Primary sources Holly Solomon Gallery: The First Two Years. New York: Holly Solomon Gallery, 1977. Holly Solomon Gallery: Three More. New York: Holly Solomon Gallery, 1980. Solomon, Holly and Jacki Apple. “98 Greene Street.” In Alternatives in Retrospect—An Historical Overview 1969–1975, ed. Jacki Apple, New York: New Museum, 1981, 28–33. Holly Solomon Gallery: Inaugural Exhibition. New York: Holly Solomon Gallery, 1983. Solomon, Holly and Alexandra Anderson. Living with Art. London: Rizzoli, 1988. Secondary sources Goldin, Amy. “The ‘New’ Whitney Biennial: Pattern Emerging.” Art in America, May–June 1975, 72–73. Hooray for Hollywood! Celebrating Holly Solomon. New York: Mixed Greens / Pavel Zoubok, 2014. Logarta, Margie T. “Living With Art.” Chicago Tribune, 18 Dec. 1988. Smith, Roberta. “A Dealer’s Eye, and Life.” New York Times, 17 Jan. 2014. 4|5 Archival situation Holly Solomon Gallery records, ca. 1948–2003. Archives of American Art, Smithsonian Institution. Illustration Ned Smyth, Portrait of Holly (mosaic and cement, 1983; courtesy of Mixed Greens Gallery). 5|5