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Rolex Awards in Los Angeles

November 16, 2016 Patricia Zohn

The Rolex Awards were held last night in Los Angeles. I was the proverbial (art) fish out of water…..which alas is what so many of the marine biologists trying to save the planet say is happening all over the world as indigenous peoples who must rely on aquaculture for their living confront the equal but opposite imperative.

Donald Trump has made a climate denier the head of the EPA. This is troubling on so many levels—our compliance with Paris accords etc—but I wish he could have been in the audience last night as Rolex showcased individual scientific documentation about marine, plant and wildlife come a cropper. There is no disputing it, these researchers in the field are documenting first hand planetary destruction.

They are also tying in their efforts to build community based educational initiatives. In other words, they do not stop short of merely trying to reintroduce glaciers (Sonam Wangchuck) or save giant manta rays (Kerstin Forsberg) or help paralyzed people to walk again through robotics (Conor Walsh). They are extending their work to create schools, health care programs and alternative ways of public outreach so that their science is combined with hard, practical, local results.

Last year I attended the Rolex Arts Awards. It was also an extraordinary event. I was convinced by last night’s program that we need to mingle more with our fellow innovators in areas outside our own expertise in order to really make a global difference.

Take a look at the beautifully produced films on their website which tells these stories.

Talented Women of the Art World

November 14, 2016 Patricia Zohn
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In spite of Donald Trump and his kind, the art world is filled with talented women. This weekend I spent a little time talking with Jeanne Greenberg Rohatyn (Salon 94), Amalia Dayan (Luxembourg Dayan) and Pilar Ordovas (Ordovas Gallery, London) each of whom is curating their galleries with an eye to history as well as commerce.

Rohatyn has taken on artists whose feminist clarion calls we have heard for some time: Marilyn Minter, Laurie Simmons, Katy Grannan, Betty Woodman, and Judy Chicago. Her ferocious drive has made her an art world star but she is in the trenches every day ferreting out other artists she does not represent like Barbara Chase-Riboud, the writer/artist whose sculpture is newly installed in her 94th Street branch.

Amalia Dayan is constantly turning up lesser known Italian mid century gems like Salvatore Scarpitta (who is school of Alberto Burri) as well as giving over her townhouse to newcomers like Alex Da Corte.

Pilar Ordovas has a temporary space up until January which you must see as it’s like a fine thematic museum exhibition on just about my favorite topic: Artists and Lovers. She has managed to get some extraordinary loans for this show which quietly, but dramatically shows how being in love can make your work better, or sometimes capsize the whole shebang.

Everyone has their eyes on the sales this week and the possible Trump effect. These gallerists will continue follow their own instincts and interests no matter what.

This is what we must all do.

MoMA Highlights Art of the 1960s

November 14, 2016 Patricia Zohn

MoMA The Museum of Modern Art has reinstalled its fourth floor galleries and devoted them to a year by year survey of some of their vast holdings of art of the 1960s. I’m deep into research into this period so I was quite taken by it. A friend complained that it was too chronological; for my part, I found the year-by-year artistic journeys compelling.

Right now, this exhibition has tremendous resonance. While outside the police are lining up to protect our PEOTUS in his gilded lair, inside MoMA one sees artists reactions to the tumult of the sixties, a decade Trump is eager to annihilate as it represents the groundswell of civil rights, female reproductive rights and human rights.

Lying in the corner is Claus Oldenberg’s wilted ice cream cone. Across the way is Andy’s golden Marilyn, and around the corner is James Rosenquist’s F-111 room, originally painted for the Leo Castelli gallery which takes on the military industrial complex. A wall full of sixties posters, the Avedon Beatles images for Sargent Pepper, make the sixties seem like a colorful, playful era when the countervailing forces of dark were constantly gnawing away at our freedoms.

More poignant still are Henri Cartier-Bresson's images of the Paris student riots of '68 which echo so eerily what is going on right down the block. Is it possible that because Trump doesn’t really want to move into the White House anymore than he really wanted to be President that 5th Avenue is going to be blocked off forever and that New York City taxes will be going to maintain his presence?

He said last night on 60 minutes he wants to give back his salary. I think he will have to do more than that to accommodate his penchant for his Manhattan penthouse. Meanwhile, he should stop into MoMA, if he can get past the barricades. It may bode well for artists to have something to fight against.

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