Collector’s Conversation


(L - R: Peter Doroshenko, Perry Rubenstein.)

Tell us about your headline story %26mdash; your big move from NYC to L.A? Our decision to fully decamp from New York after 30 wonderful years and migrate west to Los Angeles was a lot easier and far more logical than it may appear. The world has changed, New York has changed, and so has Los Angeles. Where once New York was the undisputed center of contemporary culture, it can no longer claim that exclusive mantle. In effect, the centrifuge has spun, setting up a global dynamic in which there are now numerous artistic centers %26hellip;

Why L.A.? Why now? Los Angeles not only has some of the greatest art schools and institutions, it now arguably hosts the largest creative community in the world %26hellip; L.A. provides a multiplicity of places in which an artist can both work and live affordably and thus create without the unbearable pressures New York imposes. That, combined with far more mature and sophisticated distribution network, allows them not simply to be trained and educated but to remain. And thrive %26hellip;

Why are you exhibiting in the Dallas Art Fair 2012? Because Dallas is home to some of the most sophisticated, supportive and active collectors in any major city bar none. There are vast differences between the collector bases of Los Angeles and Texas. Los Angeles is a city of many cities and consequently the city of numerous and diverse communities. Dallas is a city where collectors are patrons and their patronage fully supports its institutions. It is an honorable tradition that has been maintained with vigor. Artists know this, and we as professionals honor and respect it.

What is the update on your new space? When are you opening? The new space in central Hollywood is under rapid construction as we speak. Its design will embody the spirit of Los Angeles and the unique opportunity this city affords. An aggregate of almost 9,000 feet will include two separate but equal galleries designed to meet every specification of our artists%26rsquo; needs and desires, but it will also have an interior garden, which lends itself to a roof designed for both sculpture and performance. And one that can function integrally all year round.

My architect, Kulapat Yantrasast, is a Thai-born acolyte of Tadao Ando whose sensitivity and sensibility to place is uncanny. Museums have thus far been his m%26eacute;tier. But that, too, will change. Suffice it to say that the gallery, once completed, will incorporate and embody sensuality that is Los Angeles. The plan is to be opened for the Oscars in late February 2012.

What artists will you be bringing to the Fair? Our decisions as to which artists we intend to bring has not been finalized. But given your unique support of Shepard Fairey and interest in both established and emerging artists, you can be certain that we will do something quite special for Dallas.

What about your stable? Are you rebuilding it to reflect your new West Coast base? Will you be doing any studio visits in Texas? In regard to the stable, we are taking full advantage of the fact that we are operating now in an enormous artistic community, and we have already begun to add Los Angeles%26ndash;based artists to our program. In particular, we are extremely excited by Zoe Crosher and her remarkable practice. She is an intellectual powerhouse with the visual power to back it up. We are always doing studio visits, and, if pointed in the right direction, we absolutely intend to make visits while we are in Dallas.

What are your Dallas or Texas connections? I may be the youngest old man in this business, and by that I mean I know many of the most notable Dallas and Texas collectors for years. I have known Howard Rachofsky and Cindy since they began collecting. I count Larry and Susan Marx among our friends. Deedie Rose, Marguerite Hoffman and her late husband Robert are collectors whom I have admired for years. I am very impressed by the young board that you, Peter, have assembled at the Dallas Contemporary. Patrick and Lindsey Collins are a dynamic duo and their energy is contagious. The Core program in Houston has provided opportunities for too many great artists to list.

How did you get started? After years of working privately with collectors in advising and assisting them in building collections, I decided that I had much more to offer. Given that it was always the work of the artist that inspired me, I decided seven years ago to begin to represent the artists themselves. What once seemed like a giant leap soon fast became and remains the most fulfilling and enriching experience I could have ever imagined professionally. Giving a voice to artists and their practices and helping them to cultivate, nurture and develop both their audiences and their markets is an experience like no other.

Define your aesthetics and what sets Perry Rubenstein Gallery apart? Like everyone else, certain artists have inspired me. Without question, Andy Warhol was the first major contemporary to make me understand how visual arts could both reflect and impact shifts in the cultural dynamic. I love any artist that you make me see my world differently. The pictures generation %26mdash; Barbara Kruger, Cindy Sherman, Richard Prince and their numerous acolytes %26mdash; are among those that continue to inspire me. When you see how artist Zoe Crosher cannot simply move the mark but to make you understand the culture in which you live, you can appreciate more fully how exciting my adventure [is]. I%26rsquo;m looking should forward to sharing my vision and my artists with Dallas this spring.

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Collector’s Conversation


(L - R: Peter Doroshenko, Perry Rubenstein.)

Tell us about your headline story %26mdash; your big move from NYC to L.A? Our decision to fully decamp from New York after 30 wonderful years and migrate west to Los Angeles was a lot easier and far more logical than it may appear. The world has changed, New York has changed, and so has Los Angeles. Where once New York was the undisputed center of contemporary culture, it can no longer claim that exclusive mantle. In effect, the centrifuge has spun, setting up a global dynamic in which there are now numerous artistic centers %26hellip;

Why L.A.? Why now? Los Angeles not only has some of the greatest art schools and institutions, it now arguably hosts the largest creative community in the world %26hellip; L.A. provides a multiplicity of places in which an artist can both work and live affordably and thus create without the unbearable pressures New York imposes. That, combined with far more mature and sophisticated distribution network, allows them not simply to be trained and educated but to remain. And thrive %26hellip;

Why are you exhibiting in the Dallas Art Fair 2012? Because Dallas is home to some of the most sophisticated, supportive and active collectors in any major city bar none. There are vast differences between the collector bases of Los Angeles and Texas. Los Angeles is a city of many cities and consequently the city of numerous and diverse communities. Dallas is a city where collectors are patrons and their patronage fully supports its institutions. It is an honorable tradition that has been maintained with vigor. Artists know this, and we as professionals honor and respect it.

What is the update on your new space? When are you opening? The new space in central Hollywood is under rapid construction as we speak. Its design will embody the spirit of Los Angeles and the unique opportunity this city affords. An aggregate of almost 9,000 feet will include two separate but equal galleries designed to meet every specification of our artists%26rsquo; needs and desires, but it will also have an interior garden, which lends itself to a roof designed for both sculpture and performance. And one that can function integrally all year round.

My architect, Kulapat Yantrasast, is a Thai-born acolyte of Tadao Ando whose sensitivity and sensibility to place is uncanny. Museums have thus far been his m%26eacute;tier. But that, too, will change. Suffice it to say that the gallery, once completed, will incorporate and embody sensuality that is Los Angeles. The plan is to be opened for the Oscars in late February 2012.

What artists will you be bringing to the Fair? Our decisions as to which artists we intend to bring has not been finalized. But given your unique support of Shepard Fairey and interest in both established and emerging artists, you can be certain that we will do something quite special for Dallas.

What about your stable? Are you rebuilding it to reflect your new West Coast base? Will you be doing any studio visits in Texas? In regard to the stable, we are taking full advantage of the fact that we are operating now in an enormous artistic community, and we have already begun to add Los Angeles%26ndash;based artists to our program. In particular, we are extremely excited by Zoe Crosher and her remarkable practice. She is an intellectual powerhouse with the visual power to back it up. We are always doing studio visits, and, if pointed in the right direction, we absolutely intend to make visits while we are in Dallas.

What are your Dallas or Texas connections? I may be the youngest old man in this business, and by that I mean I know many of the most notable Dallas and Texas collectors for years. I have known Howard Rachofsky and Cindy since they began collecting. I count Larry and Susan Marx among our friends. Deedie Rose, Marguerite Hoffman and her late husband Robert are collectors whom I have admired for years. I am very impressed by the young board that you, Peter, have assembled at the Dallas Contemporary. Patrick and Lindsey Collins are a dynamic duo and their energy is contagious. The Core program in Houston has provided opportunities for too many great artists to list.

How did you get started? After years of working privately with collectors in advising and assisting them in building collections, I decided that I had much more to offer. Given that it was always the work of the artist that inspired me, I decided seven years ago to begin to represent the artists themselves. What once seemed like a giant leap soon fast became and remains the most fulfilling and enriching experience I could have ever imagined professionally. Giving a voice to artists and their practices and helping them to cultivate, nurture and develop both their audiences and their markets is an experience like no other.

Define your aesthetics and what sets Perry Rubenstein Gallery apart? Like everyone else, certain artists have inspired me. Without question, Andy Warhol was the first major contemporary to make me understand how visual arts could both reflect and impact shifts in the cultural dynamic. I love any artist that you make me see my world differently. The pictures generation %26mdash; Barbara Kruger, Cindy Sherman, Richard Prince and their numerous acolytes %26mdash; are among those that continue to inspire me. When you see how artist Zoe Crosher cannot simply move the mark but to make you understand the culture in which you live, you can appreciate more fully how exciting my adventure [is]. I%26rsquo;m looking should forward to sharing my vision and my artists with Dallas this spring.

Comments are closed.

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