Image: Kathy Grayson
If the word didn’t immediately conjure up untrustworthy images of dingy bar corners, spilled wine and impulsivity, I would say that Kathy Grayson was a “fixture” in the New York art scene. I mean, you can associate that stuff with her, sure. But she’s not exalting those experiences as ones she values most; that is, she doesn’t live strictly for art’s indulgent side, despite the company she keeps. She’s far too busy for that, as a gallerist, editor, and painter. (And former Deitch Projects employee…try living with that.)
I first came across her in issue 20 of the journal, in a piece called “Salon XX.” In it, she shared works from shows that she’d curated and loved but couldn’t keep. She said that these pieces had become a part of her after working so closely with them, and that despite not owning them, she had a special connection to them and their personal mythologies. Or that’s how I remember interpreting it, at least. And so I added these words to my set of art “rules,” an honest and affectionate way to think about art’s individualized intensity.
Grayson’s new show at her New York gallery The Hole, Two Heads Are Better Than One (a collaboration between Theo A. Rosenblum and Chelsea Seltzer) is controversially playful but uncompromising. The sculptural works connote childish violence and the grotesque, turning objectivity on its head.
Recently, we spoke about the show. We also talked about art collecting, mentorship, and hobbies that aren’t really hobbies. Lo and behold: I liked her.
You’ve got a new exhibition that opened on February 14th called Two Heads Are Better Than One. What can you tell me about it?
Theo and Chelsea’s show is exciting for me as the works they made are both not what you would expect them to make and not what you expect to see in galleries in terms of what is trendy. Not only do the pieces themselves have disturbing juxtapositions and a crazy sense of humor, likewise does presenting this work right now in a gallery present a surprising and unexpected experience.
What’s up next for The Hole?
Our next shows will be great. We have two. In the small gallery we are building a mini-Giverny gardens (where Monet lived and made his famous paintings) with plants and a pond and a bridge, all to showcase the photographs that EV Day and Kembra Pfahler made together there, during their residency. The main gallery show will feature seven artists from around the world making digital paintings, a survey of the best new media tendencies. Then in May we present a huge solo show by pour painter Holton Rower, then two more amazing summer shows that I am currently keeping secret, then in the fall debuting three new artist solo shows
Are you still painting? What’s more important, being a gallerist or a artist?
It’s been a year since I made a painting, which is pathetic. I am working on one right now for the BRUCENNIAL, which I’m sure you’ve heard of, this fantastic anything-goes show by Bruce High Quality Foundation. So thank god for them, giving me an excuse to make art again. I am definitely focused on running a gallery more than painting, but jeez it makes me miserable to think it has been a year with no paint slopped around.
You’re a known collector. Do you have any advice for people starting out? Is it worth it to spend cash on big names?
I buy a piece or two a year, usually $500 or so a pop. Most art I own is given me as a thank you present for working hard for the artist. I have an amazing Jules de Balincourt painting in my kitchen, a fantastic tiny Dan Colen gum painting by the front door, an amazing Eric Yahnker that I don’t know where to hang, and my most prized possessions are the Dash Snow polaroid pieces he gave me when he was alive. I only have one frame, but many photos, so i rotate them every once and a while and can’t live without them.
For young collectors it is better to take a chance on ten $10,000 works by great emerging artists than to buy one boring $100,000 work by someone already worn-in and accepted. Even just financially, if ONE of the ten people you take a small chance on pays off, it will pay off big time. It’s a way better bet, and more fun!
What’s the role of art outside of work? Do you have any other hobbies?
Hobbies! Is partying a hobby? I used to be a star athlete person so I play tennis whenever I can, which is never. I love graffiti and cooking and reading critical theory and writing for magazines and riding bikes…
Who are your role models/influences? What movements/artists/shows are you looking at right now?
Jeffrey Deitch is my biggest role model, of course. He is a genius and I can say that having worked with him for eight years. His influence is by far the most significant and our relationship the most fruitful and interesting I have had in my career. I would love to meet more mentors: I need to make friends with other gallerists so they can teach me the ropes! I’m new at this!
____
For more on Kathy, check her blog: Art From Behind, which offers a peek into the camera phone photo’d life of a gallerist. Or follow her on Twitter at @kathygrayson.
For more, follow us on Twitter at @torontostandard, and subscribe to our newsletter.
