FLLAC-EXH-CAT-2008 no cover

EXCERPT 

Selections from the Jeanne Greenberg Rohatyn Collection 

Barry X Ball 

Tamy Ben-Tor 

Huma Bhabha 

Glenn Brown 

Jennifer Cohen 

Benjamin Edwards 

Katy Grannan 

David Hammons 

Sarah Lucas 

Julie Mehretu 

Marilyn Minter 

Wangechi Mutu 

Tim Noble and Sue Webster 

Richard Prince 

Aïda Ruilova 

Laurie Simmons 

Rudolf Stingel 

Piotr Uklański

Excerpt: Selections from the Jeanne Greenberg Rohatyn Collection 

September 26, 2008 – January 4, 2009 

This catalogue has been published in conjunction with the exhibition Excerpt: Selections from the Jeanne Greenberg Rohatyn 

Collection, organized and presented at the Frances Lehman Loeb Art Center, Vassar College, and curated by Mary-Kay Lombino. 

ISBN # 978-0-9820606-0-5 

Designed by Francie Soosman 

Printed by Quality Printing Company, Pittsfield Massachusetts in an edition of 3,000 copies. 

Text © Vassar College, 2008. Images © the artists. 

No part of the contents of this book may be reproduced, in whole or in part, 

without the permission of the publisher. 

Contents 

Acknowledgments 4 

mary-kay lombino 

jeanne greenberg rohatyn 

Director’s Foreword 6 

james mundy 

The Pleasure of Looking, an interview with Jeanne Greenberg Rohatyn 8 

mary-kay lombino 

The Frances Lehman Loeb Art Center 

Vassar College, Box 703 

124 Raymond Avenue 

Poughkeepsie, NY 12604-0703 

Telephone 845 437 5632 

Fax 845 437 5955 

http://fllac.vassar.edu 

Works in the Exhibition 19 

Exhibition Checklist 76 

Image permissions and credits 80

Acknowledgments 

Special Thanks 

On behalf of the Frances Lehman Loeb Art Center and the entire Vassar College community, I would 

like to extend heartfelt thanks to Jeanne Greenberg Rohatyn for her time, generosity, and willingness 

to share her vision with our audience. She has been an extraordinarily helpful partner in selecting the 

works for the exhibition, coordinating the catalogue, and offering her insight in the interview printed 

here. I thank Jeanne and her husband Nicholas Rohatyn for agreeing to part with their compelling 

works for the extended loan period. 

This exhibition and its publication could not have come to fruition without the dedication, 

assistance, and attentiveness of several individuals. I would like to thank all of my colleagues at 

The Frances Lehman Loeb Art Center. Director, James Mundy first suggested that I meet with Jeanne 

when I began as Curator here almost three years ago. His leadership and endorsement of this 

exhibition have been steadfast ever since. Special thanks go to Registrar, Joann Potter who skillfully 

coordinated the loans and transportation of the artwork and to Preparator Bruce Bundock for his 

flexibility and finesse in the installation of this broad range of works. Francine Brown, Jennifer Cole, 

Beverly Doppel, Karen Casey Hines, Nicole Roylance, and Patti Phagan have all provided essential 

support and encouragement. In the Office of College Relations at Vassar College, Janet Allison, 

George Laws, Emily Darrow, and Jeff Kosmacher contributed their valuable time and expertise. 

I am pleased for the opportunity to work with Francie Soosman to whom I am deeply grateful for 

her hard work, patience, and talent in designing the catalogue as well as the invitation, banner, and 

wall text for the exhibition. 

I am very thankful to members of the Salon 94 staff including Dede Dennehy, Christian Dietkus, 

David Fierman, Alissa Friedman, Andrew Post, Fabienne Stephan, and Sirui Yan who provided 

assistance with every aspect of this project and were each a pleasure to work with. I would also like 

to thank the following galleries for replying to my queries and facilitating permission to reproduce 

the images in this publication: Sadie Coles HQ, Paula Cooper Gallery, Zach Feuer Gallery, Gagosian 

Gallery, Salon 94, Sikkema Jenkins & Co., The Project, Greenberg Van Doren Gallery, Sperone 

Westwater Gallery, White Columns, and David Zwirner, New York. 

Above all, I want to acknowledge the artists whose work is included in the exhibition to whom 

I owe a dept of gratitude for their great talent and imagination in creating the artworks on display in 

the exhibition and on the pages of this publication. 

—Mary-Kay Lombino, The Emily Hargroves Fisher 1957 and Richard B. Fisher Curator 

I would like to thank the entire staff of Salon 94 for all of their work on this personal project. 

With a special thanks to Christian Dietkus and Sirui Yan for their tremendous organizational efforts 

in a short period of time, and to David Fierman for overseeing our purchases, and Andrew Post for 

coordinating the artworks’ shipment. I would also like to extend my appreciation to Dede Dennehy, 

who manages our home and collection with such grace. To the artists with whom I share a deep 

respect, and often friendship, and collaboration, I am indebted. Mostly, I would like to thank my 

husband and partner, Nick Rohatyn, who has lovingly joined me in my passion to collect. 

Jeanne Greenberg Rohatyn 

Standing in front of Marilyn Minter, Glazed, 2006 

—Jeanne Greenberg Rohatyn 

4 

5

Director’s Foreword 

It is always a particular pleasure for Vassar College to celebrate the accomplishments of one of her 

alumni. For me this holds especially true in the case of Jeanne Greenberg Rohatyn, Vassar class of 

1989, who is truly the spiritual descendent of a number of adroit art lovers and collectors who were 

educated over the past 140 years by Vassar’s art department, one of the best in the country. Vassar’s 

continuing encounter with contemporary art dates back to its acquisition in 1864 of a large collection 

of American paintings acquired directly from the artists by Elias Magoon in the 1850s and has 

continued to this day thanks to faculty such as Agnes Rindge and Linda Nochlin who brought 

important artists to campus; and well-educated collectors and donors such as Edna Bryner Schwab, 

class of 1907, who added significant works by the Stieglitz Circle to the collection and Blanchette 

Hooker Rockefeller, class of 1931, and Katherine Sanford Deutsch, class of 1940 whose gifts of 

European and American postwar paintings have distinguished Vassar’s holdings. Vassar graduates 

without fortunes to invest in the market have also contributed as tastemakers in the contemporary 

art world. The advocacy and writings on contemporary art by figures such as Katherine Woolf Kuh, 

class of 1925 and Aline Berstein Saarinen, class of 1935 left their marks on a large segment of the 

gallery and museum going public of America. 

I met the then Jeanne Greenberg shortly after I returned to Vassar and the Frances Lehman 

Loeb Art Center opened in the early 1990s when she was director of Jeffrey Deitch, Inc. Jeanne was 

full of enthusiasm for contemporary art and wondered rightly why we did not do more with it at the 

new Art Center. Certainly, while my rational mind could not argue with the fact that contemporary 

art had played a major role in Vassar’s collecting of art since its founding, the nature of our curatorial 

expertise was for the moment rooted in historical interests and studies. Such a focus was in keeping 

with the lion’s share of the curriculum in its historical focus. But Jeanne’s enthusiasm was infectious 

and soon we were planning an exhibition of the recent drawings of Peter Halley, a collaborative 

project that opened at Vassar during the summer of 1996 and an exhibition that introduced me to 

the peculiar pleasure of working with an artist who was alive and part of the exhibition process. 

This was something for which I was very grateful to Jeanne for facilitating and I noted her ease in 

working with creative individuals, a talent that could only spell success in her chosen field. It was 

clear to me then, when she was only a relatively recent alumna of Vassar, that Jeanne’s intelligence and 

commitment to the world of contemporary art was sincere and prescient. Her accomplishments since 

that time have certainly lived up to what was then a clear potential to become an important force in 

the art world. It seems fitting at this point to reflect on Jeanne Greenberg Rohatyn’s contributions to 

the dizzying, high-octane world of contemporary art at a moment that might be termed, were she an 

artist, “mid-career.” 

Much has changed at the Frances Lehman Loeb Art Center with respect to contemporary art 

since the early 1990s and we have now on staff a curator, Mary-Kay Lombino, who is a specialist 

in this volatile field where history has not had the opportunity to sort out the meaningful from the 

transitory artistic figures. To see the excellent results of this collaboration between curator and 

collector is very gratifying, indeed. It is my hope that this exhibition will also serve as a model to 

others that one passion for art can integrate and promote professional and domestic pleasure and 

satisfaction. 

—James Mundy, class of 1974, The Anne Hendricks Bass Director 

6 

7

The Pleasure of Looking 

an interview with Jeanne Greenberg Rohatyn by Mary-Kay Lombino 

Art advisor, independent curator, and collector Jeanne Greenberg Rohatyn (Vassar class of 1989) 

founded Salon 94 on the first floor of her Manhattan home in 2002, to be an experimental project 

space for emerging and mid-career contemporary artists. Much of her own collection, assembled 

over the last decade with her husband Nicholas Rohatyn, can be found on display just upstairs, in 

her family’s living space. Ms. Rohatyn, who studied Art History at Vassar College and went on to 

earn a graduate degree from New York University’s Institute of Fine Art, became familiar with 

contemporary art at very young age. Her father is a prominent art dealer and her mother is an art 

educator, and as a result, she is completely at home with the notion of living with art. Ms. Rohatyn’s 

collection, which includes artist portraits of her and her family, reflects a personal connection to the 

artists she supports and reveals how her passion for art permeates both her private and professional 

life. While the work shows evidence of a diverse set of social, political, ethnic, and intergenerational 

interests, it is bound together in this distinguished collection, which illustrates the personal preferences 

of an experienced collector with a well-trained eye, but also reveals a rare intimacy and deep understanding 

of the power of the art of our time. 

MKL What were your first memorable art experiences as a child? 

JGR In 1970, a truck pulled up to our house, in suburban St. Louis, and unloaded a large crate, in 

it was a Morris Louis painting. Squeezed into our living room—a small cozy space with over stuffed 

madras couches, walled with taxidermy animal heads, this painting appeared as if an alien had landed. 

My mother looked at this veiled monster, and announced that either the house or the painting had to 

go. The following day, my father went out and bought an enormous Tudor house. 

Florine Stettheimer 

Natatorium Undine, 1927 

Oil and encaustic on canvas 

50 1/2 x 60 in. 

8 

9

He hired architectural students at Washington University to renovate—they built thick sheetrock walls 

to attach to the historic wood panels for hanging. It was a house bought for art, sparingly outfitted 

with just the essentials. Keeping with the minimalist tenets of the time, the walls were gallery white. 

Yet the house itself, built after the 1904 worlds fair, had its own nature—it was detailed ornately 

with carved lions on its grand stairwell, coiffured ceilings, and a sunroom with leaded-glass windows. 

The pairing of my parents emerging collection and this house gave me a solid sense that art 

pulls one out of the domestic. Yet, art always needs a lot of help and the character of a place 

allowed the art to breathe in a dynamic way. 

In order to collect full time, my father became an art dealer in 1971. He showed and collected 

the artists of his generation: Roy Lichtenstein and Andy Warhol followed by Richard Serra, Donald 

Judd, and Dan Flavin. In 1975, Warhol sent The Greenberg Gallery a role of purple Mao wallpaper 

for his upcoming exhibit there. My father brought it home and used it to wallpaper the powder 

room. During the opening evening’s celebrations, a shy wigged Warhol hung out in this bathroom, 

signing Campbell’s Soup cans nicked from our pantry by my parents’ friends. I stood below him— 

and when he had a break he would doodle bananas on a napkin for me. It was much later when I 

was at Vassar that I saw the Velvet Underground album cover that features Warhol’s banana drawings. 

MKL As a student at Vassar, you studied Art History. Is there anything in particular about your college 

education that informs your relationship with art today? 

Installation view 

The Florine Stettheimer Collapsed Time Salon, 1995 

JGR The museum was always a great walk-through. There, I discovered Florine Stettheimer’s 1927 

Natatorium Undine. The painting became the inspiration for an exhibition I mounted years later 

in 1995 in the green room of the Gramercy Hotel at the Gramercy Contemporary Art Fair, entitled 

The Florine Stettheimer Collapsed Time Salon. I was fascinated with the pre-war attitudes of the 

Stettheimer sisters and their famed salon at Alwyn Court. They represented great contradictions from 

frivolous to serious—Marcel Duchamp taught the heiresses French while they sat for manicures; yet 

each of the women was devoted to her own discipline (writer, painter, dollhouse maker). The salon 

was occasion for Florine to dramatically unveil her paintings, revealing her fantastic paintings of and 

to her artistic friends. Yet, her ultimate place as hostess unnerved me. We recreated her salon in 

spirit—combining works by Warhol, Jeff Koons, and a then emerging Elizabeth Peyton, and borrowed 

from Columbia University some of Stettheimer’s greatest paintings—including her self-portrait as the 

nude Olympia. Imitating her aesthetic, we covered the walls with cellophane, and Virgil Thomas was 

played on the piano. 

10 

11

MKL How did you begin collecting? 

JGR I began purchasing art when I was still in high school. I collected what my parents did not. It 

started with ceramics—my first purchase was a ceramic vessel by Richard deVor. My father, a hardcore 

minimalist, would have never purchased what he stills consider to be tchotki. I later moved 

onto artists of my generation. As soon as I earned a salary—I bought art. As a graduate student at 

the Institute of Fine Arts in New York, I was Kurt Vardendoe’s teaching assistant. (It was neither 

glamorous nor academic, as I spent most of my time in the slide library hunting slides for his weekly 

lectures.) With my earnings I purchased a Sigmar Polke print, which I later sold. After making a sale 

at the Stettheimer show, I proceeded down stairs to the Andrea Rosen Gallery, where I spent an hour 

sifting through the Wolfgang Tillmans portfolio. I purchased three small photographs—the first of 

many to come into my collection. I made my first big purchase at the 1997 Chicago Art Fair. It was 

a recently completed Kara Walker cut-paper installation entitled World’s Exposition. I was there 

with my husband Nick (though we were not yet married), and he asked where I would put it. I 

responded that I would have a wall for it someday. I buy very quickly, and on instinct. Years later, 

Nick and I made our first purchase as a couple, Chris Ofili’s diptych, Y + X= 0, which we had seen 

in 2000 at The Saatchi Gallery in London. When it came up for auction a few years later, we purchased 

it. Even today, whenever I make money, it goes towards an art purchase. 

MKL Before you opened Salon 94, you worked as a gallery director, an independent curator, and an 

art consultant. What aspects of that experience inform your relationship with art today? 

JGR I continue to practice as a curator, gallery director, and consultant. While being involved in all 

of these aspects of handling art and artists seems old school, I cannot imagine abandoning any one 

side. When a work of art is offered to me, either from a dealer or an artist, I quickly place the artwork 

in a venue, both real and imagined. I conceive group shows around the object, or situate it in a collector’s 

home, or an institutional collection among other significant works of art. I only pursue an artwork 

once it fits into one of these fantasy venues. As a curator, one is constantly thinking of artworks in 

relation to another. In our home, I am more open to accidental and unlikely relationships between 

works. Placing Huma Bhabha’s raw figure in wood and clay near the refined marble busts of Barry 

X Ball brings out the classicism and yet the baroque in both. 

When I curated Casino 2001, the first Quadrennial exhibition for S.M.A.K., the Municipal 

Museum of Contemporary Art in Ghent, Belgium, the charismatic director Jan Hoet insisted that the 

Chris Ofili 

Y + X= 0, 2000 

Collection of Jeanne Greenberg and Nicolas Rohatyn, New York 

12 

13

show be vast, filling three venues, with more than sixty artists. His attitude taught me showmanship, 

while at the same time, my budget was minimal, and so I learned to be resourceful. To realize the 

installation of Piotr Uklański’s work, for example, I found myself enlisting the local fire department 

to help install several meters of holiday lights that lined the façade of the antiquities museum. Today, 

while my platform is smaller in scale, I do try to re-capture the flair and drama of these earlier largescale 

projects. 

MKL What attracted you to contemporary art? 

JGR I like being in dialogue with artists. Many are among my close friends. Gregory Crewdson, 

whom I met shortly after moving to New York in 1990, and I imagined a show called Suburbia while 

chatting about Steven Spielberg movies and our favorite short story, The Swimmer by John Cheever. 

And, while this project was never realized, in 1999 we ultimately co-curated Another Girl/Another 

Planet, which introduced new narrative photography. The show grew from comparing studio visits— 

Gregory teaching at Yale, and me in New York and London. I continue to work with Katy Grannan 

and Malerie Marder, whose work was featured. Inspired by this young work, Gregory later began to 

place figures in his own landscape photographs. 

MKL What kinds of qualities do you look for in an artwork that you are considering for purchase? 

JGR An element of surprise. The works must have beauty, concept, and the pleasure of looking. I 

also seek out raw talent in an artist. 

MKL Once you begin collecting a particular artist’s work, do you form a bond to that artist, or do 

you feel a certain commitment to continuing to support him or her? 


Marilyn Minter exhibition at Salon 94 

JGR It is a luxury to support an artist throughout his or her career. As a patron of young artists, I 

often buy early on, yet I am priced out of their market soon thereafter. I have made a commitment 

to a handful of artists, whom I will continue to support. I will keep working to afford their work. 

Katy Grannan makes a portrait of our children every year that we use as our signature holiday 

card. We also collect her work in depth. 

14 

15

MKL As you live with an artwork over a long period, how does your relationship with that artwork 

evolve with time? 

JGR At home, I regularly move artworks around, playing with their context in relation to other works. 

Likewise, artwork in this exhibition and its Vassar installation might acquire new meaning. The Richard 

Prince car hood shown next to a Mark Rothko painting will look classical and monastic—yet at 

home, next to an Adam McEwen gum painting and a Takashi Murakami painting—it looks dangerous, 

Pop, and trashy. Sometimes it takes years for a work to look classic—with other works it happens 

overnight. When I bought Sarah Lucas’ Notorious Dream, I instantly thought about it in relation to 

Hans Bellmer and to Pablo Picasso portraits of seated woman—yet in our livingroom—these are 

mere passing historical notations to a deeply radical work. 

MKL Are there works in your collection that are difficult to live with? 

JGR Yes, Rineke Dijkstra’s nude photographs of new mothers with their infants, a series she completed 

in 1994. These fill everyone with discomfort—especially men. When they were hung in our livingroom, 

even seasoned curators turned their backs on it. They are now a promised gift to The Museum of 

Modern Art, New York. 

MKL As a patron and producer of many artists’ projects, how do you see your role in the artistic 

vision of an artist? 

JGR I like to produce projects that are performative in nature. I am planning with Art Production 

Fund a Sylvie Fleury Fluxus Symphony at The Armory Show this February. Artists often find Salon 94 

to be a safe place to make new work. Perhaps because it is just off the grid enough that it allows them 

to experiment. Wangechi Mutu made her first large-scale installation there, and for the past several 

years Tamy Ben-Tor has used it as a space to develop her characters. My intent is to give artists the 

opportunity to create projects that are non-commercial in nature. 

MKL Are there any artworks that you wish you had bought, but are no longer available? 

JGR Many! While they are seemingly in opposite camps—the two artists who have influenced me 

most are David Hammons and Jeff Koons. I am sorry that I do not own more of their works. I have 

been lucky, as many have passed through my hands as a dealer. 


Rineke Dijkstra photographs and Mountain Girls, a mural by Chiho Aoshima 

16 

17

Works in the Exhibition

No. 1 

Barry X Ball 

The artist, taking the life-cast head of his New York gallerist as a jumping-off point, in a concerted effort to 

reinvigorate the sub-genre of romantic portrait sculpture, has here conjoined his signature fever-pitch execution 

intensity and a newfound conceptual tenderness. Realized as a mirror-image of the subject, at 85% scale, in an 

exceptional specimen of dramatically-figured, exuberantly-colored translucent onyx, exhibiting a layered surface 

suffused with a ‘sfumato’ overlay of foliate relief and coincident miniscule diagonal / radial flutes, the stony 

surrogate captures, in soft Galatean contravention of its obdurate materiality, a moment of poignant reverie. 

The artist-designed integral / modular base, it’s tapering parabolic sweep flowing into the sculpture’s glass-polished 

flute stem (which, in turn, terminates in a silhouetted arboreal fringe), conceived in parallel with the sculpture, 

precisely-fabricated in stainless steel, limestone, acrylic-spray-lacquered aluminum and wood (and a variety of 

subsidiary materials) by a studio-coordinated consortium of disparate fabricators, is reminiscent, alternately, 

of traditional ‘socles’ and mid-20th-century Modernist furniture pedestals. The resultant deceptively-diminutive 

ensemble, created with deep reverence for and specific focus on the history of sculpture, makes an expansive 

case for the critical reconsideration of prevailing contemporary practice, while simultaneously probing both the 

subject’s psychology and her complex relationship to the artist, 2007-2008 

20 

21

No. 2 

Tamy Ben-Tor 

Exotica, The Rat, and The Liberal, 2005 

Photographs from a live performance at Salon 94 

22 

23

No. 3 

Tamy Ben-Tor 

The Tea Lover, 2005 

Film still 

24 

25

No. 5 

Glenn Brown 

Holy Virgin, 2003 

No. 4 

Huma Bhabha 

Sleeper, 2005 

26 

27

No. 6 


Grey Line in Three Parts (i), 2008 

28

No. 7 


Decoherence, 2001 

31

No. 9 

Katy Grannan 

Alexander Kay Rohatyn, 

YMCA, 2001 

No. 8 

Katy Grannan 

Alexander Kay Rohatyn, 

2000 

32 

33

No. 11 

Katy Grannan 

Alexander Kay and 

Colette Fay Rohatyn, 2003 

No. 10 

Katy Grannan 

Colette Fay and Alexander Kay Rohatyn, 2002 

34 

35

No. 12 

No. 13 

Katy Grannan 

Colette Fay and Alexander Kay Rohatyn, 2004 

Katy Grannan 

Alexander Kay, Clara Michele, and Colette Fay Rohatyn, 2005 

36 

37

No. 14 

No. 15 

Katy Grannan 

Clara Michele, Colette Fay, and Alexander Kay Rohatyn, 2006 

Katy Grannan 

Alexander Kay, Clara Michele, and Colette Fay Rohatyn, 2007 

38 

39

No. 16 

David Hammons 

Don’t Bite The Hand That Feeds, 1974 

40 

41

No. 18 

David Hammons 

Hair Relaxer, 2001 

No. 17 

David Hammons 

Flight Fantasy, 1995 (detail) 

42 

43

No. 20 

Sarah Lucas 

Stars at a Glance, 2007 

No. 19 

Sarah Lucas 

The Notorious Dream, 2004 

45

No. 21 

Julie Mehretu 

Dispersion, 2002 

46 

47

No. 22 

No. 23 

Julie Mehretu 

Excerpt (molotov cocktail), 2003 

Julie Mehretu 

Excerpt (riot), 2003 

48 

49

No. 25 


Nose Drops, 2007 

No. 24 


Glazed, 2006 

50 

51

No. 26 

Wangechi Mutu 

People in glass towers 

should not imagine us, 2003 

52 

53

No. 27 

Wangechi Mutu 

The Mare, 2007 

55

No. 28 


Twin Suicide, 2005 

56

No. 29 

No. 30 


Untitled (de Kooning), 2007 


Untitled (de Kooning), 2007 

58 

59

No. 31 


Untitled, 2008 

60 

61

No. 32 

No. 33 

Aïda Ruilova 

Alright, 2005 

Film still 

Aïda Ruilova 

Life Like, 2006 

Film still 

62 

63

No. 34 

Aïda Ruilova 

Cello, 2007 

Film stills 

64 

65

No. 35 

No. 35 


The Music of Regret, 2006 

Film still from Act 1 



Film still from Act 3, featuring Alvin Ailey II dancers 

66 

67

No. 35 



Film still from Act 2, featuring Meryl Streep 

68 

69

No. 36 


Untitled, 1989 

No. 37 


Untitled (After Sam), 2005 

71

No. 38 

Piotr Uklański 

The Nazis, 1999 (detail) 

72 73

No. 39 


Untitled (Carotid Artery), 2007 

74

Exhibition checklist 

Dimensions are given in inches, height preceding width, preceding depth. 

All works are from the collection of Jeanne Greenberg Rohatyn and 

Nicolas Rohatyn, New York unless otherwise indicated. 

Barry X Ball (b. 1955 Pasadena, California; lives in New York) 

1. The artist, taking the life-cast head of his New York 

gallerist as a jumping-off point, in a concerted effort to 

reinvigorate the sub-genre of romantic portrait sculpture, 

has here conjoined his signature fever-pitch execution 

intensity and a newfound conceptual tenderness. Realized 

as a mirror-image of the subject, at 85% scale, in an 

exceptional specimen of dramatically-figured, exuberantlycolored 

translucent onyx, exhibiting a layered surface 

suffused with a ‘sfumato’ overlay of foliate relief and 

coincident miniscule diagonal / radial flutes, the stony 

surrogate captures, in soft Galatean contravention of 

its obdurate materiality, a moment of poignant reverie. 

The artist-designed integral / modular base, it’s tapering 

parabolic sweep flowing into the sculpture’s glass-polished 

flute stem (which, in turn, terminates in a silhouetted 

arboreal fringe), conceived in parallel with the sculpture, 

precisely-fabricated in stainless steel, limestone, acrylicspray-lacquered 

aluminum and wood (and a variety of 

subsidiary materials) by a studio-coordinated consortium 

of disparate fabricators, is reminiscent, alternately, of 

traditional ‘socles’ and mid-20th-century Modernist 

furniture pedestals. The resultant deceptively-diminutive 

ensemble, created with deep reverence for and specific 

focus on the history of sculpture, makes an expansive 

case for the critical reconsideration of prevailing 

contemporary practice, while simultaneously probing 

both the subject’s psychology and her complex 

relationship to the artist, 2007-2008 

Mexican Onyx 

13 3/8 x 6 3/8 x 7 1/8 

Tamy Ben-Tor 

(b. 1975 Jerusalem, Israel; lives in New York) 

2. Erotica, The Rat, and The Liberal, 2005 

Performed at Salon 94 as part of PERFORMA05 

Video documentation by Yoni Brook 

9 minutes, 30 seconds 

3. The Tea Lover, 2005 

Single-channel video with sound transferred to DVD 


Huma Bhabha 

(b. 1962 Karachi, Pakistan; lives in Poughkeepsie, New York) 

4. Sleeper, 2005 

Mixed media 

23 2/3 x 18 x 75 

Glenn Brown 

(b. 1966 Hexham, Northumerland, England; lives in London) 

5. Holy Virgin, 2003 

Oil on panel 

44 7/8 x 30 1/8 


(b. 1970 Brooklyn, New York; lives in Brooklyn) 

6. Grey Line in Three Parts (i), 2008 

Wood, cellucly, cement, glue, leather shoe, fabric 

36 x 20 x 12 1/2 


(b. 1970 Iowa City, Iowa; lives in Washington, DC) 

7. Decoherence, 2001 

Acrylic, texture mediums, foam, spray paint 

96 x 144 

Katy Grannan 

(b. 1969 Arlington, Massachusetts; lives in Berkeley, 

California) 

8. Alexander Kay Rohatyn, 2000 

C-print 

7 1/2 x 9 3/4 

9. Alexander Kay Rohatyn, YMCA, 2001 

C-print 

7 x 10 

10. Colette Fay and Alexander Kay Rohatyn, 2002 

C-print 

9 1/2 x 7 1/2 

11. Alexander Kay and Colette Fay Rohatyn, 2003 

C-print 

7 1/4 x 9 1/2 

12. Colette Fay and Alexander Kay Rohatyn, 2004 

C-print 

10 x 7 

13. Alexander Kay, Clara Michele, and 


C-print 

9 3/4 x 7 3/4 

14. Clara Michele, Colette Fay, and 

Alexander Kay Rohatyn, 2006 

C-print 

9 3/4 x 6 1/2 

15. Alexander Kay, Clara Michele, and 


C-print 

9 3/4 x 6 1/2 

David Hammons 

(b. 1943 Springfield, Illinois; lives in New York) 

16. Don’t Bite The Hand That Feeds, 1974 

Body print on paper 

10 3/4 x 13 

76 

77

17. Flight Fantasy, 1995 

Paint on wall, heavy metal wire hoops, human hair, 

crystals, netting 

Dimensions vary, appears in this exhibition 

at 195 x 224 

18. Hair Relaxer, 2001 

Chaise lounge, hair 

25 x 65 x 30 


(b. 1948 Shreveport, Louisiana; lives in New York) 

24. Glazed, 2006 

Enamel on metal 

96 x 60 

25. Nose Drops, 2007 

Enamel on metal 

53 x 35 


(b. 1949 Panama Canal Zone; lives in upstate New York) 

29. Untitled (de Kooning), 2007 

Collage and graphite on paper 

22 1/4 x 35 1/8 

30. Untitled (de Kooning), 2007 

Collage and graphite on paper 

22 1/4 x 27 1/4 


(b. 1949 Long Island, New York; lives in New York) 

35. The Music of Regret, 2006 

35-millimeter film transferred to HD, edition of 10 


Director, Laurie Simmons; Composer, Michael Rohatyn; 

Lyrics, Laurie Simmons; Director of Photography, 

Ed Lachman; Featuring, Meryl Streep, Adam Guettel, 

and the Alvin Ailey II Dancers 

Sarah Lucas 

(b. 1962 London; lives in London) 

19. The Notorious Dream, 2004 

Tan tights, red, white, blue stockings, chair, 

kapok wire, spam cans, helmet 

37 3/8 x 38 x 40 

20. Stars at a Glance, 2007 

Concrete shoes, bra, footballs, cigarettes 

10 2/3 x 13 x 10 2/3 

Julie Mehretu 

(b. 1970 Addis Ababa, Ethiopia; lives in New York) 

21. Dispersion, 2002 

Ink and acrylic on canvas 

90 x 144 

22. Excerpt (molotov cocktail), 2003 


32 x 54 

23. Excerpt (riot), 2003 


32 x 54 

Wangechi Mutu 

(b. 1972 Nairobi, Kenya; lives in New York) 

26. People in glass towers should not imagine us, 2003 

Ink, acrylic, glitter and collage on watercolor paper; 

diptych 

51 x 36 each sheet; 51 x 72 overall 

27. The Mare, 2007 

Mixed media on Mylar 

85 x 60 


(b. 1966 Stroud, England; lives in London) 

(b. 1967 Leicester, England; lives in London) 

28. Twin Suicide, 2005 

Welded scrap metal, light projectors, diptych 

Tall tower 184 1/2 x 15 x 60 

Short tower 85 x 17 x 65 

31. Untitled, 2008 

Steel, wood, acrylic, Bondo 

66 x 55 x 6 

Aïda Ruilova 

(b. 1974 Wheeling, West Virginia; lives in New York) 

32. Alright, 2005 

Single-channel video with sound transferred to DVD, 

edition 2 of 5 

13 seconds 

Courtesy of the artist and Salon 94, New York 

33. Life Like, 2006 



5 minutes 

Courtesy of the artist and Salon 94, New York 

34. Cello, 2007 



1 minute, 21 seconds 


(b. 1956 Merano, Italy; lives in New York) 

36. Untitled, 1989 

Oil on canvas 

67 x 47 1/4 

Fractionally owned by Gladstone Gallery, New York 

37. Untitled (After Sam), 2005 

Oil on canvas 

15 x 20 1/2 


(b. 1968 Warsaw, Poland; lives in New York and Warsaw) 

38. The Nazis, 1998 

41 chromogenic, black-and-white and color photographs 

mounted on Sintra, edition 2 of 10 (set B) 

14 x 10 inches each; 14 x 410 inches overall 

39. Untitled (Carotid Artery), 2007 

Resin on canvas 

45 x 60 

78 

79

Image permissions and credits 

page 5: Photo by Michael Benisty. 

page 9: Collection of the Frances Lehman Loeb Art Center, Vassar College, Gift of Ettie Stettheimer. 

page 10: Courtesy of Jeanne Greenberg Rohatyn and Deitch Projects. 

page 13: Courtesy of the artist and David Zwirner, New York 

pages 14, 17: Courtesy of Salon 94. Photos by Tom Powell. 

page 21: © Barry X Ball; courtesy of Salon 94. 

pages 22-23: Courtesy of Salon 94. Photos by Paula Court. 

page 25: Courtesy of the artist, Zach Feuer Gallery, and Salon 94. 

page 26: © Huma Bhabha; courtesy of Salon 94. 

page 27: © Glenn Brown; courtesy of Gagosian Gallery. Photo by Adam Riech. 

page 29: © Jennifer Cohen; courtesy of Salon 94 and White Columns. 

pages 30–31: Courtesy of the artist and Greenberg Van Doren Gallery, New York. 

Photo by John Berens. 

pages 32–39: © Katy Grannan; courtesy of Salon 94. 

pages 40–43: © David Hammons; courtesy of Salon 94. Photos by Adam Riech. 

pages 44–45: © Sarah Lucas; courtesy of Sadie Coles HQ, London and Salon 94. 

Photo on page 44 by Adam Riech. 

pages 46–47: © Julie Mehretu; courtesy of The Project, New York. 

pages 48–49: © Julie Mehretu; courtesy of Salon 94. Photo on page 49 by John Berens. 

pages 50–51: © Marilyn Minter; courtesy of Salon 94. 

pages 52–54: © Wangechi Mutu; courtesy of Sikkema Jenkins & Co. and Salon 94. 

page 57: © Tim Noble and Sue Webster; courtesy of Gagosian Gallery and Salon 94. 

Photo by John Berens. 

pages 58–59, 61: © Richard Prince; courtesy of Gagosian Gallery and Salon 94. 

pages 62–65: © Aïda Ruilova; courtesy of Salon 94. 

pages 66–67, 69: Courtesy of the artist, Sperone Westwater Gallery, and Salon 94. 

pages 70–71: © R. Stingel; courtesy of Paula Cooper Gallery and Salon 94. Photos by Adam Riech. 

Cover and pages 72–75: Courtesy of the artist and Gagosian Gallery. Photos by Adam Riech. 

page 72–73: Images taken from the following film scenes from left to right: 

Klaus Kinski in Five into Hell, directed by Frank Kramer, 1969; 

George Mikell in Victory, directed by John Houston, 1981; 

Jan Englert in Zloto Dezerterów, directed by Janusz Majewski, 1998; 

Robert Duvall in The Eagle has Landed, directed by John Sturges, 1976; 

Hardy Krüger in A Bridge Too Far, directed by Richard Attenborough, 1977; 

Yul Brenner in Triple Cross, directed by Terence Young, 1966; 

Christopher Plummer in The Scarlet and the Black, directed by Jerry London, 1983; 

Cedric Hardwicke in The Moon is Down, directed by Irving Pichel, 1943. 

80

FLLAC-EXH-CAT-2008 no cover

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