Tag Archives: Salon 94


A survey of Judy Chicago’s work from 1965 to 1972—made in Los Angeles and Fresno State College, where, in 1970, she developed the first feminist art program in the United States—is now on view at Jeffrey Deitch.

This [exhibition, JUDY CHICAGO—LOS ANGELES,] has enormous meaning to me because we’re not only doing a comprehensive show of different aspects of my early work—painting, sculpture, fireworks, installations—and all of that has never really been put together before, but you’re also doing it in a Frank Gehry-designed building. Gehry was my first landlord in Santa Monica, and his sister married my first gallerist. Frank was not particularly interested in women artists at that time—I don’t know if he ever was…

And, as you know, I had a really difficult time in the first two decades of my career. Some of the sculptures that are going to be in the show are being reconstructed because I had to destroy them: I just couldn’t afford to store that much work. I stored some early work, fortunately, which the Getty curators unearthed for Pacific Standard Time—that began the process of people looking at my early work…

Even though I had a really difficult time in the L.A. arts scene—which was very inhospitable to women—still, L.A. nurtured me, and I feel like the foundations of my work are in what I did in that first decade and a half of professional practice in California: the development of my formal language, my color systems, my approach to and interest in a wide variety of materials…

Also, doing this show is bringing a lot of memories back, some of which were simply too painful for me to deal with at the time. Had I really acknowledged them or dealt with them, I probably would have given up. I had such a hard time and faced so much rejection and misunderstanding. Still, when I went to auto-body school, I learned for the first time that making art involved making physical objects, and I learned a sense of craft that I never had—about how you do things. I had a teacher at the auto-body school who said to me: “Judy, there’s no such thing as perfection. There’s only the illusion of perfection, and I’m going to teach you how to achieve that.”Judy Chicago, interview with Jeffrey Deitch, Purple 32


Through November 2.

Jeffrey Deitch

925 North Orange Drive, Los Angeles.

Judy Chicago, from top: Immolation, 1972, from Women and Smoke, photograph by Donald WoodmanARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Birth Hood, 1965-2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, New York, ADAGP 2018; Trinity, 1965/2019, Matthews polyurethane paint on stainless steel; Orange Atmosphere, 1968, courtesy of Through the Flower Archives; Pale Green Domes with Solid Core, 1968, sprayed acrylic lacquer on successive formed clear acrylic domes, courtesy of Salon 94 Gallery and the Jessica Silverman Gallery, San Francisco, photograph by Woodman, ARS, New York; Sky Flesh, 1971, sprayed acrylic lacquer on acrylic; Pink Atmosphere, 1971, Cal State Fullerton, photograph by Woodman, ARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Pasadena Lifesavers Red Series #2, 1969–1970, sprayed acrylic lacquer on acrylic, photograph by Woodman, ARS, New York; Flight Hood, 1965/2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, ADAGP 2018. Images courtesy and © the artist, the photographers, the publishers, and Jeffrey Deitch, Los Angeles.


“I see myself involved in a project of resuscitation—giving life back to the black male body. I’m teasing at the multiplicities of black male experiences, exploring different subject positions, rather than just recycling the fantasy/projection of the available black stud. Part of the way I complicate this project is by including different representations of myself in most of my work.” — Lyle Ashton Harris

FLASH OF THE SPIRIT, the new exhibition by Lyle Ashton Harris, is up now at Salon 94’s Bowery annex.


Through December 21.

Salon 94 Bowery, 243 Bowery, New York City.

Malik Gaines on Harris.

Harris interviewed by Antwaun Sargent.

Top: Lyle Ashton Harris, Zamble at Land’s End #4, 2018.

Above: Lyle Ashton Harris, Flash of the Spirit, 2018.

Below: Lyle Ashton Harris, Zamble at Land’s End #2, 2018.

All artwork: dye sublimation prints on aluminum.

Images courtesy the artist and Salon 94.


Working from “unresolved memory and vision” in acrylic, charcoal, gouache, oil paint, paint sticks, and gold leaf, Nathaniel Mary Quinn will show fifteen new portraits at Salon 94, opening this week.*



September 7 through October 27.

SALON 94, 243 Bowery, New York City.

Nathaniel Mary Quinn at Salon 94

See: Nathaniel Mary Quinn

Nathaniel Mary Quinn, The Borrower, 2018. Image courtesy the artist and Salon 94.


Sapphire Smoking by Khalik Allah is one of the highlights of the group show BLOOD CLOTS, now in its final week at Salon 94 Freemans.


BLOOD CLOTS, through August 10.

SALON 94 FREEMANS, 1 Freeman Alley, New York City.


See Richard Brody on Allah: newyorker.com/harlem-at-night

Khalik Allah, Sapphire Smoking, 2013, pigment print. Courtesy of the artist and Gitterman Gallery.

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