Grayson stayed with Deitch until it closed in 2010 when its namesake was appointed director of the Museum of Contemporary Art, Los Angeles.
“That vibe became what I brought to Deitch Projects,” says Grayson of the New York gallery owned by art dealer and curator Jeffrey Deitch, which hired her first as a receptionist and quickly promoted her to curator and director when it became clear that she had a knack for selling art. They created knitwear costumes, 3-D video art, paintings, installations and sculptures. Groups like Forcefield, composed of artists who dropped out of Rhode Island School of Design who worked and lived at Fort Thunder, an abandoned warehouse-turned-underground-venue featuring a refrigerator door that opened to another room. The experience burnished the blossoming iconoclast inside of her, and by the time she worked as an intern for the 2002 Whitney Biennial curated by Lawrence Rinder, she had become fascinated by collectives of interdisciplinary artists who came from outside established art school settings. Art critic Christopher Knight selects 17 works from permanent collections at the Huntington, LACMA, the Getty and more that he returns to again and again. Temporary shows that come through Southern California art institutions get a lot of the attention, but permanent collections are every museum’s core. For her first show, she printed out all the emails it took to get the wall built, titling the project, “Wall With the E-trail of Its Own Making,” in homage to a 1961 work by Robert Morris called “Box With the Sound of Its Own Making.” The administration was not impressed, and Grayson says she was called in front of the disciplinary committee for publishing confidential information.įor Subscribers The 17 works of art you need to see in L.A. She launched a fundraising campaign to pay for a second wall. She named it “Area” because she says she had to fight with the administration for space, and it ended up giving her only a single wall. While at Dartmouth, she founded the first student art gallery. By her sophomore year, she switched majors and sports, studying art history and becoming captain of the rugby team. She later enrolled at Dartmouth, starting off in pre-med and playing tennis. Her parents were scientists and she attended the Sidwell Friends School, where Chelsea Clinton was her lab partner. gallery, he was “terrified because it was so massive.” But it presents an exciting opportunity, he says. Pedro says when he first showed at her L.A. Fred Chen / the artists and the Hole)īy turning the Hole into a bicoastal operation, Grayson wants her gallery to match the ambitions of her artists - giving them fresh and inspiring places to show their work. The crowd of art lovers sips sake out of square wood boxes in keeping with the night’s theme. Sculptures are simply stacked on top of the crates they came in. She wasn’t sure what kind of a response she’d get but was thrilled to discover that it was generous and enthusiastic, with more than 80 participants sharing work that has rarely, if ever, been seen publicly.Ĭollectors including Sue Hancock, Jason Swartz and Hooman Dayani pitched in, as did galleries Nino Mier, Nicodim and Gavlak, along with artists Pedro Pedro, KAWS and Lisa Anne Auerbach, who each offered a personal favorite from their own stash.īy the time the show launches early Saturday evening, the gallery walls are decorated with a hodgepodge of eclectic artworks - each peeking out of the parameters of its former plywood prison. It happens when pieces are out of rotation at museums and galleries after a collector purchases a work and doesn’t have wall space for it or while pieces are traveling between art fairs, where they are on view for only a few days before being crated up again and shipped off elsewhere.įor “Storage Wars,” Grayson embarked on a community-building project with gallery owners, collectors and artists across the city, asking them to unbox and share one of their favorite pieces of art that has been in hiding for too long. Individual artworks can spend an inordinate amount of time in crates - it’s the art world’s dirty little not-so-secret secret, says Grayson.
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