Dave Cole: Unreal City, installation view, 2010
EJG: How did you find/decide on your space? How is it working out?
I worked with a realtor who introduced me to another realtor who gave me the line, "Do I have the perfect space for you!" I'd been looking all over and came close to putting an offer on another space. There were two blocks in L.E.S. that I had narrowed my search to: Orchard Street near Miguel, Lisa, and Untitled, and the block I'm on- around the corner from the New Museum. As soon as I walked into this space, I fell in love. It has two levels with two distinct gallery spaces (one of my goals for combining curated exhibitions with solo exhibitions) and used to be a sausage factory. (I have the sausage press.) It's an incredibly memorable space, architecturally distinct. If you visit hundreds of galleries in a week, you'll remember physically being in this space.
It was a challenge to be patient in the process of negotiations, because I knew what I wanted and I wanted to get moving. The build-out took about four months of solid work, believe it or not. I was lucky to have a landlord that is an architect, and a husband who has a great eye and invaluable knowledge stemming from his years working at the ICA in Boston.
So here I am in an incredible space and loving every minute of it. I have great neighbors- and the foot traffic is comparable to being at an art fair. There are some days when Patton and I look at each other and say, ‘This is insane!’ I'm meeting people I greatly admire on a regular basis and I have the opportunity to introduce them to artists I strongly believe in. There's a very satisfying parallel between the output and the immediate return that we're experiencing every day because of our location. I'm working harder than I've ever worked in my life and losing track of what a day off feels like, but there is never a moment when it is not perfectly clear to me that I'm where I need to be, doing exactly what I'm doing.
EJG: You're just around the corner from the New Museum. How has the traffic been? Are other galleries following suit and moving nearby?
The New Museum is one of my favorite institutions in the city. I know why people criticize it, but I think they're showing great work. I saw Ryan Trecartin's work there for the first time a few years back and didn't know what the fuck to do with it. That was a great experience. More than some other museums, to me, the New Museum is not trying to gage what people like, they're installing work that's current and challenging. I was at their opening for the exhibition Free, curated by Lauren Cornell, last week and at another event there last night. I'm also around the corner from Lehmann Maupin, Sperone Westwater, Salon 94, and neighbors to Eleven Rivington, Sue Scott Gallery, and Thierry Goldberg Projects. I'm in very good company.
Installation view. Dave Cole, Salt Print (La Somme, 1916) I-IV, 2010 | Pure sodium chloride (table salt) heated to liquid state and crucible-poured into impressions from the tracks of the first military tank, 5 x 21 x 34 inches each
EJG: How did you decide which artists to take on for DODGEgallery?
We're starting with seven artists, all of whom I helped bring to the rotenberg gallery and whom I've had the opportunity to work with for several years. It's extremely important to me that we have a solid relationship with the artists we're opening the program with—this is an incredible opportunity and a risky endeavor in many ways. There has to be a track record and a developed trust between us. That said, there are a few artists I'd love to work with, believe I'm the right gallery for, and am in conversations with now. Otherwise, I'm doing studio visits and spending my time listening, absorbing, and getting a sense of what's out there before making moves to expand the roster.
EJG: There's a strong presence of New Englanders in your roster, with many coming from MFA programs at the Museum School (SMFA) and RISD. Are you representing for Boston and Providence in New York?
Ha! Maybe I'm also representing Red Sox fans in NYC! But seriously, there is some serious talent in the Boston and Providence area.
EJG: You represent Lorna Williams, who we featured in edition #69 of New American Paintings. She, and others on your roster, create work that's sculptural as well as painterly. Tell me about this and the type of work you plan to show at DODGEgallery.
I'm drawn to work that engages the body and that asks something of a viewer. I find that work that deals with space actively achieves both of these things. I'm drawn to a lot of art all of the time, but for the most part I'm drawn to what I find to be rigorous. That means ideas and materials. I also want the artists to be rigorous in their practice, and in their commitment to working professionally as an artist. The whole meandering un-showered poet scrap dabbler genius is a bunch of bullshit to me. Being an artist is hard work and takes tremendous drive and resilience.
EJG: What do you have planned for DODGEgallery coming up?
Dave Cole: Unreal City ends November 7, and then we're opening three exhibitions on Saturday, November 13, 6-8pm. William Stover (Boston friend!) is curating an exhibition called The Natural Order of Things with Ellen Harvey and Jason Middlebrook. Sina Najafi of Cabinet magazine curated Tim Davis into our project space in the upstairs bathroom, Gallery Number Two. I'm also very excited to be exhibiting ENVIRONMENTAL SERVICES a.k.a. Doug Weathersby. This is his first solo show in New York! I've been obsessed with Doug and with his work for years. So I think we'll have three pretty banging shows in the gallery next month. After that, we're doing Pulse Miami. Never a dull moment!
