How would you describe the work your gallery specializes in? 

When I opened the East Hampton warehouse in 2005, I got together with a few artists that are set up in the area, which helped develop the Summer 2006 program. With a core group of regional talent, the warehouse has also exhibited Lawrence Weiner, a Middle Eastern video showcase, a group show on "Sex & Sensuality" that included Ghada Amer, Cecily Brown, Will Cotton, Eric Fischl, Billy Sullivan, a Scope-Hamptons film screening of "Stereomongrel" by Luis Gispert, a group show curated by Alice Aycock inspired by 112 Greene Street, among others. Summer 2010 will comprise an exhibition of Billy Sullivan photographs, a group show curated with Beth De Woody titled "Hunt & Chase", and an architectural show by Maziar Behrooz. Salomon Contemporary, with an eye on past, present, and future, specializes in progressive ideas from the East End and beyond.
 
What message, as a gallery, do you want people to leave your gallery with?
What they will be saying on the ride home is constantly on my mind. The East Hampton warehouse is very special to me, it's an unassuming metal box in the middle of the woods with tall walls and a huge garage door that lets in a warm afternoon light. I love the dimensions, I love everything about showing art in that room. The new NYC space on 26 Street has great energy in a different way. I felt that the first time I walked through the door, and I have been hearing it from my visitors. So, I am not trying to send off a message, per se, but I am striving to make their trip worthwhile.
 
In your opinion, what has been one of the gallery's most rewarding projects? 
That is a tough question to answer, because they are all rewarding. If I were to single out anything, it would be the honor and pleasure of working with Lawrence Weiner in both East Hampton and Dubai, and having Alice Aycock put together the group show "Four at the Start", with George Trakas' special installation at the warehouse. George made it for Alice, and it was remarkable. He did EVERYTHING by himself (and is a master with a forklift). I walked in and my mouth dropped, seeing these huge timbers stood upright, with original elements from 112 Greene Street in the early 70s, thinking "it doesn't get better than this". It was romantic and poetic and strong and sturdy. 
One more: Michael Combs did a superior job in building a surreal hunting lodge culled from childhood memories inside the warehouse.
 
With the art market declining in the current financial climate, what have been some strong points for keeping business afloat?
Taking pride in all aspects of your work.
 

Do you find artists or do they seek you out for representation?
I like to approach artists for interesting projects. For example, I would to go to the Robert Wilson benefit in July, and love to bump into Spencer Tunick and bug him about a Montauk project. I did it for three years until he would talk to me seriously about it. Then after 18 months of NYS permit back-and-forths, on June 22nd 2009, we got 425 people naked in front of the Montauk lighthouse. That was a fun morning that yielded some beautiful photographs.
Though a different example would be when Alicia Longwell was curating a show at the Parrish called "Sand: Memory, Meaning, and Metaphor". She wanted to include an important installation by Alice Aycock called "Sand/Fans", originally shown in the basement of 112 Greene Street in 1971, but did not have the space for it. Alicia asked if I was interested in taking it on, and I jumped all over it. That introduction led to other projects with Alice, who has become a dear friend. We are showing "Sand/Fans" at ArtDubai 2010.
Then there are other dealers, like Leslie Tonkonow, with whom I curated a group show called "Out of the Woods" at her gallery. She and I are discussing a collaborative project with an important female artist that we chose for that show.
I just went to a studio in the Northwest Woods in East Hampton. Chick Bills, a brilliant guy who's virtually unknown, has some eye-opening new work that will be presented in "Hunt & Chase" this summer.
Pursuit, introduction, collaboration, discovery. Some ways to create opportunities with others as they create them with me.

 

What do you look for in an artist you’ll show at your gallery? 
Great work and a willingness to participate and/or collaborate. A little flexibility every now and then couldn't hurt. People I enjoy spending time with, who are passionate and have conviction in their work and believe in SC.
 
Do you believe artists are becoming more creative with their mediums during these difficult times? In what way(s)?
I am seeing some artists that I am working with paring down the physicality of their work while keeping the basic concepts in their own language. Ned Smyth is a good example of that, and he is doing it successfully. People get it.
 
In what direction do you see the art market heading? In particular, in what direction do you see your gallery heading?
I will not predict where the "Art Market" will go, besides up and down, like everything else. I have a responsibility to do a great job in servicing artists, collectors, and institutions. If I can wake up and go to bed with that, then Salomon Contemporary will move forward.

"FOUR AT THE START" CURATED BY ALICE AYCOCK AT SALOMON CONTEMPORARY WAREHOUSE, JULY 2009.
GEORGE TRAKAS (LEFT & CENTER), LAURIE ANDERSON (PHOTODOCUMENTATIONS AT RIGHT), JACKIE WINSOR (BRICK AND ROPE SCULPTURE IN FOREGROUND)

MICHAEL COMBS : "THE LODGE" AT SALOMON CONTEMPORARY WAREHOUSE, AUGUST 2008

SPENCER TUNICK MONTAUK INSTALLATION, JUNE 2009 

ALICE AYCOCK : "SAND/FANS" (1971/2008) AT SALOMON CONTEMPORARY WAREHOUSE, JULY 2008

NED SMYTH : "A DELICATE RELATIONSHIP" (2009), INCLUDED IN "OUT OF THE WOODS", A GROUP SHOW AT TONKONOW GALLERY, NYC