Andrea Rosen Gallery is delighted to announce the opening of a new space in New York, also located on West 24th Street in Chelsea, dedicated to its Gallery 2 program and Artist Liaison department, in Fall 2012. It is a particularly exciting time of growth within the gallery, which has also recently taken on a number of new artists: Josephine Meckseper, Mika Rottenberg (co-represented with Nicole Klagsbrun Gallery), Ryan Trecartin, and the collaborative practice of Lizzie Fitch/Ryan Trecartin.
In opening this new space the gallery has chosen to emphasize the activities of Gallery 2, an inspiring and highly important part of its exhibition program. "In conjunction with expanding the gallery's primary program, I feel that an autonomous space for Gallery 2 allows us to fulfill our responsibility to show exhibitions that are uniquely content driven and experimental—allowing for an alternate experience," says Rosen. Gallery 2, previously located adjacent to the main gallery at the 525 West 24th Street location, since its inception in 1999 has developed a reputation for significant historical exhibitions, presenting first-time, one-person shows, and shedding light on lesser known aspects of prominent artists' practices. Andrea Rosen Gallery has been built on the ideals of what it means to represent a specific group of artists over a very long period of time, but it has also come to realize that infusing the gallery with one-time projects enhances the vocabulary, meaning, and impact of the gallery's agenda. Gallery 2 was conceived as a liberating arena to house a large range of selected one-time exhibitions, allowing the freedom to consider new ideas and create parallel perspectives to the primary program. The space has a unique freedom because it is primarily a pure curatorial endeavor. While many of the exhibitions are an opportunity for Rosen to curate and explore ideas, it also affords the same opportunity to artists, gallery staff, and others as well. It is interesting to note that many of the shows conceived in Gallery 2 went on to have other lives in other exhibitions and institutions. Exhibitions mounted at Gallery 2 have included a show of Richard Prince car hoods juxtaposed with early shaped canvases by Robert Mangold (2007); an exhibition comparing John Chamberlain's wrapped foam sculptures with a quintessential Bruce Nauman bronze work Henry Moore Bound to Fail, 1970 (2006); a contextualization of photographer Aaron Siskind's work through the lens of Abstract Expressionist masterworks by Franz Kline, Willem de Kooning, Barnett Newman, and Hugo Weber (2003); and a show of all of Richard Avedon's portraits works from his last project, Democracy (2005). Not only does the Gallery 2 program broaden the audience's basis of visual reference and education—as it is important to see how what's happening in contemporary practice relates to the past in a visual way—but it also affords the gallery the opportunity to work and build relationships with artists who are represented by other galleries, artists who would not seemingly fit neatly into the primary focus of the gallery, as well as very young artists who might otherwise not have the opportunity to show within the primary space.
The new, second space is located at 544 West 24th Street. Its size purposefully reflects the scale of the original Gallery 2 experience. The scale of the new space also reiterates a core value of the gallery: that growth comes not merely from an expansion in size, but also in depth and quality of meaning. It also houses the gallery's Artist Liaison department -- creating a physical space dedicated to servicing artists and their projects—including six staff members and a space for artists to hold meetings. The facade of 544 West 24th Street mimics the signature green wood paneling of the main gallery just down the street, a visual reference that speaks to the proximity of the two spaces both physically and philosophically.
The previous Gallery 2 room at the main gallery will maintain a level of flexibly with the possibility of allowing the main exhibition to continue into that space, or if it would be compelling to have a Gallery 2 exhibition in direct relationship to the main room, it can continue to serve that purpose as well.