Issue link: https://read.dmtmag.com/i/566702
208 CULTURED now and the level to which the artists are taking their careers." So unlike other galleries, which might send not quite ready for prime time artists out to show in far-flung satellite locations, Maccarone sees the L.A. space as a place to put a spotlight on gallery stars. "The intention is to keep New York experimental and keep it the flagship," she explains. "If we are working with a brand new artist, I'm not going to test drive them in L.A. The program is based on gallery artists who have shown in New York and who have established careers. There's a museum-level quality to what I want to do out there." The Hubbard show will be followed by one of new paintings by Ryan Sullivan, and, if all goes as planned, solo exhibitions by Tuazon, Nate Lowman and Carol Bove. While L.A. is in the throes of its third (or even fourth) contemporary art renaissance, with the opening of The Broad and Hauser & Wirth's 100,000-square- foot complex on the horizon, Maccarone has in fact been there before. About a decade ago, she was a partner with Christian Haye in MC Kunst, a short-lived gallery in Culver City (the space is now occupied by China Art Objects Galleries). And she has spent a fair amount of time in L.A. since the 1990s, when she was working with artist Paul McCarthy, whose Peter Paul Chocolate Factory inaugurated her Greenwich Avenue gallery in 2007. "I have an affinity for L.A., I just love it," Maccarone says. "I think when I'm an old lady I'm going retire there and wear big muumuus and live in a glass house on a hill. It just seems to be my destiny somehow." Oscar Tuazon's An Error, 2010-2012 PHOTO BY JAMES EWING, COURTESY OF THE ARTIST AND MACCARONE LOS ANGELES