Issue link: https://read.dmtmag.com/i/65912
Rick Owens' Pavane for a Dead Princess, 2010. "I remember the floors having to be tested for the weight of the two-ton alabaster bed." —Rick Owens "feigning domesticity," as Greenberg Rohatyn put it, while also being large enough to accommodate "the scale of art that is being made today." Greenberg Rohatyn soon developed a fondness for working with artists who specialize in straddling boundaries themselves, such as Paula Hayes, known for her terrariums and landscape designs, and Marilyn Minter, celebrated for paintings that uncover the gritty side of fashion photography. Gradually, the idea of working with contemporary designers seemed like a natural evolution. "I like flipping from one thing to another," she says. In the last five years, Greenberg Rohatyn has opened two more gal- leries—Salon 94 Freemans, on the Lower East Side, and Salon 94 Bowery, next door to the New Museum. She was also a judge on the first season of 70 CULTURED Bravo's art- world reality show, Work of Art: The Next Great Artist. But the heart of everything she does remains the gallery in her home—and showing there seems to work for her artists, too. "The whole show became like an installation," Woodman says of her first exhibition there last spring. "Simply the choreography of the way the vis- itor came into the house and moved through it was dramatic." Owens fondly recalls the sense of drama surrounding his own installation. "I remember the floors having to be tested for the weight of the two-ton alabaster bed," he says of the show, wherein he famously recreated his Paris bedroom. As for the Design Miami/ booth, Owens thinks it's a great idea. "I'm a Betty Woodman fan, so there's probably a bit of her in my stuff. I'm tickled pink just to be showing in the same space."