As a teenager in the 1960s, she performed in a dance troupe called The Blue Bell Girls. She trained in Paris and traveled to Monaco, where she met Grace Kelly and Shirley Bassey. She had a pet monkey that she liberated from a market in Bangkok. In Tokyo, her long legs and blond hair attracted catcalls. In Beirut, she danced at the Casino du Liban and met men there. As her son, the artist Simon Fujiwara, remembers it now, she was photographed on the beach in the arms of one “charming and dangerous” Arabic gentleman. She looked “irresponsibly happy.”
“I honestly can’t remember exactly when I saw this photograph,” Mr. Fujiwara said in an interview at Andrea Rosen Gallery, where his mother is the subject of his first solo show in New York. “But I know I’d seen it.”
Since it opened in December, Andrea Rosen’s small second space on West 24th Street has had a refreshing curator-driven program, and its shows have been quirky and rewarding. The latest, titled “The Temptation of the Diagram” (referring to Flaubert’s 1874 Temptation of St. Anthony) and organized by the artist Matthew Ritchie, is no exception. It looks at how 25 artists have made use of diagrams over the past 100 years.
Just how resilient is the rectangle? How many things can it be set around, and for how many years, before it loses the power to transubstantiate? For his naively broad-shouldered New York solo debut at Andrea Rosen Gallery, Aaron Bobrow scouted New York construction sites from which to wheedle, barter or borrow lengths of “debris mesh,” the tight and complex weave of steel wire that protects pedestrians from falling debris.
In September of this year Andrea Rosen will open a second, 1,350 square-foot space at 544 West 24th Street, just down the block from her current space at 525, as first reported by Art in America yesterday.