Alissa Friedman's recent rejoining of Salon 94 represents a pivotal development for the institution, coinciding with its re-establishment in the contemporary art landscape. This move symbolizes a return to her roots, reigniting her dedication to nurturing emerging and established artists. Her journey, spanning over two decades, illustrates a profound engagement with the evolving dynamics of the art market, witnessing and influencing the convergence of fine art, functional design, and traditional craftsmanship. Friedman's perspective offers invaluable insights into the gallery's enduring ethos and its renewed commitment to interdisciplinary exploration.
Friedman’s initial tenure at Salon 94 began in the mid-2000s, a period when the gallery operated with an intimate, salon-like approach from founder Jeanne Greenberg Rohatyn's residence. The expansion into a Lower East Side space in 2007 marked a strategic shift, yet the core principle remained: a program that defied conventional categories and actively sought to represent artists and communities often overlooked in the New York art scene. This early commitment to inclusivity positioned Salon 94 as a pioneer in showcasing Indigenous artists, ceramics, and design when these areas were less mainstream, demonstrating a foresight that predated broader cultural shifts.
Her departure from Salon 94 in 2021, driven by the gallery's merger into LGDR, was a conscious decision to pursue her passion for working directly with contemporary artists. While LGDR focused on historical works, Friedman's expertise lay in gallery programming and artist development. This led her to Stephen Friedman Gallery, where she spearheaded its US operations. This chapter allowed her to introduce European and UK-based artists to a new audience and experiment with innovative programming, including performance art that integrated various disciplines, such as classical and jazz music.
Beyond the gallery world, Friedman has made substantial contributions to healthcare art initiatives. For over ten years, she has overseen art acquisitions and commissions for prominent institutions like Memorial Sloan Kettering and New York-Presbyterian. This work involves curating and commissioning thousands of artworks, including significant pieces by artists such as Kehinde Wiley. This aspect of her career underscores a belief in art's capacity to provide solace and meaning in sensitive human experiences, moving beyond its commercial or spectacle-driven perceptions.
Upon her return, Salon 94 itself has undergone a transformation, particularly evident in its 89th Street location. Friedman describes the building as an active participant in exhibitions, its unique architecture influencing how art is displayed and perceived. The gallery deliberately avoids a "neutral white box" aesthetic, with each floor offering a distinct atmosphere. Currently, it hosts diverse exhibitions, from major Aboriginal artists like Mantua Nangala and Yukultji Napangati to a solo show by Matthew Krishanu and a presentation by Korean designer Jaiik Lee, who masterfully blends modern technology with ancient craft. These varied displays, though distinct, engage in a dialogue, encouraging visitors to explore new connections and challenge preconceived notions about art.
Friedman envisions the future of Salon 94 as a space for increased interdisciplinary collaboration, featuring more performances, music, and design, along with new artistic voices. The gallery's recent relaunch has solidified its identity, making it a vibrant hub for artistic exploration. Her homecoming to Salon 94 reaffirms her commitment to a dynamic environment where experimentation thrives and artist relationships are paramount, qualities that have always defined the gallery's unique character.