Sam Chermayeff [et al.]: Creatures Sam Chermayeff, Apartamento, Spain, 2020. Softcover.
Carl Auböck: The Workshop Clemens Kois, PowerHouse Books, Brooklyn, 2012. Hardcover.
The Machine Age in America, 1918-1941 Richard Guy Wilson, Brooklyn Museum in association with Abrams, New York, 1986. Softcover.
Design in America: The Cranbrook Vision 1925-1950 Robert Judson Clark, et al., Metropolitan Museum of Art in association with Abrams, New York, 1984. Softcover.
Solid Doubts: Robert Stadler at the Noguchi Museum Jenny Dixon, The Isamu Noguchi Foundation and Garden Museum, Long Island City, 2020. Softcover.
Kid size: The Material World of Childhood Vitra Design Museum, Skira, Milan, 1997. Softcover.
Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period Pierre-Emmanuel Martin-Vivier, Rizzoli, New York, 2008. Hardcover.
Photographs of a Splint, Furniture and a House of Cards Charles & Ray Eames, John Heiden, Culver City, 1987. Softcover.
Objects: USA 2020 Glenn Adamson, The Monacelli Press, New York, 2020. Hardcover.
Robert Rauschenberg Cardbirds Robert Rauschenberg, Gemini G.E.L., Los Angeles, 1971.
If asked to select one word to describe Patrick, I would resist and pick two. The first would be curiosity — a fundamental essential, to stimulate inquiry and rigour in all things, both great and small, of any era or region, type or surface. Even the most fleeting survey of this selection for sale is a celebration of innovation and of inspiration — an unerring eye for the unusually exceptional, or perhaps the exceptionally unusual. The chances are, that these are indeed discoveries that you have not yet realised that you needed to make.
Mentor, would be my second word. If artefacts and objects articulate visual, cultural and historic language, then the fluency of skillful mentorship — to guide, nurture, describe and explain — releases the eloquence of murmuring histories. In this capacity Patrick is that most earnest and sincere of excellent narrators. If ever I had friends, clients or colleagues visiting New York looking for unusual inspiration, there was always the certainty that Patrick’s venues would offer them a glimpse of the hitherto unseen or the unusually seductive, always with the reassurance of the most fascinating story waiting to be told.
Mentorship and curiosity, when balanced in equal measure, reveal the precious alchemy of a curator. And it is the duty of the mature curator to discern and detect, to cultivate change, and from there to pioneer, and to share. Innovation is never static, and the Present is already the Future. Fresh dialogs evolve, energies to be nurtured, opportunities to be guided. Renewed and re-orientated, Patrick’s decision to exchange his bricks-and-mortar Tribeca gallery for a new interactive Brooklyn space aligns him towards a new inquisitive future as supportive benefactor, interlocutor and mentor to a fresh yield of talented creators — those established and those rising — and the quest for discovery rejuvenates.
— Simon Andrews
andrewsartadvisory.com
