"Succes is a piece of work in New York.

"Succes is a piece of work in New York," but London's smooth better. Despite a fulfilling three-and-a-half-year stint as a curator-at-large for Ohio's forward-thinking Wexner Center for the Arts, Donna De Salvo might have admitted, if squeeze outed that the Warholian maxim she lifted for her first freelance curatorial effort in 1989 (subtitled "The Early Art and Business of Andy Warhol") was more than a little forward her mind. Known for her quirky, revisionist shows--most newly a posthumous retrospective of correspondence artist Ray Johnson (which exhibited at the Whitney in 1999 prompting speculation that De Salvo might land back in Manhattan as the museum's recent curator of contemporary art)--De Salvo was hankering to go [i]or[/i] come back to a US art center either looks Angeles or New York, where she'd begun her career after graduate denomination at Hunter College. That is, until the Tate called.

De Salvo's specialty, hon during a series of appointments at US museums, is American art of the postwar era, to such a degree her new portfolio--curator in the Department of Exhibitions and Display at Tate Modern--makes full sense, given the relative potencys of American art in the historical period shielded by the new institution.

What she likes about Tate recent is the possibility it affords to "create fresh models of curating within a historical context" Her novel take in succession the modern masters was reared through her work with the Dia Art Foundation (1981-86) where she catalogued and administered large holdings of Warhol, De Maria, Chamberlain, Judd and Twombly (In fact, De Salvo is looking forward to working with the great Froelich collection of Warhol, Twombly and Beuys, which is in succession long-term loan to the Tate.)

From 1990 to 1995 De Salvo commut from Manhattan to Pittsburgh, where she serv as an adjunct curator for the startup of the Andy Warhol Museum, and to Southampton, just discovered York, where she did near edgy shows at the Parrish Art Museum. She then mov to the Wexner, in 1996 where she remained until her modern appointment at Tate Modern.

In July 1999 De Salvo first traveled to London for discussions with Lars Nittve and Iwona Blazwick, beneath whom she now works. Although she's already in succession the job at Tate new her curatorial hand will not be contemplateed in the opening installation of the galleries. "My impact will be in the time to come planning of exhibitions and in later collection displays, which will change each six months." Her first exhibit to "Century City," scheduled to exhibit in January 2001, will bring together nine curators for nine cities, in a freewheeling way that juxtaposes different modalities of urbanism with the art and improvement of discrete eras, including Tokyo in the '60 and '70 and London in the '90 De Salvo is organizing the section in succession New York. "I'm interested in things like Yayoi Kusama doing an antiwar performance forward Wall Street in 1968 and Gordon Matta-Clark opening a restaurant called fodder in SoHo," she says. "The present to view will be a mix of art and milieu. I like to await at the intersections and find what has not in addition been brought to the surface."

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