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Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of "Tenth Street Days: the Co-ops of the 50s,", 1953-1977

Creator:
Bard, Joellen, 1942 June 19-  Search this
Subject:
Fortel, Ruth  Search this
Thomas, Helen  Search this
Tanager Gallery (New York, N.Y.)  Search this
Brata Gallery  Search this
Camino Gallery  Search this
Hansa Gallery (New York, N.Y.)  Search this
James Gallery (New York, N.Y.)  Search this
Amos Eno Gallery  Search this
14 Sculptors Gallery  Search this
Noho Gallery (New York, N.Y.)  Search this
Pleiades Gallery  Search this
Association of Artist-run Galleries  Search this
Ward-Nasse Gallery  Search this
Topic:
Group work in art  Search this
Scrapbooks  Search this
Photographs  Search this
Art, American  Search this
Art, Modern  Search this
Art galleries, Commercial  Search this
Video recordings  Search this
Curators  Search this
Record number:
(DSI-AAA_CollID)8792
(DSI-AAA_SIRISBib)210975
AAA_collcode_bardjoel
Theme:
The Art Market
Communities, Organizations, Museums
Lives of American Artists
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210975
Additional Online Media:

Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s

Creator:
Bard, Joellen  Search this
Names:
14 Sculptors Gallery  Search this
Amos Eno Gallery  Search this
Association of Artist-run Galleries  Search this
Brata Gallery  Search this
Camino Gallery  Search this
Hansa Gallery (New York, N.Y.)  Search this
James Gallery (New York, N.Y.)  Search this
Noho Gallery (New York, N.Y.)  Search this
Pleiades Gallery  Search this
Tanager Gallery (New York, N.Y.)  Search this
Ward-Nasse Gallery  Search this
Fortel, Ruth  Search this
Thomas, Helen  Search this
Extent:
0.7 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Video recordings
Date:
1953-1977
Summary:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.7 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.
Scope and Content Note:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.7 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.

Series 1: Exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977 (0.4 linear ft.) documents the exhibition that was held December 20, 1977 through January 7, 1978 at Amos Eno Gallery, 14 Sculptors Gallery, Noho Gallery, Pleiades Gallery, and the Ward-Nasse Gallery. Included are the grant proposal, resumes, budget, and background information on the Association of Artist-Run Galleries, exhibition catalog and other printed matter, and congratulatory telegram from John Krushenick. Research files concerning Brata Gallery, Camino Gallery, Hansa Gallery, James Gallery, and Tanager Gallery contain a variety of printed items and historical notes. Of particular interest are administrative records of Camino Gallery that include its articles of agreement and minutes; and a reminiscence of Craig Hazlet who funded Tanager Gallery for 5 years, by daughter Sally Hazlet Drummond. Research files also include artist address lists, responses to a questionnaire about Tenth Street galleries circulated by Bard, and general printed matter about Tenth Street galleries and artists. Additional exhibition records consist of 35-mm color slides of works of art, and small number of black and white photographs of galleries and artists.

Series 2: Records of Tenth Street in 1977, December 20, 1977-January 8, 1978 (0.25 linear ft.) relates to the corollary exhibition shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. Records consist of 2 disbound scrapbooks, arranged alphabetically by artist, that contain biographical information, miscellaneous printed matter, and photographs of works of art.
Arrangement:
The collection is arranged into 2 series. Material in Series 1 is arranged chronologically within each folder. Series 2 is arranged alphabetically by artist.

Series 1: Records of -- Tenth Street Days: The Co-ops of the 50s -- , 1953-1977 (Box 1 and OV; 0.4 linear ft.)

Series 2: Records of -- Tenth Street in 1977 -- , 1977 (Box 2; 0.25 linear ft.)
Biographical Note:
Tenth Street between Third and Fourth Avenues, was an artist community that was home to many of the first generation Abstract Expressionists. The neighborhood was also home to The Club and the Cedar Tavern. After 1953, many of younger artists--the second and third generations of Abstract Expressionists--came to live and work near Tenth Street. They organized and ran a number of cooperative galleries that became an important focus and provided much needed exhibition opportunities for the large number of young artists lured to New York City in the late 1950s and early 1960s.

Researched and organized by painter and art instructor Joellen Bard, Ruth Fortel and Helen Thomas in co-operation with the Association of Artist-Run Galleries and Pleiades Gallery, Tenth Street Days: The Co-ops of the 50s, was held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. A corollary exhibition, Tenth Street in 1977, was shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. An expanded version of the exhibition was circulated by The Gallery Association of New York State.
Provenance:
Gift of Joellen Bard, coordinator of the Association of Artist-Run Galleries and curator of Tenth Street Days: The Co-ops of the 50s, 1977-1978.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated too public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Art, American -- Exhibitions  Search this
Art, Modern -- 20th century -- United States -- Exhibitions  Search this
Group work in art -- United States -- Exhibitions  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Video recordings
Citation:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bardjoel
See more items in:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bardjoel
Additional Online Media:

Inventing downtown : artist-run galleries in New York City, 1952-1965 / Melissa Rachleff ; introduction by Lynn Gumpert ; interviews by Billy Klüver and Julie Martin

Author:
Rachleff, Melissa  Search this
Writer of introduction:
Gumpert, Lynn  Search this
Interviewer:
Klüver, Billy 1927-2004  Search this
Martin, Julie 1938-  Search this
Host institution:
Grey Art Gallery  Search this
Physical description:
296 pages : illustrations (some color), color map ; 32 cm
Type:
Exhibitions
Place:
New York (State)
New York
Lower Manhattan (New York, N.Y.)
Date:
2017
20th century
Topic:
Art, American  Search this
Artist-run galleries  Search this
Intellectual life  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1072637

Bowery Gallery records

Creator:
Bowery Gallery (New York, N.Y.)  Search this
Extent:
3.1 Linear feet
0.684 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Video recordings
Visitors' books
Photographs
Date:
1969-2008
Summary:
The records of the Bowery Gallery, a non-profit, artist-run, cooperative gallery, measure 3.1 linear feet and 0.684 GB and date from 1969-2008. Business records, letters, exhibition files, guest registers, printed and digital material and photographs document the gallery's activities and artists.
Scope and Content Note:
The records of the Bowery Gallery, a non-profit, artist-run cooperative gallery in New York City, measure 3.1 linear feet and and 0.684 GB date from 1969-2008. Business records, letters, exhibition files, guest registers, printed material and photographs document the gallery's activities and artists.

An additional 0.4 linear feet of Bowery Gallery records dated circa 2002-2008 were accessioned in 2008 and remain unprocessed except for a digital copy of an audiovisual recording of the gallery's inaugural exhibition (October 31, 1969), which is included in Series 3. This accretion contains minutes and other business records, exhibition schedules, exhibition announcements, and Bowery Artists Tribute, Volume 1 (2008).
Arrangement:
The collection is arranged as 6 series:

Series 1: Business Records, 1969-2002 (Box 1; 0.6 linear feet)

Series 2: Letters, 1974-1997 (Box 1; 3 folders)

Series 3: Exhibition Files, 1983-1994 (Box 1; 4 folders, ER01; 0.684 GB)

Series 4: Guest Registers, 1976-2001 (Boxes 1-2; 1.0 linear feet)

Series 5: Printed Material, 1969-2001 (Boxes 2-4; 0.9 linear feet)

Series 6: Photographic Materials, 1997-1999 (Box 3; 0.1 linear feet)
Historical Note:
In 1969, eighteen artists founded the Bowery Gallery as a non-profit, artist-run cooperative gallery in New York City. The gallery's original mission was to promote contemporary art and artists during a time when abstract art and pop art dominated. In 1991, Bowery Gallery began sponsoring an annual national competition and juried show for artists working in two-dimensional media.
Provenance:
Donated 2003 and 2008 by the Bowery Gallery via Barbara Grossman, and Lynda Caspe, founding members of the Bowery Gallery, and Marylou Schuck. Grossman maintained the Gallery records.
Restrictions:
Use of original records requires an appointment. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Bowery Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Function:
Artist-run galleries -- New York (State) -- New York
Genre/Form:
Video recordings
Visitors' books
Photographs
Citation:
Bowery Gallery records, 1969-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowegall
See more items in:
Bowery Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bowegall

Area Gallery records

Creator:
Area Gallery (New York, N.Y.)  Search this
Extent:
1.1 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Date:
1958-1977
bulk 1959-1964
Summary:
The records of the Area Gallery measure 1.1 linear feet and date from 1958-1977 (bulk dates 1959-1964). Area Gallery was one of the Tenth Street Co-ops in New York City, and operated from 1958-1965. Materials in this collection include artist bios, price lists, black and white photos of artwork; financial records with annotations; member lists, exhibition lists, and daily notes; gallery sign-in sheets; correspondence, including letters to and from the gallery and regarding rent issues; and an extensive scrapbook containing exhibition posters, photos of artwork, announcements, exhibition reviews, and clippings.
Scope and Contents:
The records of the Area Gallery measure 1.1 linear feet and date from 1958-1977 (bulk dates 1959-1964). Area Gallery was one of the Tenth Street Co-ops in New York City, and operated from 1958-1965. Materials in this collection include artist bios, price lists, black and white photos of artwork; financial records with annotations; member lists, exhibition lists, and daily notes; gallery sign-in sheets; correspondence, including letters to and from the gallery and regarding rent issues; and an extensive scrapbook containing exhibition posters, photos of artwork, announcements, exhibition reviews, and clippings.

Administrative records contain member lists, daily operational notes and messages, artwork loan contracts to museums, some mail received by the gallery, and all sign-in sheets for the gallery from 1962-1965. It is noted that all sign-in sheets prior to April 1962 have been lost.

Correspondence is primarily to and from the Treasurer of Area Gallery, and also contains requests for hire and exhibitions, member resignations, payments made and received. Additionally, rent correspondence contains letters regarding late or overdue payments.

The artist files and scrapbook contain black and white photographs of artwork, artist bios, price lists, and some exhibition announcements, and represent a small fraction of the number of artists who showed at Area Gallery. The scrapbook also contains exhibition review clippings and exhibition posters.

The financial records include cancelled checks, many of which have been annotated, deposit slips and bank statements, also annotated. Receipts for bills, supplies, artist payments, and dues are also included, as well as two bookkeeping ledgers.
Arrangement:
The collection is arranged as 5 series.

Series 1: Administrative Records, 1958-1977 (8 folders; Box 1)

Series 2: Correspondence, 1958-1965 (3 folders; Box 1)

Series 3: Artist Files, 1959-1964 (15 folders; Box 1)

Series 4: Financial Records, 1958-1965 (0.4 linear feet; Box 1-2)

Series 5: Scrapbook, 1959-1966 (0.3 linear feet; Box 3)
Biographical / Historical:
Area Gallery was one of the Tenth Street Co-ops in New York City, and operated from 1958-1965. From fall 1958 to summer 1962, the gallery was located at 80 East 10th Street, and then moved to 90 East 10th Street until the summer of 1965. Area Gallery's original members were: Tom Boutis, John Ireland Collins, Charles DuBack, Joe Fiore, Bernard Langlais, Ed Moses, Daphne Mumford, and Paul Yakovenko.

New York's Tenth Street Galleries were a cooperative of artist-run galleries that began opening in the early 1950s, located between 3rd and 4th Avenues, where spaces for living and studios were relatively inexpensive. It was the center for anything new and avant-garde in downtown Manhattan at this time. Galleries operated on very low budgets, artists were often members of more than one gallery, and they provided an alternative to the highly selective Madison Avenue and 57th Street galleries. The top galleries of the 10th Street Co-ops were the Tanager, Hansa, James, Camino, March, Phoenix, Brata, and Area Gallery.
Related Materials:
Also found in the Archives of American Art is a collection relating to the Tenth Street Galleries and collection donor, Ruth Fortel. See: Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of "Tenth Street Days: the Co-ops of the 50s," 1953-1977.
Provenance:
The records were donated in 1978 by Ruth Becker Fortel, Treasurer of Area Gallery.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Area Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Function:
Artist-run galleries -- New York (State) -- New York
Genre/Form:
Scrapbooks
Photographs
Citation:
Area Gallery records, 1958-1977, bulk 1959-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.areagall
See more items in:
Area Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-areagall

Robin Tewes papers

Creator:
Tewes, Robin  Search this
Names:
Belag, Andrea  Search this
Celmins, Vija, 1938-  Search this
Coyne, Petah  Search this
Donofrio, Beverly  Search this
Innerst, Mark, 1957-  Search this
Kozloff, Joyce  Search this
Marten, Ruth  Search this
Tansey, Mark, 1949-  Search this
Tucker, Marcia  Search this
Wilson, Martha, 1947-  Search this
Yankowitz, Nina  Search this
Extent:
8.4 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Date:
1950-2016
Summary:
The papers of painter and educator Robin Tewes measure 8.4 linear feet and date from 1950-2016. The collection documents the life of a veteran New York artist, active in artist run galleries, such as Fifth Street Gallery, and in artists' organizations. Among the papers are biographical material, correspondence, nine notebooks, project files, teaching files, personal business records, printed material, photographic material, artwork, nine sketchbooks, and a few artifacts.
Scope and Contents:
The papers of painter and educator Robin Tewes measure 8.4 linear feet and date from 1950-2016. The collection documents the life of a veteran New York artist, active in artist run galleries, such as Fifth Street Gallery, and in artists' organizations. Among the papers are biographical material, correspondence, nine notebooks, project files, teaching files, personal business records, printed material, photographic material, artwork, nine sketchbooks, and a few artifacts.

Notable correspondents include Tewes' longtime friend and writer Beverly Donofrio, as well as Andrea Belag, Vija Celmins, Petah Coyne, Ilona Granet, Mark Innerst, Joyce Kozloff, Ruth Marten, Mark Tansey, Marcia Tucker, Martha Wilson, and Nina Yankowitz.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, 1950-2012 (0.3 linear feet; Box 1)

Series 2: Correspondence, circa 1970-2016 (0.9 linear feet; Box 1-2)

Series 3: Notebooks, 2007-2015 (0.4 linear feet; Box 2)

Series 4: Project Files, circa 1975-2015 (1.6 linear feet; Box 2-3, OV 10-11)

Series 5: Teaching Files, 1997-2015 (0.4 linear feet; Box 3-4)

Series 6: Personal Business Records, circa 1975-2010 (0.2 linear feet; Box 4)

Series 7: Printed Material, circa 1970-2015 (2.5 linear feet; Box 4-6, OV 12)

Series 8: Photographic Material, circa 1958-2015 (0.6 linear feet; Box 7, OV 13; 332 Megabytes; ER01)

Series 9: Artwork, circa 1950-2015 (0.7 linear feet; Box 7, OV 14-15)

Series 10: Sketchbooks, circa 1984-2010 (0.6 linear feet; Box 8-9)

Series 11: Artifacts, circa 2000, circa 2009 (0.2 linear feet; Box 9)
Biographical / Historical:
Robin Tewes (1950- ) is a New York painter and educator. Born and raised in Queens, New York, Tewes graduated from the High School of Art and Design in 1968 and received her BFA from Hunter College in 1978. Tewes was an original member of P.S. 122 Painting Association and founded the Fifth Street Gallery which operated on the Lower East Side in the late 1970s. Tewes has taught at several colleges and universities around New York City including Bard College, Hunter College, Pace University, Parsons the New School for Design, and the School of Visual Arts. She has been included in numerous exhibitions, both domestically and internationally.
Provenance:
Donated to the Archives of American Art in 2016 by Robin Tewes.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Robin Tewes papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Photographs  Search this
Genre/Form:
Sketchbooks
Citation:
Robin Tewes papers, 1950-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tewerobi
See more items in:
Robin Tewes papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tewerobi

Tenth Street days : the co-ops of the 50's : the galleries, Tanager, Hansa, James, Camino, March, Brata, Phoenix, Area : an artist-initiated exhibition, works from 1952-1962 / researched and organized by Joellen Bard, in co-operation with Pleiades Gallery and the Association of Artist-Run Galleries ; traveling exhibition circulated by the Gallery Association of New York State ; work selected for travel by Dore Ashton and Joellen Bard

Author:
Bard, Joellen  Search this
Pleiades Gallery  Search this
Association of Artist-Run Galleries  Search this
Amos Eno Gallery  Search this
Physical description:
vii, 72 p. : ill. ; 21 x 28 cm
Type:
Exhibitions
Place:
United States
Date:
1977
C1977
20th century
Topic:
Art, American  Search this
Group work in art  Search this
Call number:
N6512.B27X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_107383

55 Mercer Artists, Inc. records

Creator:
55 Mercer Artists, Inc  Search this
Names:
55 Mercer St. Gallery  Search this
Charlap, Peter, 1949-  Search this
Gardner, Joan  Search this
Genaro, Irene  Search this
Gregg, Jon  Search this
Honig, Ethelyn  Search this
Ingram, Lisa  Search this
Extent:
5.1 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Visitors' books
Date:
1939-2007
bulk 1970-2007
Summary:
55 Mercer Artists, Inc. records, 1939-2007, bulk 1970-2007, measure 5.1 linear feet. The records, which are incomplete with sizeable gaps, consist of administrative records, exhibition files, artists' files, financial records, scrapbooks, guest books, and printed material that document one of the most successful and long lived artist run cooperative galleries in SoHo. The only item pre-dating 55 Mercer Artists, Inc. is a 1939 newspaper clipping in the artists' files.
Scope and Contents:
55 Mercer Artists, Inc. records, 1939-2007, bulk 1970-2007, measure 5.1 linear feet. The records, which are incomplete with sizeable gaps, consist of administrative records, exhibition files, artists' files, financial records, scrapbooks, guest books, and printed material that document one of the most successful and long lived artist run cooperative galleries in SoHo. The only item pre-dating 55 Mercer Artists, Inc. is a 1939 newspaper clipping in the artists' files.

Administrative records include correspondence, records of board committees, exhibition schedules, membership and mailing lists, and minutes. Exhibition files consist of slides and photographs of installations and individual works of art, small amounts of correspondence, notes, and lists of works shown.

Artists' files consist of various combinations of correspondence, resumes, printed material, photographs and slides of art work of members and guest artists. Many artists are represented by just an item or two; files for Corliss Cavaliere, Peter Charlap, Joan Gardner, Irene Gennaro, Jon Gregg, Ethelyn Honig, and Lisa Ingram are more substantial.

The majority of financial records concern membership dues, rent and exhibition fees received. Also included are sporadic banking records, paid bills, treasurers' reports, insurance information and tax records. Eight scrapbooks include exhibition announcements, publicity, reviews, miscellaneous printed material, photographs, and slides.

Guest books consist of 22 volumes and loose pages that record gallery visitors, many of whom offered comments about the shows. Exhibition titles and dates are noted on the page for the day of each opening reception.

Among the printed materials are exhibition announcements, catalogs, and publicity produced by 55 Mercer Artists, Inc.; copies of every exhibition announcement, catalog, and press release issued have not survived. Also found are articles about or mentioning 55 Mercer Artists, Inc., exhibition reviews, advertisements and event listings.
Arrangement:
The collection is arranged as 7 series:

Series 1: Administrative Records, circa 1970-2007 (Box 1; 0.4 linear ft.)

Series 2: Exhibition Files, 1971-2007 (Box 1; 0.4 linear ft.)

Series 3: Artists' Files, 1939, 1973-2006 (Boxes 1-2; 0.6 linear ft.)

Series 4: Financial Records, 1973-2006 (Boxes 2-3; 0.8 linear ft.)

Series 5: Scrapbooks, 1977-1987 (Box 3; 0.3 linear ft.)

Series 6: Guest Books, 1972-2007 (Boxes 3-5; 1.7 linear ft.)

Series 7: Printed Material, 1973-2007 (Box 5, OV 6; 0.9 linear ft.)
Biographical / Historical:
55 Mercer Artists, Inc., an artist-run alternative to commercial galleries, was founded as 55 Mercer Gallery - also known as 55 Mercer Street Gallery and 55 Mercer - in December 1969. The earliest of a second wave of co-operative galleries in New York City, it was one of the most successful and the longest-lived.

Many of the founders and early members were active in the Art Workers' Coalition, a group formed to address artists' rights issues and promote the overhaul of the museum and gallery system to remove profit motives from art. Tom Parker, an artist friend acting on behalf of group members who aspired to open a co-operative gallery, rented the third floor of 55 Mercer Street. He reserved a room to use as a studio and sublet the remainder to the co-op. Two large galleries of nearly equal size were separated by a small, open office area, a layout that led to a tradition of tandem solo exhibitions or one large group show. The open, spare and worn space especially appealed to sculptors and attracted those who worked in large scale with recycled materials.

The inaugural exhibition in early 1970 was a group show of the ten founding members: Alice Adams, Martin Bressler, Don Cole, Gloria Greenburg, Stan Kaplan, Christy Park, Stephen Rosenthal, L. Shreve Stevenson, and Merrill Wagner; during the first year, each member also had a solo exhibition. With haphazard arrangements and no publicity or gallery guide listings, reviews were not forthcoming. Nevertheless, by the end of its first year the gallery had established a reputation as a space "of artists, by artists, and for artists" and over the years presented some of the best exhibitions in SoHo. Membership was fluid. No particular style or philosophy was ever dominant, and members found unity in their focus on quality, antipathy to commercial galleries and insistence on freedom for member and guest artists alike.

By the start of its second season, the gallery had the attention of critics and reviews were appearing regularly in art periodicals. When the co-operative gallery Ours closed at the end of 1970, Janet Fish, Diane Karol, Paul Tschinkel, and Frank Lincoln Viner were invited to join. With larger membership came the need for a definite exhibition schedule and greater organization. Over the next few years, meetings began to occur more frequently. By the mid 1970s the gallery began to receive funding from sources such as the New York State Council on the Arts and the National Endowment for the Arts.

Officially incorporated as 55 Mercer Street Artists, Inc. in 1977, the organizations by-laws specified: "The corporation is a not-for-profit corporation whose purpose is to provide a facility for artists who seek to introduce their work to the public. The corporation maintains an exhibition space which it makes available for this purpose, both for its artists members, and for visiting artists. In addition, the corporation presents performances, discussions, workshops and other art-related events for the general public." A board of directors composed of artist members managed the affairs of the corporation assisted by a Membership Committee, Grants Committee, and Selection Committee that chose and scheduled exhibitions,

Trustees began managing the building after the owner of the 55 Mercer Street died, and 55 Mercer Artists, Inc. received an eviction notice in early 2007. Legal representation was obtained and a loophole discovered, but declining membership and the poor physical condition of the facilities eventually prompted a decision to relocate. Some members chose to join other galleries. A core group of about a dozen 55 Mercer artists found a suitable space in Long Island City; after reorganizing as an artist-initiated not-for-profit gallery, they reopened in 2008 as M55 Mercer Art.
Provenance:
Donated in 2007 by 55 Mercer Street Artists, Inc. via Ethelyn Honig.
Restrictions:
Use of original material requires an appointment.
Rights:
The 55 Mercer Artists, Inc. records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Alternative spaces (Art facilities) -- New York (State) -- New York  Search this
Function:
Artist-run galleries -- New York (State) -- New York
Genre/Form:
Scrapbooks
Photographs
Visitors' books
Citation:
55 Mercer Artists, Inc. records, 1939-2007, bulk 1970-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.55mercga
See more items in:
55 Mercer Artists, Inc. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-55mercga
Additional Online Media:

Organization of Independent Artists records

Creator:
Organization of Independent Artists  Search this
Names:
Hera, 1940-  Search this
Klem, Tom  Search this
Shaffer, Mary  Search this
Extent:
28.4 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Date:
circa 1970s-circa 2003
Summary:
The Organization of Independent Artists records measure 28.4 linear feet and date from circa 1970s to circa 2003. The records include administrative records, correspondence, exhibition and installation files, artists' files, financial and legal records, printed material, seven scrapbooks, and photographs.
Scope and Contents:
The Organization of Independent Artists records measure 28.4 linear feet and date from circa 1970s to circa 2003. The records include administrative records, correspondence, exhibition and installation files, artists' files, financial and legal records, printed material, seven scrapbooks, and photographs.

Administrative records include scattered files about the board of directors/trustees, the advisory board, membership, events, gallery rental space, loans, other organizations, and the general history of the OIA. Also found are exhibitions lists, schedules, and proposals, as well as drafts of OIA printed materials. Correspondence with artists, board members, donors, financial institutions, and other organizations is found in many of the files.

Exhibition and installation files comprise the bulk of the records and include files for the Annual OIA Salon Show, the OIA Sculpture Garden assembled annually on the grounds of the Manhattan Psychiatric Center on Ward's Island, several shows of Selections from the Slide Files, as well as numerous other group exhibitions and installations.

The artists' files contain a variety of materials, including photographs, and are found for Hera, Tom Klem, Mary Shaffer and a few others. Financial and legal records document the organization's many grant applications, invoices and bills paid, tax materials, and legal issues. Printed materials include OIA newsletters, show announcements and brochures, and exhibition materials and clippings. There is one clippings scrapbook and six scrapbooks of exhibition materials. Photographs depict exhibitions and installations as well as artwork; additional photographs of exhibitions are also filed with the exhibition files.
Arrangement:
This collection is arranged as 8 series:

Series 1: Administrative Records, circa 1976-2002 (3.5 linear feet; Boxes 1-4)

Series 2: Correspondence, circa 1976-2002 (0.8 linear feet; Boxes 4-5)

Series 3: Exhibition and Installation Files, circa 1970s-circa 2003 (13 linear feet; Boxes 5-18)

Series 4: Artists' Files, circa 1980s-circa 1990s (0.2 linear feet; Box 18)

Series 5: Financial and Legal Records, circa 1970s-circa 2002 (6.9 linear feet; Boxes 18-25, 29)

Series 6: Printed Material, circa 1970s-circa 2002 (3.1 linear feet; Boxes 25-29, OV30)

Series 7: Scrapbooks, circa 1977-2000 (0.7 linear feet; Box 28)

Series 8: Photographs, circa 1980s-circa 1990s (0.2 linear feet; Box 28-29)
Biographical / Historical:
The Organization of Independent Artists (OIA) is a non-profit arts organization founded in 1976 by Warren Tanner, Arnold Wechsler, and Renee Meyer. The organization's mission is to sponsor artist-curated group shows and enable exhibitions of emerging and mid-career artists in public spaces throughout the New York City area outside of the usual commercial and alternative gallery venues.

OIA activities have included organizing public space exhibitions and displays of artwork, publishing a quarterly newsletter, maintaining a slide registry of artists' work and extensive artists' mailing lists, and arranging studio tours. The Arts in Public Spaces Program was initiated in 1976 with the passage of the Public Buildings Cooperative Usage Act, a public law that encourages the use of public space in federal buildings for cultural and educational activities. Participating professional artists have included Thornton Willis, Joan Thorne, Vincent Longo, Mimi Gross Grooms, Hannah Wilke, Nancy Spero, Richard Mock, and Joyce Kozloff, among others. By 1986, OIA had facilitated the display of more than 5,000 works of art in forty public exhibition sites, which included courthouses, libraries, building lobbies, public parks, college campuses, and hospital grounds in all five boroughs of New York City, and over 2,000 artists had participated it its Art in Public Spaces program.

Other exhibition collaborations have included Cork Gallery at Lincoln Center, General Services Administration, John F. Kennedy Airport, Long Island University in Brooklyn, Longwood Arts Center in the Bronx, New York City Department of Cultural Affairs, Port Authority Bus Terminal, Queens Museum in Flushing Meadow Park, Snug Harbor Cultural Center on Staten Island, U.S. Federal Courthouse in Brooklyn, and the grounds of the South Beach Psychiatric Center on Staten Island. Since 1979, the annual OIA Sculpture Garden at the Manhattan Psychiatric Center on Ward's Island has afforded hundreds of artists the opportunity to construct and install large-scale outdoor work in an urban environment, and many artists have received individual commissions, one-person shows, and have sold art work as a direct result of their participation.

Other OIA exhibition programming has resulted in ten to twelve artist-curated shows per year, and has assisted the artist-curator by identifying and negotiating exhibition locations, as well as producing announcement cards and posters, providing insurance, hosting the artists' reception, advising and assisting with publicity, and undergoing extensive fundraising for artists' and curators' fees.
Provenance:
The Organization of Independent Artists records were donated in 2003 by the organization via Geraldine Cosentino, Director.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Organization of Independent Artists records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art patronage  Search this
Function:
Artist-run galleries -- New York (State) -- New York
Genre/Form:
Scrapbooks
Photographs
Citation:
Organization of Independent Artists records, circa 1970s-circa 2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.orgainda
See more items in:
Organization of Independent Artists records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-orgainda

Art is where the home was... : John Born, Binda Colbrook, Robert Conger, Pam Dewey, Brett Douglas, Elisabeth Eder, Susan Graham, Adam Hurwitz, Jennifer Lytton, Steve Marcus, Anne Arden McDonald, Lucretia Moroni, Itty Neuhaus, Carolanne Patterson, Raphaela Pivetta, Penelope Price, Adam Reich, Danile Rosenbaum, Ellen Ross, Hugh Russell, Jim Savage, Rosa Silver, Deborah Warner, Jan Westervelt

Title:
Art is where the home was : the final exhibition of Foramen Magnum Gallery
Curator:
Silver, Rosa 1964-  Search this
Publisher:
Foramen Magnum Gallery  Search this
Subject:
Foramen Magnum Gallery  Search this
Physical description:
18 unnumbered pages : illustrations, plans ; 20 cm
Type:
Exhibitions
Place:
New York (State)
New York
Date:
1996
Topic:
Site-specific installations (Art)  Search this
Artist-run galleries  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1075033

Welcome to Painterland : Bruce Conner and the Rat Bastard Protective Association / Anastasia Aukeman

Author:
Aukeman, Anastasia  Search this
Subject:
Conner, Bruce 1933-2008 Criticism and interpretation  Search this
Rat Bastard Protective Association  Search this
Physical description:
ix, 337 pages : illustrations (some color) ; 26 cm
Type:
Books
Place:
California
San Francisco
New York (State)
New York
Date:
2016
19th century
Topic:
Arts, American  Search this
Artists--History  Search this
Assemblage (Art)  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1066894

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