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Guild Art Gallery records

Creator:
Guild Art Gallery  Search this
Names:
Gorky, Arshile, 1904-1948  Search this
Lefranc, Margaret  Search this
Menkes, Sigmund, 1896-1986  Search this
Ney, Lloyd Raymond, 1893-1964 or 5  Search this
Walinska, Anna  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
circa 1933-1937
Summary:
The records of New York's Guild Art Gallery measure 1.0 linear feet and date from circa 1933-1937. Records document the operation of the gallery for the duration of its existence from August 1935-1937, through correspondence, including some with artists, exhibition files, business and financial records, printed material, a scrapbook, a sketch by Anna Walinska, and photographs of artwork and the gallery.
Scope and Contents:
The records of New York's Guild Art Gallery measure 1.0 linear feet and date from circa 1933-1937. Records document the operation of the gallery for the duration of its existence from August 1935-1937, through correspondence, including some with artists, exhibition files, business and financial records, printed material, a scrapbook, a sketch by Anna Walinska, and photographs of artwork and the gallery.

Correspondence is with artists, business associates, and museums, and in particular records the gallery's efforts to build a client base, establish financial security, and foster the market for modern art. Of note is more detailed documentation of the gallery's representation of painter Lloyd Ney, and records documenting Walinska's attempt to promote the work of Sigmund Menkes which are indicative of the extent to which the gallery was concerned with the development and promotion of art by Jewish artists.

Exhibition files including announcements, catalogs, and price lists, printed material including press clippings, and a dismantled scrapbook of printed material, primarily document the exhibition history of the gallery and provide details of its focus on modern art and the extent of the publicity the gallery received.

Business and financial records provide a variety of ways to examine the gallery's day-to-day operations and accounts. In addition to artist account ledgers and agreements, this series records balances, charges, deposits, and receipts and includes two notebooks with handwritten accounts of activities at the gallery for 1937.

Additionally, there is a pen and ink sketch by Anna Walinska, black and white copy prints of artwork by gallery artists, and a few original photos of the gallery's interior and exhibitions.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Correspondence, 1935-1937 (10 folders; Box 1)

Series 2: Exhibition Files, 1935-1937 (5 folders; Box 1)

Series 3: Business and Financial Records, 1935-1937 (13 folders; Box 1)

Series 4: Printed Material, 1935-1937 (7 folders, Box 1)

Series 5: Scrapbook, 1935-1937 (4 folders; Box 1)

Series 6: Sketch and Photographs, circa 1933-1937 (4 folders; Box 1)
Biographical / Historical:
Founded by painter Anna Walinska (1906-1997) and painter and illustrator Margaret Lefranc (1907-1998), the Guild Art Gallery opened in August 1935 at 37 West 57th Street in New York. Walinska and Lefranc were known for their promotion of modern art and their gallery was the venue for Arshile Gorky's first solo exhibition in the city. The gallery was also committed to promoting Jewish artists during a time of growing antisemitism at home and abroad.

In 1935 Walinska and Lefranc were quoted in Art Digest as stating that their plans for the new gallery were to "exhibit, without charge, the work of contemporary artists, whether known or unknown; to develop, through a receptive audience, a better understanding of the creative expression and the problems of creative expression and the problems of contemporary society; and to illustrate the relationship of painting with the other arts." The gallery's opening exhibition featured work by both Walinska and Lefranc, as well as by Boris Aronson, Don Forbes, Henry Major, Rosa Newman, Philip Reisman, Ben-Shmuel, Ary Stillman, and, notably, Arshile Gorky. Gorky's first solo exhibition in New York was subsequently held at the gallery in December 1935.

Walinska's interest in promoting Jewish artists is evidenced in records of a 1936 letter writing campaign to seek prospective Jewish clients for the work of School of Paris painter Sigmund Menkes and, in particular, his painting The Torah. Walinska wrote in her letters "It seems to me in view of the fact that a renewed interest in Jewish culture has been awakened by recent world events, that effort should be made towards a development and conservation of Jewish Art." Jewish artists were represented in three-quarters of the gallery's inaugural exhibition season, and consistently thereafter.

Walinska and Lefranc initially sponsored lectures on modern art to generate income but outgoing 1936 letters indicate the gallery was struggling financially and Walinska and Lefranc sought support from prominent and wealthy figures in the art and business worlds such as Winslow Ames, George Gershwin, Juliana Force, A. Conger Goodyear, William Randolph Hearst, Albert C. Barnes, and Alfred H. Barr.

After almost two years in operation, the Guild Art Gallery closed in 1937.
Related Materials:
Also found among the holdings of the Archives of American Art are the Anna Walinska papers, 1927-2002.
Provenance:
Margaret Lefranc, co-founder of the Guild Art Gallery, donated the records to the Archives of American Art in 1981.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Women art dealers  Search this
Jewish artists  Search this
Function:
Art galleries, Commercial -- New York (State)
Artist-run galleries -- New York (State)
Genre/Form:
Scrapbooks
Citation:
Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.guilart
See more items in:
Guild Art Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aa27159d-d543-4e12-867f-754051dc0989
EDAN-URL:
ead_collection:sova-aaa-guilart
Online Media:

Four Walls records

Creator:
Four Walls (Gallery)  Search this
Names:
Araujo, Michele  Search this
Ballou, Michael, 1952-  Search this
Simon, Adam, 1952-  Search this
Extent:
30 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Sound recordings
Date:
1984-2000
Scope and Contents:
The records of artist-run collaborative exhibition and event space, Four Walls, measures 30.0 linear feet and dates from 1984-2000. The records document Four Walls activities such as artist conversations, panel discussions, exhibitions, screenings, and performances, and include photographic prints and slides, printed material and ephemera, notes and writings, correspondence, audio and video recordings, and some small artifacts. A portion of the material is in electronic format.
Biographical / Historical:
Four Walls (1984-2000) was an artist-run collaborative exhibition and event space, operated primarily by artists Adam Simon and Michael Ballou. The organization consisted of two consecutive phases: from 1984 to 1988 in Hoboken, New Jersey, and from 1991 to 2000 in the Greenpoint/Williamsburg neighborhood of Brooklyn, New York.
Provenance:
Donated in 2022 by founders Adam Simon and Michele Araujo and by Michael Ballou, who maintained a bulk of the material from Greenpoint in Brooklyn, New York.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: "Dissociationism: an art movement at the end of the millennium," 1996, single-channel video, 44 min., 30 sec.
Function:
Artist-run galleries -- New York (State)
Artist-run galleries -- New Jersey
Genre/Form:
Video recordings
Sound recordings
Identifier:
AAA.fourwall
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91e117876-c2a5-483d-85fd-c8c44f2d1da0
EDAN-URL:
ead_collection:sova-aaa-fourwall

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:
Thomas, Helen  Search this
Fortel, Ruth  Search this
14 Sculptors Gallery  Search this
Amos Eno Gallery  Search this
Association of Artist-run Galleries  Search this
Ward-Nasse Gallery  Search this
Tanager Gallery (New York, N.Y.)  Search this
Noho Gallery (New York, N.Y.)  Search this
Pleiades Gallery  Search this
James Gallery (New York, N.Y.)  Search this
Hansa Gallery (New York, N.Y.)  Search this
Brata Gallery  Search this
Camino Gallery  Search this
Type:
Scrapbooks
Video recordings
Photographs
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.
Topic:
Group work in art -- United States -- Exhibitions  Search this
Art, American -- Exhibitions  Search this
Art, Modern -- Exhibitions  Search this
Women artists  Search this
Women painters  Search this
Women art dealers  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8792
(DSI-AAA_SIRISBib)210975
AAA_collcode_bardjoel
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210975
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:
Collection descriptions
Archival materials
Scrapbooks
Video recordings
Photographs
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.

Missing Title

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:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Topic:
Group work in art -- United States -- Exhibitions  Search this
Art, American -- Exhibitions  Search this
Art, Modern -- Exhibitions  Search this
Women artists  Search this
Women painters  Search this
Women art dealers  Search this
Genre/Form:
Scrapbooks
Video recordings
Photographs
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
GUID:
https://n2t.net/ark:/65665/mw9710bb362-8f1a-44fd-8d11-259f8625d467
EDAN-URL:
ead_collection:sova-aaa-bardjoel
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:
Collection descriptions
Archival materials
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:

Missing Title

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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art patronage  Search this
Function:
Artist-run galleries -- New York (State)
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
GUID:
https://n2t.net/ark:/65665/mw9b7ace1ad-bd03-4a3e-b81c-db5be1d7b6ca
EDAN-URL:
ead_collection:sova-aaa-orgainda

Prince Street Gallery records, 1970s-2005

Creator:
Prince Street Gallery (New York, N.Y.)  Search this
Subject:
Kulicke, Barbara  Search this
Bowery Gallery (New York, N.Y.)  Search this
Citation:
Prince Street Gallery records, 1970s-2005. Archives of American Art, Smithsonian Institution.
Topic:
Figurative art  Search this
Women artists  Search this
Theme:
Women  Search this
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)13518
(DSI-AAA_SIRISBib)267691
AAA_collcode_prinstrg
Theme:
Women
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_267691

Robin Tewes papers, 1950-2016

Creator:
Tewes, Robin, 1950-  Search this
Subject:
Belag, Andrea  Search this
Celmins, Vija  Search this
Coyne, Petah  Search this
Donofrio, Beverly  Search this
Innerst, Mark  Search this
Kozloff, Joyce  Search this
Marten, Ruth  Search this
Tansey, Mark  Search this
Tucker, Marcia  Search this
Wilson, Martha  Search this
Yankowitz, Nina  Search this
Type:
Sketchbooks
Citation:
Robin Tewes papers, 1950-2016. Archives of American Art, Smithsonian Institution.
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
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)17334
(DSI-AAA_SIRISBib)379921
AAA_collcode_tewerobi
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_379921
Online Media:

Oral history interview with Ivan C. Karp, 1963 October 18

Interviewee:
Karp, Ivan C., 1926-2012  Search this
Interviewer:
Baker, Richard Brown, 1912-2002  Search this
Subject:
Kaprow, Allan  Search this
Leslie, Alan  Search this
Ting, Walasse  Search this
Müller, Jan  Search this
Benton, Thomas Hart  Search this
Avedisian, Edward  Search this
Segal, George  Search this
Rauschenberg, Robert  Search this
Bellamy, Richard  Search this
Stout, Myron  Search this
Stankiewicz, Richard  Search this
Wilson, Jane  Search this
Follett, Jean  Search this
Force, Miles  Search this
Hansa Gallery (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ivan C. Karp, 1963 October 18. Archives of American Art, Smithsonian Institution.
Topic:
Artist-run galleries -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)13094
(DSI-AAA_SIRISBib)215602
AAA_collcode_karp63
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215602

Oral history interview with Richard Stankiewicz, 1963

Interviewee:
Stankiewicz, Richard, 1922-1983  Search this
Interviewer:
Baker, Richard Brown, 1912-2002  Search this
Subject:
Müller, Jan  Search this
Hansa Gallery (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Richard Stankiewicz, 1963. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Sculpture, Modern -- 20th century -- History  Search this
Artist-run galleries -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)12263
(DSI-AAA_SIRISBib)215622
AAA_collcode_stanki63
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215622
Online Media:

Cleopatra's records

Creator:
Cleopatra's (2008-2018)  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
2008-2018
Scope and Contents:
Cleopatra's records measure 3.3 linear feet and date from 2008-2018. The records document the Cleopatra's exhibitions, programs, and events through correspondence, administrative records, notes and writings, audiovisual recordings, prepatory material, photographic material, and printed material.
Biographical / Historical:
Cleopatra's (2008-2018) was a non-commercial art gallery in Brooklyn, N.Y. Cleopatra was an independent art exhibition space located in the Greenpoint neighborhood of Brooklyn, NY. It was initially operated by four women: Bridget Donahue, Bridget Finn, Kate McNamara, and Erin Somerville. McNamara eventually left the group and was replaced by Colleen Grennan.
Provenance:
Donated in 2023 by Cleopatra's via Bridget Donahue, Bridget Finn, Colleen Grennan, and Erin Somerville, co-owners.
Restrictions:
This collection is temporarily closed to researchers. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Artist-run galleries -- New York (State) -- New York
Identifier:
AAA.cleopatr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw986deb4fd-7628-4a56-9a49-9eb1f182311e
EDAN-URL:
ead_collection:sova-aaa-cleopatr

A.I.R. Gallery records

Creator:
A.I.R. Gallery (New York, N.Y.)  Search this
Names:
Attie, Dotty, 1938-  Search this
Denes, Agnes  Search this
Hammond, Harmony  Search this
Spero, Nancy, 1926-2009  Search this
Zucker, Barbara M., 1940-  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1972-1979
Summary:
The A.I.R. Gallery records measure 0.4 linear feet and date from 1972 to 1979. The collection sheds light on the early years of the cooperative through gallery by-laws, artist biographies and resumes, the gallery's original building lease, notes from administrative meetings, an A.I.R. Gallery poster, writings on the gallery, exhibition records, and printed material.
Scope and Contents:
The A.I.R. Gallery records measure 0.4 linear feet and date from 1972 to 1979. The collection sheds light on the early years of the cooperative through gallery by-laws, artist biographies and resumes, the gallery's original building lease, notes from administrative meetings, an A.I.R. Gallery poster, writings on the gallery, exhibition records, and printed material.
Arrangement:
Due to the small size of this collection, the records are arranged as one series.
Biographical / Historical:
A.I.R. Gallery (Artists in Residence Gallery, Inc.) was established in 1972 in New York City, as the first not-for-profit, artist-directed and maintained gallery for women artists in the United States.

The concept for the gallery was first developed by Barbara Zucker and Susan Williams who, along with co-founders Dotty Attie, Maude Boltz, Mary Grigoriadis, and Nancy Spero, sought out 14 more female artists in New York to become members of the cooperative. The initial group included Rachel bas-Cohain, Judith Bernstein, Blythe Bohnen, Agnes Denes, Daria Dorosh, Loretta Dunkelman, Harmony Hammond, Laurace James, Nancy Kitchell, Louise Kramer, Anne Healy, Rosemary Mayer, Patsy Norvell, and Howardena Pindell. At the original meeting to form the gallery on March 17, 1972, artist Howardena Pindell suggested the name 'EYRE Gallery' for Charlotte Bronte's Jane Eyre. The artists decided on 'A.I.R. Gallery', with A.I.R. shortened from "Artists in Residence".

The group incorporated A.I.R. Gallery as a not-for-profit organization. In addition to exhibitions installed and curated by its members, A.I.R. Gallery also held lectures and workshops, and developed a videotape program to highlight the work of its artists. In 1976, Nancy Shapiro coordinated the gallery's first international exhibition, Combative Acts, Profiles, and Voices, curated by French critic Aline Dallie and comprised entirely of French female artists.
Provenance:
The collection was donated in 1979 and 1980 by representatives of A.I.R. Gallery.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Women artists  Search this
Function:
Artist-run galleries -- New York (State) -- New York
Citation:
A.I.R. Gallery records, 1972-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artiin
See more items in:
A.I.R. Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90e145f6f-512f-4966-98c2-1efb3efeede1
EDAN-URL:
ead_collection:sova-aaa-artiin
Online Media:

AC Project Room records

Creator:
A/C Project Room  Search this
Names:
Auder, Michel  Search this
Breer, Robert  Search this
Chu, Anne, 1959-  Search this
Hayes, Paula, 1958-  Search this
Extent:
12.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1965-2012
Summary:
The AC Project Room records measure 12.2 linear feet and date from 1965-2012. The collection documents the gallery's exhibitions and co-founder Paul Bloodgood's efforts to promote the work of artists such as Doug Aitken, Michel Auder, Paul Bloodgood himself, Robert Breer, Anne Chu, Aki Fujiyoshi, Isa Genzken, Joseph Grigely, Paula Hayes, Kim Jones, Byron Kim, Christina Mackie, Josiah McElheny, Arpiani Pagliarini, Kathleen Schimert, Jane and Louise Wilson, among others. The bulk of the collection dates from 1989-2001 and consists of exhibition files, artists files, guest books, press files, photographs, gallery administration and financial documentation, and sales and inventory records.
Scope and Contents:
The AC Project Room records measure 12.2 linear feet and date from 1965-2012. The collection documents the gallery's exhibitions and co-founder Paul Bloodgood's efforts to promote the work of artists such as Doug Aitken, Michel Auder, Paul Bloodgood himself, Robert Breer, Anne Chu, Aki Fujiyoshi, Isa Genzken, Joseph Grigely, Paula Hayes, Kim Jones, Byron Kim, Christina Mackie, Josiah McElheny, Arpiani Pagliarini, Kathleen Schimert, Jane and Louise Wilson, among others. The bulk of the collection dates from 1989-2001 and consists of exhibition files, artists files, guest books, press files, photographs, gallery administration and financial documentation, and sales and inventory records.

Administrative materials include leases for Renwick and Broome Streets; operational correspondence and correspondence with artists, dealers, and curators; a business plan and lists of operational activities; an annotated calendar; checklists; contracts; invoices; gallery floorplans; intern notebooks; notes; contact lists; project timelines and notebooks; and documentation about storage issues. Artist files include correspondence; clippings; press releases; exhibition announcements; checklists; photographic material; press packets; artist bios; catalogs; loan forms; notes; proposals; shipping invoices; inventories; and info sheets. Two artist files contain born digital media. Exhibition files include guest books; schedules of exhibitions and special events; artist statements and bios; checklists; clippings; proposals; press releases; slides, photographs, and transparencies depicting installation views and artwork; and notes. Financial records include invoices; correspondence; ledgers; operational budgets; royalty statements; and a binder documenting the gallery's finances from 2000-2001. Inventory and sales records include inventories of work by artists represented by the gallery; notes and lists related to sales; and sales receipts, invoices, and worksheets. Printed material includes clippings; exhibition catalogs and announcements; business cards and blank post cards; press packets; publications related to exhibitions; posters; and press releases. Photographic material includes color and black and white photographs, slides, transparencies, and photocopies or digital prints of events held at the gallery, installation views, works of art, and interior and exterior views of the gallery spaces. Facsimile was the gallery's most common method of communication and the bulk of correspondence found throughout the collection is faded.
Arrangement:
The collection is arranged as 7 series.

Series 1: Administrative Records, 1976-2012 (1.00 linear feet; Box 1, OV 13)

Series 2: Artist Files, 1965-2001 (4.30 linear feet; Box 1-6)

Series 3: Exhibition Files, 1989-2001 (2.90 linear feet; Box 6-9)

Series 4: Financial Records, 1992-2001 (0.40 linear feet; Box 9)

Series 5: Inventory and Sales Records, 1992-2001 (0.30 linear feet; Box 9)

Series 6: Printed Material, 1970-2001 (1.50 linear feet; Box 9-11, OV 14)

Series 7: Photographic Material, 1973-2001 (1.80 linear feet, Box 11-12)
Biographical / Historical:
AC Project Room was an independent, artist-run commercial gallery that operated in New York City from 1990 to 2001. It was co-founded by artists Paul Bloodgood, Alissa Friedman, and Anne Chu. The gallery began in a spare room at Art Cart in 1989, an artist-run art transportation and installation company, as the Brand-X Gallery (The Art Cart Gallery), and held permanent locations at 15 Renwick Street, 585 Broome Street, and 453 West 17th Street in Manhattan. In addition to solo and group exhibitions that cut across formal and generational lines, the gallery organized performances and symposiums, collaborated with other galleries, dealers, and curators, and became an informal space for people to gather in community.
Provenance:
The collection was donated in 2019 by Kelly E. Adams, widow of Paul Bloodgood.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Women artists  Search this
Function:
Art galleries, Commercial -- New York (State)
Artist-run galleries -- New York (State)
Citation:
AC Project Room records, 1965-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.acprojec
See more items in:
AC Project Room records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f6a02148-b92b-4d8b-b20b-1d6374861ee2
EDAN-URL:
ead_collection:sova-aaa-acprojec
Online Media:

Cinque Gallery records

Creator:
Cinque Gallery  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Crichlow, Ernest, 1914-2005  Search this
Jett, Ruth M.  Search this
Lewis, Norman, 1909-1979  Search this
Extent:
1.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1959-2010, bulk 1976-2004
Summary:
The records of the New York City-based Cinque Gallery, a nonprofit organization, measure 1.1 linear feet and date from 1959 to 2010, with the bulk of materials dating from 1976 to 2004. The gallery's mission was to exhibit African American artists, to educate the public about their work, and to offer art programs to the community. This is documented by administrative records, artists' files, financial and legal records, printed material, and photographs. Materials dated before and after the gallery's years of operation relate to African American community organizations and were compiled by former Cinque Gallery Executive Director, Ruth Jett.
Scope and Contents:
The records of the New York City-based Cinque Gallery, a nonprofit organization, measure 1.1 linear feet and date from 1959 to 2010, with the bulk of materials dating from 1976 to 2004. The gallery's mission was to exhibit African American artists, to educate the public about their work, and to offer art programs to the community. This is documented by administrative records, artists' files, financial and legal records, printed material, and photographs. Materials dated before and after the gallery's years of operation relate to African American community organizations and were compiled by former Cinque Gallery Executive Director, Ruth Jett.

Administrative records consist of a broad range of material such as gallery history, an organizational outline, by-laws and articles, assorted forms, correspondence, mailing lists, and fundraising materials. Correspondence is mostly addressed to Executive Director Ruth Jett regarding business operations and funding efforts.

Artists' files consists of resumes, biographical statements, clippings, exhibition catalogs and announcements related to Cinque Gallery founders as well as other artists. Notable artists include Romare Bearden, Ernest Crichlow, Norman Lewis, Nadine DeLawrence, Joanne McFarland, Virginia Evans Smit, and many others.

Financial and legal records include bank statements, tax records, budget projections, price lists, ledgers, and contribution receipts.

Printed material consists of announcements, invitations, and catalogs of group and solo exhibitions held at Cinque Gallery. Some of the artists featured in the exhibitions are Romare Bearden, Ernest Crichlow, Edward Clark, and Charles Alston. Also found are a brochure, newsletter, press releases, and clippings. Other printed items relating to Cinque Gallery are a brochure, exhibition reviews, and clippings.

Photographs are mostly of Cinque Gallery events, exhibition openings and galas. Some of the photographs have annotations on the verso. Among the identified individuals are Ernest Crichlow, Ruth Jett, Romare Bearden, and Norman Lewis. This series also contains a small number of negatives and a few slides of artwork.
Arrangement:
The collection is arranged as 5 series:

Series 1: Administrative Records, 1969-2010 (Box 1; 0.2 linear feet)

Series 2: Artists' Files, 1983-2009 (Box 1, OV 2; 0.2 linear feet)

Series 3: Financial and Legal Records, 1969-2005 (Box 1; 0.3 linear feet)

Series 4: Printed Material, 1959-2007, bulk 1976-2007 (Box 1; 0.2 linear feet)

Series 5: Photographs, circa 1987-2003 (Box 1, OV 2; 0.2 linear feet)
Biographical / Historical:
The Cinque Gallery (est. 1969, closed 2004) was a nonprofit art gallery in New York City founded by African American artists Romare Bearden, Norman Lewis, and Ernest Crichlow. It was established to exhibit the work of both new and established African American artists, and to provide community educational programs.

In 1981, co-founder Ernest Crichlow invited Ruth Jett, an accomplished administrator and long-time arts supporter, to serve on the gallery's Board of Directors. One year later, Jett was appointed Executive Director of Cinque Gallery. Jett has been described as the glue that held the Cinque Gallery together during its prodigious programs and exhibitions of the 1980s and 1990s.

Cinque sponsored more than 350 exhibitions in a number of New York City venues, as well as travelling exhibitions in the New York and New England areas before closing in 2004. The Gallery was funded by public and individual contributors, such as the Romare Bearden Foundation, Philip Morris Companies and the Andy Warhol Foundation.

Although Cinque Gallery closed its doors in 2004, some of its central programs are still continued by the Romare Bearden Foundation in New York City.
Provenance:
The records were donated to the Archives of American Art in 2013 by Ruth M. Jett, former Executive Director of Cinque Gallery.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
African American artists  Search this
Function:
Artist-run galleries -- New York (State)
Genre/Form:
Photographs
Citation:
Cinque Gallery records, 1959-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cinqgall2
See more items in:
Cinque Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9169f4cdd-fb7c-4e3f-8f4b-4588bd20ac90
EDAN-URL:
ead_collection:sova-aaa-cinqgall2
Online Media:

Area Gallery records

Creator:
Area Gallery (New York, N.Y.)  Search this
Extent:
1.1 Linear feet
Type:
Collection descriptions
Archival materials
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Artist-run galleries -- New York (State)
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
GUID:
https://n2t.net/ark:/65665/mw9224e842c-8c91-4263-8efd-9d68eea93a73
EDAN-URL:
ead_collection:sova-aaa-areagall
Online Media:

Visual Artists Coalition records

Creator:
Visual Artists Coalition (New York, N.Y.)  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1964-1981
Scope and Contents:
Correspondence; insurance records; and exhibition announcements, catalogs, and posters.
Biographical / Historical:
Artists organization.
Provenance:
Donated 1982 by Marjorie Kanny, president and founder of Visual Artists Coalition.
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.
Function:
Arts organizations -- New York (State)
Artist-run galleries -- New York (State)
Identifier:
AAA.visuarti
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw970053ad3-1453-4421-b702-3f2f9cc2a899
EDAN-URL:
ead_collection:sova-aaa-visuarti

Fitzgerald Gallery records

Creator:
Fitzgerald Gallery (New York, N.Y.)  Search this
Names:
Fitzgerald, Edward  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1950s-1972
Summary:
The Fitzgerald Gallery records measure 2.1 linear feet and date from the 1950s to 1972. The collection sheds light on the New York gallery's operations through administrative records and artist files as well as scattered exhibition files, printed material, and photographic material.
Scope and Contents:
The Fitzgerald Gallery records measure 2.1 linear feet and date from the 1950s to 1972. The collection sheds light on the New York gallery's operations through administrative records and artist files as well as scattered exhibition files, printed material, and photographic material. Several folders include a note written by Edward Fitzgerald in 1972 reflecting on the file's content. Administrative records include membership meeting minutes and notes, the gallery's reorganization agreement, guest books, a gallery scrapbook, priced exhibition lists and catalogues, and correspondence with artists, representatives from other museums and galleries, critics, and collectors. Artist files document the gallery's relationship with various artists, including Henry Hensche, Huntington Barclay, John Hawkins, Paul Russotto, Herbert Turner, Robert Maione, Nelson Shanks, James Dignon, and others. The files consist of photographic material, biographical sketches, price lists, newspaper clippings, and other printed material about the artists and exhibitions.
Arrangement:
The collection is arranged as two series.

Series 1: Administrative Records, 1950s-1972 (Box 1-2; 1.1 linear feet)

Series 2: Artist Files, 1959-1972 (Box 2, OV 3; 1 linear foot)
Biographical / Historical:
The Fitzgerald Gallery was a cooperative gallery founded in New York, New York, in 1960 by artist and gallery owner Edward Fitzgerald. Some of its early founding members include Huntington Barclay, James Dignon, Albert Handell, and Stephen Kuzma. The gallery specialized in exhibiting realist art, and early on, stated it was "a place for experimental ideas and forms, color thinking and reality." It was located at 19 E. 7th Street from 1960 to 1965, then moved uptown to 718 Madison Avenue in 1965.
Provenance:
The collection was donated in 1972 by gallery founder Edward Fitzgerald.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Realism  Search this
Function:
Artist-run galleries -- New York (State)
Citation:
Fitzgerald Gallery Records, 1950s-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fitzgall
See more items in:
Fitzgerald Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a00c3828-cde3-4e04-9e38-864953a7043a
EDAN-URL:
ead_collection:sova-aaa-fitzgall

Sculpture Center records

Creator:
Sculpture Center (New York, N.Y.)  Search this
Clay Club Gallery  Search this
Names:
Clay Club Gallery  Search this
Sculpture Center (New York, N.Y.)  Search this
Denslow, Dorothea H. (Dorothea Henrietta), 1900-1971  Search this
Extent:
0.6 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1923-1979
Scope and Contents:
Correspondence, writings, notes, business records, scrapbooks, catalogs, and printed material.
REEL 2525: Letters; articles of incorporation; list of board members; a consignment book with prices; book, BLUEPRINT FOR THE FUTURE OF AMERICAN SCULPTURE, by Saul Swarz; blueprints for a planned studio; 101 Sculpture Center, Inc. catalogs; receipts, bills and financial materials; photographs; scrapbooks of Clay Club events; and printed materials.
UNMICROFILMED: Letters; writings and notes, including poetry by George McK. Roberts and Gabriel Kohn; invoices, contracts, and price lists; and exhibition catalogs, announcements, and clippings.
Biographical / Historical:
Art society; New York, N.Y. Established 1928 by Dorthea Denslow as the Clay Club. Was located on 8th Street in Manhattan. Incorporated as the Clay Club Sculpture Center in 1944, and changed to the Sculpture Center in 1950.
Provenance:
Donated 1981-1982 by Sculpture Center. Much of this material was gathered by Cleo Hartwig, an active member of the Sculpture Center.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Topic:
Sculpture -- Societies, etc. -- New York (State) -- New York  Search this
Function:
Artist-run galleries -- New York (State)
Art museums -- New York (State)
Identifier:
AAA.sculcent
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9699c7be8-6f27-4400-a082-457f7ef91b46
EDAN-URL:
ead_collection:sova-aaa-sculcent

55 Mercer Artists, Inc. records

Creator:
55 Mercer St. Gallery  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:
Collection descriptions
Archival materials
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Artist-run galleries -- New York (State)
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
GUID:
https://n2t.net/ark:/65665/mw96bbbdd18-60af-4900-b16b-1531e7ae37cd
EDAN-URL:
ead_collection:sova-aaa-55mercga
Online Media:

Westerly Gallery records

Creator:
Westerly Gallery (New York, N.Y.)  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-1966
Summary:
The records of the Westerly Gallery measure 0.4 linear feet and date from 1962 to 1966. The records document the history of the gallery through artist statements and artist files on Jean-Denis Cruchet and James Norman; Statements of policy and memberships in the gallery; one general file on exhibitions; an exhibition preview binder outlining exhibitions taking place at the gallery during a calendar year; visitor logs; clippings and exhibition announcements and catalogs; and photographs of artwork.
Scope and Contents:
The records of the Westerly Gallery measure 0.4 linear feet and date from 1962 to 1966. The records document the history of the gallery through artist statements and artist files on Jean-Denis Cruchet and James Norman; Statements of policy and memberships in the gallery; one general file on exhibitions; an exhibition preview binder outlining exhibitions taking place at the gallery during a calendar year; visitor logs; clippings and exhibition announcements and catalogs; and photographs of artwork. Artist statements include artist such as Toshio Arakaki, Sydney Ball, Robert Barry, Jean-Denis Cruchet, Jerome Goldstein, Anne McGann, James Norman, Caroline Cain Roth, Abby Shahn, Roi Slamm, Pauline Thomas, Roland Tiemann, and others.
Arrangement:
The collection is arranged into one series

Series 1: Westerly Gallery Records, 1962-1966 (0.4 linear feet; Box 1)
Biographical / Historical:
Westerly Gallery was a cooperative art gallery in New York, New York, founded by a group of young artists who had studied with Theodoros Stamos.
Provenance:
Donated 1980 by Cynthia Park.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Artist-run galleries -- New York (State)
Citation:
Westerly Gallery records, 1962-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.westgall
See more items in:
Westerly Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91c199c56-c49f-4cb8-bb50-d95fb55ae5d3
EDAN-URL:
ead_collection:sova-aaa-westgall

Westbeth records

Creator:
Westbeth Gallery  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1970-1978
Summary:
The Westbeth records measure 0.2 linear feet and date from 1970 to 1978. The collection includes one financial report, clippings and writings about Westbeth, a resume for artist Jacques Joseph Camins, an exhibition announcement for artist Mel Fowler, two exhibition catalogs, one copy of the Westbeth newsletter (1970), and some event photographs.
Scope and Contents:
The Westbeth records measure 0.2 linear feet and date from 1970 to 1978. The collection includes a financial report of the Westbeth Corporation Housing Development Fund Co., Inc.; clippings and writings about Westbeth and its artists; a resume for artist Jacques Joseph Camins and an exhibition announcement for artist Mel Fowler; two exhibition catalogs from shows of Westbeth artists, one held in China and the other in Mexico; one copy of the Westbeth newsletter (1970); and some event photographs.
Arrangement:
Due to the small size of this collection the records are arranged as one series.
Biographical / Historical:
Westbeth is an artists' housing complex in New York, founded in 1970. Funding for the space was initially provided by the National Council on the Arts, J.M. Kaplan Fund, Bankers Trust Company, and Federal Housing Administration. The building was home to sculptors, painters, photographers, and print-makers, as well as actors, dancers, musicians, film makers, and writers. The complex includes studio space for artists, a gallery, theatre, and commercial space. The housing complex is currently owned by Westbeth Housing Development Fund Corporation. In addition to Westbeth's tenants and features, the space is also home to the New School for Drama, The Martha Graham Center for Contemporary Dance, and Congregation Beth Simchat Torah.
Provenance:
The collection was donated 1981 by Nell Perret, a New York City painter and printmaker who lived at Westbeth.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Arts -- New York (State) -- New York  Search this
Artists -- Housing -- New York (State) -- New York  Search this
Federal aid to the arts -- New York (State) -- New York  Search this
Function:
Artist-run galleries -- New York (State)
Citation:
Westbeth records, 1970-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.westbgall
See more items in:
Westbeth records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c7073d90-b334-439c-abdb-634e7ad1debf
EDAN-URL:
ead_collection:sova-aaa-westbgall

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