The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.
Scope and Contents:
The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.
Scattered biographical materials include appointment books, curricula vitae, a transcript of an interview conducted by McCray with Dr. Grace Morley, and an unsigned painting.
Found within the general correspondence are letters that relate to his work as an arts advisor and consultant, but which appear to be more personal in nature. The bulk of correspondence related to specific projects is found within the professional files. Correspondents include Hubert Humphrey, Mrs. John Lockwood, Grace Morely, Kazuko Oshima, Donald Richie, John D. Rockefeller III, and Tenzin Thetong among others.
Writings and notes include lectures by McCray and writings by others including Brock Cutting, Lord Sherfield, and Nam June Paik. Also found are travel notes for McCray's travels throughout Asia, Europe, and the Middle East.
Professional files document McCray's work as an arts advisor and consultant for numerous museums, foundations, organizations, foundations, and special committees, as well as his membership in various arts committees and boards. Files document McCray's work for and/or membership in the Asia Society, Asian Cultural Program of Cultural Exchange, Byrd Hoffman Foundation, Cathedral Church of St. John the Divine, Cunningham Dance Foundation, Indo-United States committees, International Council of Museums, Japan Society, John D. Rockefeller 3rd Fund, Museum of Modern Art, Society of Architectural Historians, UNESCO, and the United States Foreign Service.
Printed materials include clippings and articles, a Drawing and Architecture exhibition catalog, and a book by Robert Wilson. Photographs include personal photographs and oversized photographs of sculptures by an unknown artist.
Arrangement:
This collection is arranged as 6 series.
Series 1: Biographical Materials, 1959-1982 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1959-1986 (0.5 linear feet; Box 1)
Series 3: Writings and Notes, 1960-1983 (1.5 linear feet; Box 2-3)
Series 4: Professional Files, 1936-1987 (8.2 linear feet; Box 3-11, OVS 12-13)
Series 5: Printed Materials, 1965-1989 (0.5 linear feet; Box 11, OV 14)
Series 6: Photographs, 1945-1980s (0.2 linear feet; Box 11, OV 15)
Biographical / Historical:
Porter A. McCray (1908-2000) was an arts administrator working in New York City, New York.
Born in Clarksburg, West Virginia in 1908, McCray recieved a degree in English literature from the Virginia Military Institute in 1930, and a degree in architecture from Yale University in 1941. McCray traveled extensively throughout Europe, Asia, and the Middle East, developing relationships with individuals and organizations across the world.
In 1941, McCray worked as an exhibition specialist in the Office of the Coordinator of Inter-American Affairs and collaborated with the Museum of Modern Art on an American exhibition at the Guatemala National Fair. After serving as an ambulance driver in World War II, he was employed by the architectural firm of Harrison and Abramovitz where he worked on some preliminary designs of the present site of the United Nations.
While working for Harrison, McCray met Nelson Rockefeller, who was chairman of the board of the Museum of Modern Art (MOMA). In 1947, Rockefeller asked McCray to serve as the director of circulating exhibitions at MOMA and be responsible for the Museum's national and international traveling exhibition program. McCray accepted and remained at MOMA until 1961. The following year, he orchestrated the preparation of a MOMA exhibition of Mark Rothko's work in Paris in 1962. In 1963, McCray became the executive director of the JDR 3rd Fund, a non-profit started by John D. Rockefeller III to promote artistic and cultural exchanges between the United States and Asia. McCray also worked as a consultant for the Japan Society's visual arts programs, the Asian Cultural Council, for the dean of the Cathedral Church of St. John the Divine's visual and performing arts program, and for MOMA's International Program after retiring.
McCray died in 2000 in Hightstown, New Jersey.
Related Materials:
Also found at the Archives of American Art is an oral history interview of Porter A. McCray conducted by Paul Cummings from September 17 to October 4, 1977.
Provenance:
The collection was donated in 1994 by Porter McCray.
Restrictions:
Use of original papers requires an appointment and is limited to the 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.
Occupation:
Arts administrators -- New York (State) -- New York Search this
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.
General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.
Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.
Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie.
The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series.
Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.
Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction.
Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries.
Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.
Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well.
Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.
The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.
Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records.
The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.
Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.
Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.
See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics
Arrangement:
The collection is arranged as 11 series:
Series 1: Correspondence, 1948-1999, bulk 1957-1997 (24.4 linear feet; Boxes 1-23, 191, OVs 233-236)
Series 2: Administrative Files, 1941-1999, bulk 1970s-1990s (17.3 linear feet; Boxes 24-39, 192-193, OVs 237-238, 0.001 GB; ER01-ER02)
Series 3: Exhibition Files, 1951-1999, bulk 1957-1998 (18.7 linear feet; Boxes 40-56, 192, 194-196, 308-309, OVs 239-241, 280)
Series 4: Artists Files, 1913-1999, bulk 1960s-1990s (80.8 linear feet; Boxes 57-133, 197-208, OVs 242-243)
Series 5: Printed Materials, 1949-1998 (23.5 linear feet; Boxes 134-153, 209-211, OVs 244-274, 276, 300, RDs 301-306)
Series 6: Artwork, circa 1960s-1990s (1.8 linear feet; Boxes 153, 212-213, OVs 275, 277-278, RD 307)
Series 7: Castelli Graphics, circa 1950-1999, bulk mid 1970s-early 1990s (16 linear feet; Boxes 154-169)
Series 8: Castelli/Sonnabend Tapes + Films, 1969-1998 (5.6 linear feet; Boxes 170-174, 214, OVs 279-281)
Series 9: Awards and Recognition, 1962-1998 (6.9 linear feet; Boxes 175-176, 215-228, OVs 282)
Series 10: Photographs, circa 1880-1997, bulk 1960s-1990s (6.6 linear feet; Boxes 177-180, 229-231, OVs 283-299)
Series 11: Sound and Video Recordings, 1959-2000 (9.7 linear feet; Boxes 181-190, 232)
Historical Note:
Leo Castelli (1907-1999) was one of America's most noted contemporary art dealers and opened the Leo Castelli Gallery in New York City in 1957. The gallery showcased cutting edge American contemporary art, including Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color Field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.
Leo Castelli was born as Leo Krauss on September 4, 1907 in Trieste, of Italian and Austro-Hungarian Jewish origin. He married art dealer Ileana Sonnabend in 1932 and the couple lived in Paris up until World War II. They had a daughter, Nina Castelli Sundell. In Paris, Castelli opened his first gallery in 1939. At that time, he was interested in the European Surrealists.
For years after Castelli moved to New York, he worked in his father-in-law's garment business. However, he organized his first American exhibition in 1951, the famous Ninth Street Show of 1951, a seminal event of Abstract Expressionism.
In 1957, he opened the Leo Castelli Gallery in his townhome on E. 77th Street between Madison and Fifth Avenues in New York City. Castelli initially featured European Surrealism, but also curated exhibitions of American Abstract painters, including Jackson Pollock, Willem de Kooning, Cy Twombly, Friedel Dzubas, and Norman Bluhm.
In 1958, Castelli discovered Pop artists Robert Rauschenberg and Jasper Johns and forged a life-long nurturing relationship with both artists. The gallery then began focusing more on Pop Art, Minimalism and Conceptual Art. Beginning in the early 1960s, Castelli's stable included Richard Artschwager, Lee Bontecou, Chryssa, John Chamberlain, Ronald Davis, Dan Flavin, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Robert Morris, Bruce Nauman, Larry Poons, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Leo and Ileana divorced in 1959, and Ileana returned to Europe. She later moved back to New York and opened a gallery close to Castelli's. The two remained close and together they established the joint venture of Castelli-Sonnabend Films and Tapes to accommodate artists interested in new media.
In the 1970s Leo Castelli opened a downtown SoHo branch of the Leo Castelli Gallery at 420 West Broadway. In the 1980s he opened a second larger downtown exhibition space on Greene Street also in SoHo.
Leo Castelli's second wife was Antoinette Castelli, with whom he also opened Castelli Graphics, an art gallery devoted to prints and photographs, mostly those by Castelli artists. The couple also had a son together, Jean-Christophe Castelli. In 1995 Leo Castelli married Italian art historian Barbara Bertozzi Castelli. She directs the Leo Castelli Gallery today, showing many of the same artists of the gallery's past.
Leo Castelli's unparalleled eye for quality, combined with his extraordinary skill for nurturing and promoting new art and artists, secured his position as one of the most respected and influential advocates of contemporary art for nearly five decades.
List of Exhibitions:
Below is a chronological listing of over 850 exhibitions and events held at the Leo Castelli Gallery from 1957 to 1999; included are exhibitions at 4 E 77 St (1957-1989), 65 Thompson (1989-1994), 108th St Warehouse (1968-1970), 142 Greene St (1980-1988), 420 W Broadway (1971-1999), and 578 Broadway (1988-1997). Castelli Graphics exhibitions from 1969-1996 and Castelli/Sonnabend Tapes and Films exhibitions from 1974-1984 are also included and are noted when known.
Note that this list is not comprehensive. In particular, Castelli Graphics exhibitions from the 1980s and early 1990s are incomplete. Sources used to compile this index include exhibition schedules and lists, installation photographs, announcements, clippings, and other printed materials from the Leo Castelli Gallery records, and the Leo Castelli Gallery website (www.castelligallery.com).
Exhibitions are listed in chronological order by title, if known, and gallery address.
1957 SeasonFeb. -- First Exhibition: de Kooning, Delaunay, Dubuffet, Giacometti, Hartley, Leger, Mondrian, Picabia, Pollock, David Smith, van Doesburg; 4 E 77 St
Mar. 4-23, 1957 -- Jon Schueler; 4 E 77 St
Mar. 25 - Apr. 13, 1957 -- Viseux; 4 E 77 St
Apr. 15 - May 4, 1957 -- Paul Brach; 4 E 77 St
May 6-25, 1957 -- New Work: Bluhm, Budd, Dzubas, Johns, Leslie, Louis, Marisol, Ortman, Rauschenberg, Savelli; 4 E 77 St
1957-1958 SeasonOct. 1-26, 1957 -- Norman Bluhm; 4 E 77 St
Oct. 28 - Nov. 16, 1957 -- Horia Damian; 4 E 77 St
Nov. 18 - Dec. 14, 1957 -- Marisol; 4 E 77 St
Dec. 17, 1957 - Jan. 18, 1958 -- Collector's Annual; 4 E 77 St
Jan. 20 - Feb. 8, 1958 -- Jasper Johns; 4 E 77 St
Feb. 10 - Mar. 1, 1958 -- Friedel Dzubas; 4 E 77 St
Mar. 4-29, 1958 -- Robert Rauschenberg; 4 E 77 St
Apr. 1-26, 1958 -- Giuseppe Capogrossi; 4 E 77 St
Apr. 29 - May 31, 1958 -- Pioneers 1910-1950: de Kooning, Delaunay, Domela, Dubuffet, Giacometti, Hartley, Kandinsky, Leger, Miro, Picabia, Pollock, Schwitters, Smith, van Doejburg; 4 E 77 St
1958-1959 SeasonSept. 30 - Oct. 25, 1958 -- Angelo Savelli; 4 E 77 St
Oct. 28 - Nov. 22, 1958 -- Group Exhibition: Bluhm, Brach, Dzubas, Johns, Marisol, Rauschenberg, Schueler; 4 E 77 St
Nov. 25 - Dec. 20, 1958 -- Esteban Vicente, Drawings; 4 E 77 St
Jan. 6-24, 1959 -- Nassos Daphnis; 4 E 77 St
Jan. 27 - Feb. 14, 1959 -- Salvatore Scarpitta, Extramurals; 4 E 77 St
Feb. 17 - Mar. 7, 1959 -- Al Newbill; 4 E 77 St
Mar. 10-28, 1959 -- Gabriel Kohn; 4 E 77 St
Mar. 31 - Apr. 18, 1959 -- Norman Bluhm, Jean Dubuffet, and Robert Rauschenberg; 4 E 77 St
Apr. 21 - May 9, 1959 -- Jon Schueler; 4 E 77 St
May 12-30, 1959 -- Group Exhibition: Brach, Dzubas, Johns, Sander, Twombly; 4 E 77 St
1959-1960 SeasonOct. 6-17, 1959 -- Opening Exhibition of the New Gallery: Bluhm, Brach, Daphnis, Johns, Kohn, Rauschenberg, Sander, Scarpitta, Stella, Twombly; 4 E 77 St
Oct. 20 - Nov. 7, 1959 -- Work in Three Dimensions: Chamberlain, Follet, Giles, Johns, Klein, Kohn, Marisol, Nevelson, Ortman, Rauschenberg, Scarpitta; 4 E 77 St
Nov. 10-28, 1959 -- Ludwig Sander; 4 E 77 St
Dec. 1-26, 1959 -- Paul Brach; 4 E 77 St
Jan. 5-23, 1960 -- William Giles; 4 E 77 St
Jan. 26 - Feb. 13, 1960 -- Norman Bluhm; 4 E 77 St
Feb. 15 - Mar. 5, 1960 -- Jasper Johns; 4 E 77 St
Mar. 8-26, 1960 -- Nassos Daphnis; 4 E 77 St
Mar. 29 - Apr. 16, 1960 -- Robert Rauschenberg; 4 E 77 St
Apr. 19 - May 7, 1960 -- Salvatore Scarpitta; 4 E 77 St
May 10-28, 1960 -- Edward Higgins; 4 E 77 St
May 31 - June 25, 1960 -- Summary 1959-1960: Bluhm, Bontecou, Daphnis, Higgins, Johns, Kohn, Langlais, Rauschenberg, Sander, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1960-1961 SeasonSept. 27 - Oct. 15, 1960 -- Frank Stella; 4 E 77 St
Oct. 18 - Nov. 5, 1960 -- Cy Twombly; 4 E 77 St
Nov. 9 - Dec. 3, 1960 -- Lee Bontecou; 4 E 77 St
Dec. 6, 1960 - Jan. 7, 1961 -- Robert Rauschenberg, 34 Illustrations for Dante's Inferno; 4 E 77 St
Jan. 10-28, 1961 -- Frederick Kiesler; 4 E 77 St
Jan. 31 - Feb. 25, 1961 -- Jasper Johns, Drawings and Sculpture; 4 E 77 St
Feb. 28 - Mar. 18, 1961 -- Jack Tworkov; 4 E 77 St
Mar. 21 - Apr. 8, 1961 -- Bernard Langlais; 4 E 77 St
Apr. 11-29, 1961 -- Yves Klein, Le Monochrome; 4 E 77 St
May 2-20, 1961 -- Ludwig Sander; 4 E 77 St
May 23 - June [10], 1961 -- Sculpture and Relief: Bontecou, Chamberlain, Higgins, Scarpitta; 4 E 77 St
1961-1962 SeasonSept. 22 - Oct. 14, 1961 -- An Exhibition in Progress: Bontecou, Chamberlain, Daphnis, Higgins, Johns, Langlais, Moskowitz, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
Oct. 17 - Nov. 4, 1961 -- Nassos Daphnis; 4 E 77 St
Nov. 7 - Dec. 5, 1961 -- Robert Rauschenberg; 4 E 77 St
Dec. 8, 1961 - Jan. 10, 1962 -- Group Exhibition: Bontecou, Johns, Langlais, [Lichtenstein], Scarpitta, Tworkov; 4 E 77 St
Jan. 13 - Feb. 6, 1962 -- John Chamberlain; 4 E 77 St
Feb. 10 - Mar. 3, 1962 -- Roy Lichtenstein; 4 E 77 St
Mar. 10 - Apr. 5, 1962 -- Robert Moskowitz; 4 E 77 St
Apr. 7-21, 1962 -- Group Exhibition: Bontecou, Chamberlain, Daphnis, Higgins, Rauschenberg, Scarpitta, Stella; 4 E 77 St
Apr. 28 - May 19, 1962 -- Frank Stella; 4 E 77 St
May 26 - June 30, 1962 -- Drawings: Bontecou, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov; 4 E 77 St
1962-1963 SeasonSept. 22 - Oct. 13, 1962 -- Group Exhibition: Chamberlain, Higgins, Johns, Klapheck, Rauschenberg, Scarpitta, Stella, Tinguely, Tworkov; 4 E 77 St
Oct. 16 - Nov. 7, 1962 -- John Chamberlain and Frank Stella; 4 E 77 St
Nov. 10 - Dec. 6, 1962 -- Lee Bontecou; 4 E 77 St
Dec. 8, 1962 - Jan. 9, 1963 -- Gerald van de Wiele; 4 E 77 St
Jan. 12 - Feb. 7, 1963 -- Jasper Johns; 4 E 77 St
Feb. 9 - Mar. 7, 1963 -- Jack Tworkov; 4 E 77 St
Mar. 9-30, 1963 -- Nassos Daphnis; 4 E 77 St
Apr. 2-25, 1963 -- Group Exhibition: Chamberlain, Higgins, Kiesler, Lichtenstein, Moskowitz, Rauschenberg, Stella, Twombly; 4 E 77 St
Apr. 27 - May 16, 1963 -- Salvatore Scarpitta; 4 E 77 St
May 20 - June 30, 1963 -- Group Drawing Exhibition: Bontecou, Daphnis, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov, van de Wiele; 4 E 77 St
1963-1964 SeasonSept. 28 - Oct. 24, 1963 -- Roy Lichtenstein; 4 E 77 St
Oct. 26 - Nov. 21, 1963 -- Robert Rauschenberg; 4 E 77 St
Nov. 23, 1963 - Jan. 2, 1964 -- Edward Higgins; 4 E 77 St
Jan. 4 - Feb. 6, 1964 -- Frank Stella; 4 E 77 St
Feb. 8 - Mar. 12, 1964 -- Group Exhibition: Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella; 4 E 77 St
Mar. 14 - Apr. 9, 1964 -- Cy Twombly; 4 E 77 St
Apr. 11-30, 1964 -- John Chamberlain; 4 E 77 St
May 2 - June 3, 1964 -- Introducing Artschwager, Christo, Hay, Watts; 4 E 77 St
June 6-30, 1964 -- Group Exhibition: Chamberlain, Lichtenstein, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1964-1965 SeasonSept. 26 - Oct. 22, 1964 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St
Oct. 24 - Nov. 19, 1964 -- Roy Lichtenstein, Landscapes; 4 E 77 St
Nov. 21 - Dec. 28, 1964 -- Andy Warhol, Flower Paintings; 4 E 77 St
Jan. 9-27, 1965 -- John Chamberlain, Paintings; 4 E 77 St
Jan. 30 - Feb. 24, 1965 -- Richard Artschwager; 4 E 77 St
Feb. 27 - Mar. 24, 1965 -- Nassos Daphnis; 4 E 77 St
Mar. 27 - Apr. 14, 1965 -- Salvatore Scarpitta, Racing Cars; 4 E 77 St
Apr. 17 - May 13, 1965 -- James Rosenquist, F-111; 4 E 77 St
May 15 - June 9, 1965 -- Robert Rauschenberg, Oracle; 4 E 77 St
1965-1966 SeasonOct. 2-21, 1965 -- Group Exhibition: [Chamberlain], Johns, Lichtenstein, Poons, Rauschenberg, Stella, [Warhol]; 4 E 77 St
Oct. 23 - Nov. 17, 1965 -- Robert Bart; 4 E 77 St
Nov. 20 - Dec. 11, 1965 -- Roy Lichtenstein, Brushstrokes and Ceramics; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Benefit Drawing Exhibition for the Foundation for the Contemporary Performance Arts; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Group Exhibition; 4 E 77 St
Jan. 8 - Feb. 2, 1966 -- Jasper Johns; 4 E 77 St
Feb. 5 - Mar. 2, 1966 -- Donald Judd; 4 E 77 St
Feb. 12 - Mar. 2, 1966 -- Cy Twombly, Drawings; 4 E 77 St
Mar. 5 - Apr. 2, 1966 -- Frank Stella; 4 E 77 St
Apr. 6-27, 1966 -- Andy Warhol, Wallpaper and Clouds; 4 E 77 St
Apr. 30 - May 25, 1966 -- James Rosenquist; 4 E 77 St
May 28 - June 13, 1966 -- Christo, Storefront; 4 E 77 St
June 14-30, 1966 -- Group Exhibition: Bontecou, Johns, Judd, Lichtenstein, Poons, Rauschenberg, Rosenquist, Stella, Warhol; 4 E 77 St
1966-1967 SeasonOct. 8 - Nov. 8, 1966 -- Lee Bontecou; 4 E 77 St
Nov. 12 - Dec. 3, 1966 -- Edward Higgins; 4 E 77 St
Dec. 6-10, 1966 -- Benefit Group Exhibition for Experiments in Art and Technology, Inc.; 4 E 77 St
Dec. 7, 1966 - Jan. 5, 1967 -- Stanley Landsman; 4 E 77 St
Dec. 14, 1966 - Jan. 5, 1967 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Warhol; 4 E 77 St
Apr. 1967 -- New Work: Chamberlain, Lichtenstein, Stella; 4 E 77 St
May 1967 -- Robert Rauschenberg, Revolvers; 4 E 77 St
1967-1968 SeasonOct. 7-26, 1967 -- Cy Twombly; 4 E 77 St
Oct. 28 - Nov. 18, 1967 -- Roy Lichtenstein; 4 E 77 St
Nov. 25 - Dec. 23, 1967 -- Frank Stella; 4 E 77 St
Dec. 30, 1967 - Jan. 23, 1968 -- Richard Artschwager, Sculptures and Reliefs; 4 E 77 St
Jan. 27 - Feb. 17, 1968 -- Bruce Nauman; 4 E 77 St
Feb. 24 - Mar. 16, 1968 -- Jasper Johns; 4 E 77 St
Mar. 23 - Apr. 11, 1968 -- Ron Davis; 4 E 77 St
Apr. 20 - May 11, 1968 -- Robert Morris; 4 E 77 St
May 18 - June 8, 1968 -- Jack Krueger; 4 E 77 St
1968-1969 SeasonSept. 14-28, 1968 -- Nassos Daphnis; 4 E 77 St
Oct. 12-26, 1968 -- Robert Rauschenberg, White Paintings; 4 E 77 St
Nov. 2-23, 1968 -- Larry Poons; 4 E 77 St
Nov. 30 - Dec. 21, 1968 -- Cy Twombly; 4 E 77 St
Dec. 4-28, 1968 -- 9 at Leo Castelli: Anselmo, Bollinger, Hesse, Kaltenbach, Nauman, Saret, Serra, Sonnier, Zorio; 108th St Warehouse
Jan. 4-25, 1969 -- Donald Judd; 4 E 77 St
Feb. 1-22, 1969 -- John Chamberlain; 108th St Warehouse
Feb. 3-22, 1969 -- David Diao, Richard Pettibone, and Peter Young; 4 E 77 St
Mar. 1-22, 1969 -- Robert Morris; 4 E 77 St
Mar. 1-22, 1969 -- Robert Morris, A Continuous Project Altered Daily; 108th St Warehouse
Mar. 29 - Apr. 19, 1969 -- James Rosenquist, Horseblinders; 4 E 77 St
Mar. 29 - Apr. 19, 1969 -- Salvatore Scarpitta, Racing Cars; 108th St Warehouse
Apr. 26 - May 17, 1969 -- Robert Rauschenberg, Carnal Clocks; 4 E 77 St
Apr. 26 - May 17, 1969 -- Jack Krueger; 108th St Warehouse
May 24 - June 14, 1969 -- Bruce Nauman; 4 E 77 St
May 24 - June 21, 1969 -- 4 Painters for Spring: Bower, Cibula, Kalina, Roth, Yrisarry; 108th St Warehouse
June 21 - July 31, 1969 -- Group Exhibition: Chamberlain, Judd, Lichtenstein, Rauschenberg, Serra, Sonnier, Stella, Young; 4 E 77 St
1969-1970 SeasonSept. 20 - Oct. 11, 1969 -- Group Exhibition: Lichtenstein, Serra, Stella, Warhol; 4 E 77 St
Oct. 18 - Nov. 8, 1969 -- Ron Davis; 4 E 77 St
Oct. 18 - Nov. 8, 1969 -- Ron Davis; 108th St Warehouse
Nov. - Dec., 1969 -- Joseph Kosuth; 4 E 77 St
Nov. 13, 1969 -- Robert Rauschenberg, Moonshot Series (Castelli Graphics); 4 E 77 St
Nov. 18 - Dec. 6, 1969 -- Frank Stella; 4 E 77 St
Dec. 11-13, 1969 -- Benefit Exhibition, Art for the Moratorium; 4 E 77 St
Dec. 16, 1969 - Jan. 10, 1970 -- Richard Serra; 108th St Warehouse
Jan. 10-31, 1970 -- Jasper Johns, Drawings; 4 E 77 St
Jan. 17-24, 1970 -- Rafael Ferrer; 108th St Warehouse
Feb. 7-28, 1970 -- Dan Flavin, Tatlin Monuments; 4 E 77 St
Feb. 7-28, 1970 -- Robert Morris, Earthwork Projects (Castelli Graphics); 4 E 77 St
Mar. 7-28, 1970 -- Keith Sonnier; 4 E 77 St
Mar. 7-28, 1970 -- Keith Sonnier; 108th St Warehouse
Apr. 11 - May 9, 1970 -- Donald Judd; 4 E 77 St
Apr. 11 - May 9, 1970 -- Donald Judd; 108th St Warehouse
May 16-30, 1970 -- James Rosenquist; 4 E 77 St
June 11-27, 1970 -- Benefit Exhibition for the New York Studio School; 4 E 77 St
June 30 - Aug. 28, 1970 -- Group Exhibition: Chamberlain, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St
1970-1971 SeasonSept. 19-26, 1970 -- Benefit Exhibition for Referendum '70: Daphnis, Flavin, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St
Sept. 26 - Oct. 24, 1970 -- Roy Lichtenstein, New Editions: Lithographs, Sculpture, Reliefs (Castelli Graphics); 4 E 77 St
Oct. 3-18, 1970 -- Group Exhibition: Flavin, Judd, Lichtenstein, Rauschenberg, Stella, Twombly; 4 E 77 St
Oct. 24 - Nov. 14, 1970 -- James Rosenquist; 4 E 77 St
Nov. 21 - Dec. 12, 1970 -- Dan Flavin, Untitled (to Barnett Newman); 4 E 77 St
Sept. 29 - Nov. 16, 1973 -- Stockholm Show (Castelli Graphics); 4 E 77 St
Oct. 18 - Nov. 10, 1973 -- Benefit Exhibition for the Committee to Save Venice: Cornell, Dine, Frankenthaler, Johns, Kelly, Lichtenstein, Louis, Noland, Oldenburg, Olitski, Rauschenberg, Stella; 4 E 77 St
Nov. 1-3, 1973 -- Group Film Exhibition: Chamberlain, Jonas, Ruscha, Weiner; 420 W Broadway
Nov. 1-14, 1973 -- Group Show: Artschwager, Lichtenstein, Rosenquist, Warhol; 420 W Broadway
Nov. 10 - Dec. 1, 1973 -- Douglas Huebler; 420 W Broadway
Nov. 15 - Dec. 1, 1973 -- Hans Namuth, Photographs; 420 W Broadway
Nov. 17 - Dec. 7, 1973 -- Lewis Baltz, Photographs (Castelli Graphics); 4 E 77 St
Nov. 17 - Dec. 15, 1973 -- Richard Artschwager; 4 E 77 St
Dec. 8, 1973 - Jan. 12, 1974 -- Group Show of New Prints: Balog, Petersen, Rauschenberg, Sonnier (Castelli Graphics); 4 E 77 St
Dec. 8, 1973 - Jan. 12, 1974 -- John Chamberlain; 420 W Broadway
Dec. 15, 1973 - Jan. 19, 1974 -- Edward Ruscha, Retrospective Show, Graphics from the Collection of Donald Marron (Castelli Graphics); 4 E 77 St (upstairs)
Jan. 12-26, 1974 -- [García] Uriburu (Castelli Graphics); 4 E 77 St
Jan. 19 - Feb. 9, 1974 -- Robert Barry; 420 W Broadway
Feb. 2-16, 1974 -- James Rosenquist (Castelli Graphics); 4 E 77 St
Nov. 21, 1974 -- Philip Glass, Concert; 420 W Broadway
Dec. 7-21, 1975 -- Robert Rauschenberg, Hoarfrost Series; 420 W Broadway
Dec. 7, 1974 - [Jan. 4], 1974 -- Michelangelo Pistoletto, New Multiples (Castelli Graphics); 4 E 77 St
Dec. 7, 1974 - Jan. 4, 1975 -- Robert Rauschenberg, Hoarfrost Editions (Castelli Graphics); 4 E 77 St
Dec. 14, 1974 - Jan. 11, 1975 -- Andy Warhol, Hand Colored Flowers (Castelli Graphics); 420 W Broadway
Jan. 4-18, 1975 -- Bruce Nauman, Cones/Cojones; 420 W Broadway
Jan. 11-25, 1975 -- Edward Ruscha, Domestic Tranquility, Four New Lithographs (Castelli Graphics); 4 E 77 St
Jan. 11 - Feb. 2, 1975 -- Salvatore Scarpitta, Sleds; 4 E 77 St
Jan. 15-18, 1975 -- Peter Campus and Paul Kos, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Jan. 25 - Feb. 8, 1975 -- Joseph Kosuth, The Tenth Investigation, Proposition Four; 420 W Broadway
Feb. 1-15, 1975 -- Group Show: Huebler, Morris, Nauman, Sonnier (Castelli Graphics); 4 E 77 St
Feb. 8-22, 1975 -- Keith Sonnier, Air to Air; 4 E 77 St
Feb. 15 - Mar. 8, 1975 -- Nassos Daphnis, A Continuous Painting; 420 W Broadway
Feb. 26 - Mar. 1, 1975 -- Benefit Exhibition for the Merce Cunningham Portfolio: Cage, Johns, Morris, Nauman, Rauschenberg, Stella, Warhol; 4 E 77 St
Feb. 26 - Mar. 1, 1975 -- Joan Jonas and Charlemagne Palestine, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Mar. 5-8, 1975 -- Frank Gillette and William Wegman, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Mar. 8 - Apr. 5, 1975 -- Ellsworth Kelly, Sculptures; 4 E 77 St
Mar. 15-29, 1975 -- Richard Artschwager, Drawings; 420 W Broadway
Mar. 15-29, 1975 -- Larry Stark, Silkscreens on Canvas; 420 W Broadway
Mar. 15 - [Apr. 5], 1975 -- Richard Landry, "1, 2, 3, 4" from Videotapes (Castelli Graphics); 4 E 77 St
Apr. 2-5, 1975 -- Benefit Exhibition for the Allen Memorial Art Museum, Oberlin College; 420 W Broadway
Apr. 12-26, 1975 -- Ellsworth Kelly, New Prints (Castelli Graphics); 4 E 77 St
Apr. 12-26, 1975 -- Dan Flavin, Flourescent Light; 420 W Broadway
Apr. 12 - May 3, 1975 -- Ellsworth Kelly, Gray Series Paintings; 4 E 77 St
Apr. 19 - May 3, 1975 -- James Klosty, Around and About Merce Cunningham, Photographs 1968-1972; 420 W Broadway
May 3-17, 1975 -- Richmond Jones, Photographs (Castelli Graphics); 4 E 77 St
May 3-31, 1975 -- Frank Stella, Metal Reliefs; 420 W Broadway
May 10-31, 1975 -- Ron Davis, Paintings; 4 E 77 St
May 10-31, 1975 -- Laura Grisi, Stripes; 420 W Broadway
May 24 - June 7, 1975 -- Laura Grisi, New Graphics (Castelli Graphics); 4 E 77 St
June 7 - Sept. 5, 1975 -- Summer Group Exhibition: Artschwager, Chamberlain, Darboven, Grisi, Huebler, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Warhol; 420 W Broadway
June 7 - Sept. 20, 1975 -- Summer Group Exhibition, Black and White: Kelly, Rauschenberg, Ad Reinhardt, Serra, Stella; 4 E 77 St
June 14-28, 1975 -- Bruce Nauman, New Graphics (Castelli Graphics); 4 E 77 St
July 7-25, 1975 -- Group Exhibition (Castelli Graphics); 4 E 77 St
1975-1976 SeasonSept. 13-27, 1975 -- Autumn Group Exhibition: Artschwager, Chamberlain, Davis, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta; 420 W Broadway
Sept. 27 - Oct. 18, 1975 -- James Rosenquist, Drawings; 4 E 77 St
Oct. 4-18, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 4 E 77 St
Oct. 4-25, 1975 -- Jan Dibbets; 420 W Broadway
Oct. 11-25, 1975 -- Frank Owen; 420 W Broadway
Oct. 25 - Nov. 15, 1975 -- Hans Namuth, Photographs (Castelli Graphics); 4 E 77 St
Nov. 1-15, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 420 W Broadway
Nov. 1-22, 1975 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway
Nov. 22 - Dec. 13, 1975 -- Group Exhibition: Flavin, Judd, Kelly, Morris, Stella; 4 E 77 St
Nov. 29 - Dec. 20, 1975 -- Lewis Baltz, The New Industrial Parks Near Irving, CA, 1974 (a portfolio of 51 photographs) (Castelli Graphics); 420 W Broadway
Nov. 29 - Dec. 20, 1975 -- Paul Waldman, Recent Paintings; 420 W Broadway
Jan. 3-17, 1976 -- Ralph Gibson, Photographs (Castelli Graphics); 4 E 77 St
Jan. 10-24, 1976 -- Robert Barry, Recent Drawings; 420 W Broadway
Jan. 10-24, 1976 -- Alan Charlton; 420 W Broadway
Jan. 24 - Feb. 14, 1976 -- Jasper Johns; 4 E 77 St
Jan. 31 - Feb. 14, 1976 -- Peter Campus; 420 W Broadway
Jan. 31 - Feb. 14, 1976 -- Peter Campus and Frank Gillette, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Feb. 10, 1976 -- Lawrence Weiner, Film screening, "A Second Quarter"; 420 W Broadway
Feb. 21 - Mar. 13, 1976 -- Robert Rauschenberg, Jammers; 420 W Broadway
Feb. 21 - Mar. 13, 1976 -- Keith Sonnier, Abaca Code; 420 W Broadway
Feb. 28 - Mar. 20, 1976 -- Joseph Cornell; 4 E 77 St
Mar. 20 - Apr. 10, 1976 -- Dan Flavin, Colored Fluorescent Light; 420 W Broadway
Mar. 20 - Apr. 10, 1976 -- Donald Judd; 420 W Broadway
Mar. 27 - Apr. 17, 1976 -- John Chamberlain; 4 E 77 St
Apr. 17 - May 8, 1976 -- Robert Morris; 420 W Broadway
Apr. 22-24, 1976 -- Benefit Drawing Exhibition for the New York Studio School; 4 E 77 St
Apr. 24 - May 15, 1976 -- Laura Grisi; 420 W Broadway
May 1-22, 1976 -- Hanne Darboven, For Jean-Paul Sartre; 4 E 77 St
May 15 - June 5, 1976 -- Douglas Huebler; 420 W Broadway
May 22 - June 12, 1976 -- Gianfranco Gorgoni, Photographs; 420 W Broadway
May 29 - June 12, 1976 -- Robert Adams, Photographs (Castelli Graphics); 4 E 77 St
June 19 - Sept. 10, 1976 -- Summer Group Exhibition: Artschwager, Chamberlain, Daphnis, Dibbets, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Noland, Oldenburg, Owen, Rauschenberg, Serra, Stella, Weiner; 420 W Broadway
June 26 - Sept. 10, 1976 -- Summer Group Drawing Exhibition: Artschwager, Barry, Bontecou, Darboven, Flavin, Morris, Ruscha; 4 E 77 St
Jan. 17 - Feb. 21, 1981 -- James Rosenquist, Star Thief; 142 Greene St
Feb. 14-28, 1981 -- Lawrence Weiner; 420 W Broadway (front room)
Feb. 14-28, 1981 -- Edward Ruscha, Drawings; 420 W Broadway (middle room)
Feb. 28 - Apr. 4, 1981 -- Richard Serra, Slice; 142 Greene St
Mar. 7-28, 1981 -- Paul Waldman; 420 W Broadway
Mar. 7-28, 1981 -- Laura Grisi; 420 W Broadway (middle room)
Mar. 12 - Apr. 4, 1981 -- Richard Serra, Film screenings, "Railroad Turnbridge" and "Steelmill/Stahlwerk" (Castelli/Sonnabend Tapes + Films); 142 Greene St
Apr. 4 - May 2, 1981 -- Julian Schnabel; 420 W Broadway
Apr. 4 - May 2, 1981 -- Douglas Huebler, Crocodile Tears; 420 W Broadway (middle room)
Apr. 11 - May 9, 1981 -- Ellsworth Kelly; 142 Greene St
Apr. 18 - May 9, 1981 -- Michael Harvey, Film screenings, "Sub Rosa" and "Dead Letter" (Castelli/Sonnabend Tapes + Films); 142 Greene St
May 13, 1981 -- Joan Jonas, Upsidedown and Backwards (Castelli/Sonnabend Tapes + Films); 142 Greene St
May 16-30, 1981 -- Artists' Benefit For the Trisha Brown Dance Company; 142 Greene St
May 16 - Sept. 4, 1981 -- Dan Flavin, Barred Corridors; 420 W Broadway
1981-1982 SeasonSept. 15 - Oct. 31, 1981 -- Donald Judd; 142 Greene St (lower gallery)
Sept. 19 - Oct. 10, 1981 -- Richard Serra (Castelli Graphics); 4 E 77 St
Sept. 19 - Oct. 10, 1981 -- Robert Barry and Carole Gallagher, Collaboration; 420 W Broadway
Oct. 17 - Nov. 7, 1981 -- Charles Gaines, Landscape: Assorted Trees with Regressions; 420 W Broadway
Oct. 17 - Nov. 7, 1981 -- Roy Lichtenstein; 420 W Broadway
Nov. 14 - Dec. 19, 1981 -- Richard Artschwager; 420 W Broadway
Nov. 17-21, 1981 -- Barbaralee Diamonstein, Visions and Images - American Photographers on Photography (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)
Sept. 26 - Nov. 7, 1992 -- Group Architecture Exhibition, Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco; 65 Thompson
Feb. 10 - Mar. 9, 1996 -- Group Exhibition, New Works by Gallery Artists: Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Sonnier, Stella, Therrien; 420 W Broadway
Apr. 20 - May 18, 1996 -- James Rosenquist, Horizon Home Sweet Home; 420 W Broadway
Apr. 20 - May 24, 1996 -- Roy Lichtenstein, Eight New Prints; 578 Broadway
May 28 - July 26, 1996 -- Ralph Gibson, Infanta; 420 W Broadway
May 28 - July 26, 1996 -- Group Drawing Exhibition, Works on Paper: Chryssa, Daphnis, Darboven, Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Ruscha, Serra, Stella, Sonnier, Therrien, Weiner; 420 W Broadway
June 1 - July 26, 1996 -- Summer Group Show: Johns, Kosuth, Lichtenstein, Ruscha, Stella, Therrien; 578 Broadway
1996-1997 SeasonSept. 14 - Oct. 12, 1996 -- Gianfranco Gorgoni, 25 Years of Artists Portraits; 578 Broadway
Feb. 15 - Mar. 15, 1997 -- Lawrence Weiner, Then Now + Then; 420 W Broadway
Mar. 1-22, 1997 -- Dan Flavin; 578 Broadway
Mar. 22 - Apr. 26, 1997 -- Keith Sonnier, Alternating Currents; 420 W Broadway
Mar. 29 - Apr. 5, 1997 -- The Printmaking Workshop Benefit Exhibition and Auction; 420 W Broadway
Apr. 17 - May 17, 1997 -- Columbia University MFA Exhibition; 420 W Broadway
May 3 - June 7, 1997 -- Edward Ruscha, Cityscapes and "O" Books; 420 W Broadway
July - Sept., 1997 -- Summer Group Show: Kosuth, Morris, Serra; 420 W Broadway
1997-1998 SeasonSept. 27 - Oct. 18, 1997 -- Joseph Kosuth; 420 W Broadway
Oct. 25 - Nov. 15, 1997 -- 40 Years of Exploration and Innovation Part 1: Bontecou, Chryssa, Cornell, Johns, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Warhol; 420 W Broadway
Nov. 22 - Dec. 13, 1997 -- 40 Years of Exploration and Innovation Part 2: Daphnis, Flavin, Judd, Kelly, Morris, Serra, Stella, Therrien, Waldman; 420 W Broadway
Jan. 10-31, 1998 -- 40 Years of Exploration and Innovation Part 3: Barry, Darboven, Dibbets, Grisi, Huebler, Kosuth, Nauman, Scarpitta, Sonnier, Starn Twins, Weiner; 420 W Broadway
Feb. 7 - Mar. 14, 1998 -- Dan Flavin, Some Drawings and Installations of Fluorescent Light; 420 W Broadway
Mar. 28 - Apr. 25, 1998 -- Hannah Collins, True Stories; 420 W Broadway
May 2 - June 6, 1998 -- Mike and Doug Starn, Black Hole Sun Burned; 420 W Broadway
June 24 - Aug. 29, 1998 -- Summer Show; 420 W Broadway
1998-1999 SeasonSept. 26 - Oct. 31, 1998 -- Robert Morris, The Rationed Years; 420 W Broadway
Nov. - Dec., 1998 -- Joseph Kosuth, Richard Serra, Keith Sonnier; 420 W Broadway
Jan. - Feb. 1999 -- Robert Rauschenberg, Arcadian Survey; 420 W Broadway
Related Material:
Available in the Archives of America Art are three oral history interviews with Leo Castelli. Paul Cummings interviewed Castelli between May 14, 1969 and June 8, 1973; Barbara Rose in July, 1969; and Andrew Decker on May 22, 1997.
Separated Materials:
The Archives of American Art also holds items lent for microfilming (reel N68) including printed material. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Leo Castelli loaned printed material for microfilming in 1968. Leo Castelli's wife, Barbara Bortuzzo Castelli, and his children, Nina Castelli Sundell and Jean-Christophe Castelli, donated the Leo Castelli Gallery records to the Archives of American Art in 2007.
Restrictions:
Use of original records 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.
An interview of Barbara Bloom conducted 2012 October-2013 January 31, by James McElhinney, for the Archives of American Art, at Bloom's home and studio, in New York, New York.
Bloom speaks of growing up in Brentwood, California; her first experience with art; her childhood and exposure to creativity; the influence of art and philosophy; going to museums as a kid; living in Monte Factor and then Los Angeles; her creative process, influences, and life as an artist; art mentors and art lessons with Cathy Herman; traveling with her family; her mom being an actress; attending Bennington College in Vermont, the 1960s, the and collage aesthetic; attending CalArt; the changes in art education at the university level; drugs use; Fluxus; John Cage and attending 4'33; living in Europe and specifically Netherlands, Germany, and Holland; books and love of reading; her daughter; the post-studio era; film and meta-movies; making "The Diamond Lane;" images and objects' connection to meanings; The Gaze; undressing the wall; Homage to Jean Seberg, Godard, Berlin; East Germany; being agnostic and Jewish; Venice Biennale; collectors; cycle of shows; MFA programs; The Tip of the Iceberg; surgeries; hospital visit, personal training, and recovery; The Seven Deadly Sins; her father; Tellus Magazine; Judaism; fabrications and drawings; archives; relationship between the artist and the viewer; her husband; 010011.net; recent show; and As It Were, So To Speak. Bloom also recalls Monte and Betty Factor, Ed Kienholz, Ron Kappe, Robbie Robe, Ray Kappe, Matt Mullican, Eric Orr, Robert Irwin, Doug Wheeler, Total: digital recordings; Claire Steinman, Rosemarie Trockel, Ash Grove, James Lee Byars, Frances Rey, Sidney Tillim, Norman O. Brown, Paul Cotton, Paul Brock, Buckminster Fuller, John Baldessari, Nam June Paik, Dick Higgins, Alison Knowles, Serge Tcherepnin, Simone Forte, Charlemagne Palestine, La Monte Young, David Salle, Eric Fischl, Marcel Broodthaers, Susan Sontag, Tim Maul, Caroline Tisdale, Marcel Duchamp, Laura Mulvey, John Berger, Oscar Wilde, Ed Ruscha, Isabella Kacprzak, Octavio Paz, Leo Castelli, Allen Ruppersberg, Jay Gorney, Claudia Gould, Susan Bronstein, Donald Judd, Robert DuGrenier, Pistoletto, Anthony Coleman, Mel Bochner, and Ken Saylor.
Biographical / Historical:
Barbara Bloom (1951- ) is a photographer, designer, and installation artist in New York, New York. James McElhinney (1952- ) is an artist and professor in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Regina Vater conducted 2004 February 23-25, by Cary Cordova, for the Archives of American Art, in her home in Austin, Texas.
Vater speaks of her childhood in Copacabana, Ipanema, south of Rio de Janeiro; her father's career as a physician; her Basque, Portuguese, and Jewish heritage; her early education including early experiences with Greek philosophy; her parents' reaction to her desire to be an artist; her great-grandfather's translation of Virgil and Homer into Portuguese; her study abroad in France in 1972; her move to New York in the mid-1970s; her motivations for various works of art, including the series Gentle Solitude, Three Chinese Monkeys, Luxo Lixo, Electronic Nature, The Knots, Tina America, and "O Que e Arte?"; her Guggenheim fellowship in 1981; the 1976 Whitney Biennial; her marriage to video installation artist Bill Lundberg; her move to Austin, Tex.; her work with the Franklin Furnace Gallery and Flue magazine; her involvement with "cinema verité"; making films with Ruth Escobar; her travels in Buenos Aires, Argentina, Lima, Peru, Bolivia, and Colombia; her perception of the emotional differences between Latinos and Americans; her love of Brazilian culture; her own classification of her work and potential reasons for the lack of scholarship on her work; her activities as a curator including the 1984 show "Latin American Visual Thinking," at the Art Awareness Gallery in New York, N.Y.; difficulties with the Brazilian government in attempting to bring her film Green into that country; her love of poetry, especially concrete poetry; and the spirituality of her work. Vater also recalls Helio Oiticica, Lygia Clark, Frank Schaeffer, Antonio Diaz, Carlos Vergara, Rubens Gerschman, Mario Schemberg, Lucy Lippard, Augustos de Campos, John Cage, Joseph Beuys, Quentin Fiore, Tomasso Trinino, Bill Lundberg [the artist's husband], Leo Castelli, Dore Ashton, Nam June Paik, Charlotte Moorman, Sophie Calle, Nelson Pereira dos Santos, Ruth Escobar, Antonio Pitanga, Bobby Wilson, Sylvia Orozco, Bill Viola, Ana Mendieta, Martha Wilson, Catalina Parra, Liliana Porter, and others.
Biographical / Historical:
Regina Vater (1943-) is a Brazilian born multimedia artist from Austin, Texas. Cary Cordova (1970-) is an art historian from Austin, Texas.
General:
Originally recorded on 4 sound discs and 1 compact disc. Duration is 5 hr., 10 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The records of Dorothy Goldeen Gallery, based in Southern California, measure 16.2 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Scope and Contents:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 16.2 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Correspondence is with artists, museums, galleries, and collectors regarding exhibitions, sales, and acquisitions of artwork. Administration records include appraisals, mailing lists, materials related to gallery events, a rolodex, and a list of artist contracts. Exhibition files are found for only a few of the gallery's exhibitions, including American Artists in Jewelry (1987), Private Reserve (1988), Fresh Visions 1 (1989), Fresh Visions 2 (1989), and Multiple Parts (1994).
There are extensive artists' files containing correspondence, printed and digital material, resumes, slides, and photographs documenting the gallery's relationship with and exhibitions of many prominent artists. These files also contain numerous audio and video recordings of interviews with artists, exhibitions, documentaries, and video art.
Financial and legal records mostly consist of sales records of artwork by various artists, in addition to materials on a lawsuit, a sublease for exhibition space, and a few invoices.
Printed materials include Dorothy Goldeen Gallery press releases, exhibition announcements, press reviews, newsletters, clippings, and one videocassette of a broadcast news program.
Photographic materials mostly consist of slides and transparencies of artwork by artists represented by the gallery. There are a few images of the gallery building.
Arrangement:
This collection is arranged as 7 series.
Series 1: Correspondence, 1979-2012 (1.1 linear feet; Box 1-2)
Series 2: Administration Records, circa 1987-circa 2010 (0.6 linear feet; Box 2)
Series 3: Exhibition Files, 1987-1995 (0.4 linear feet; Boxes 2-3)
Series 4: Artists' Files, 1961-2007 (12.1 linear feet; Boxes 3-14, OV 17-18, 2.52 GB; ER01-ER02)
Series 5: Financial and Legal Records, 1987-2005 (0.8 linear feet; Box 15)
Series 6: Printed Material, 1986-2014 (0.4 linear feet; Boxes 15-16)
Series 7: Photographic Material, 1960-2005 (0.8 linear feet; Box 16)
Biographical / Historical:
The Dorothy Goldeen Gallery (1987-1996) was an art gallery in Santa Monica, California, founded by Dorothy Goldeen.
Dorothy Goldeen graduated from the University of California, Berkeley, where she studied sculpture and textile design. In 1973, Goldeen began her career in the arts working in San Francisco, California at the Hansen Fuller Gallery which later became Fuller Goldeen Gallery.
In 1987, Goldeen moved to Los Angeles and founded the Dorothy Goldeen Gallery. Historically significant artists such as Magdalena Abakanowicz and Nam June Paik were represented by her gallery as well as influential, emerging Los Angeles artists. Other notable artists include Robert Arneson, Paul Kos, Ed Paschke, and Alan Rath.
In 1996, Goldeen closed her gallery and launched the Dorothy Goldeen Art Advisory in Santa Monica. Goldeen often travels internationally as an art consultant for private and institutional clients, advising them on the acquisition and resale of art.
Related Materials:
The Archives of American Art also has an oral history interview with Dorothy Goldeen conducted by Hunter Drohojowska-Philp in 2014.
Provenance:
The Dorothy Goldeen Gallery records were donated by Dorothy Goldeen to the Archives of American Art in 2 installments in 2003 and 2014.
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.
Permission to publish, quote or reproduce all correspondence must be obtained from Dorothy Goldeen.
Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
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.
Found in this series are notebooks and notes, lists, video logs, performance scores, and partial and complete typescripts and manuscripts of published and unpublished articles, both original and vintage photocopies. While the bulk of the writings are by Nam June Paik, there are some writings by other authors. A more complete description is provided at the subseries level.
Arrangement:
This series is arranged into four subseries:
6.1: Notes and Notebooks, circa 1960-2000
6.2: Performance Scores, circa 1960-1970
6.3: Writings by Nam June Paik, circa 1960-2000
6.4: Writings by Others, circa 1960-1995
Collection Restrictions:
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Found in this series are the artist's sketchbooks, primarily notebooks that were used for quick sketches and notes. There are also loose sheets (originals and photocopies) with sketches and diagrams, not all of which are by Paik. Included, for example are works by a W. Fri (signature illegible) and photocopies of Beryl Korot's videotape notations.
Arrangement:
Items in this series are arranged by format.
Collection Restrictions:
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Includes two budgets - one, undated, for an electronic video studio; and a budget dated Sept. 22, 1972 for the second stage of the Paik-Abe synthesizer.
Collection Restrictions:
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
