The records of New York City gallery Hundred Acres measure 3.2 linear feet and date from 1969 to 1977. The collection contains files documenting the activities of artists such as John Baeder, Nancy Blanchard, Frederick John Eversley, John Fekner, Richard Haas, Eleanor Hubbard, Stevan Jennis, Noel Mahaffey, Ed Paschke, Liliana Porter, and Mark Wilson. Also included are gallery files consisting of administrative records, sales and inventory records, correspondence, exhibition files, and a file regarding the Radical Realism I print portfolio.
Scope and Contents:
The records of New York City gallery Hundred Acres measure 3.2 linear feet and date from 1969 to 1977. The collection contains files documenting the activities of artists such as John Baeder, Nancy Blanchard, Frederick John Eversley, John Fekner, Richard Haas, Eleanor Hubbard, Stevan Jennis, Noel Mahaffey, Ed Paschke, Liliana Porter, and Mark Wilson. Also included are gallery files consisting of administrative records, sales and inventory records, correspondence, exhibition files, and a file regarding the Radical Realism I print portfolio.
Arrangement:
The collection is arranged as two series.
Series 1: Artist's Files, 1969-1977 (1.8 linear feet; Boxes 1-2)
Series 2: Gallery Files, 1970-1977 (1.4 linear feet; Boxes 2-4)
Biographical / Historical:
The Hundred Acres gallery was an art gallery owned by Ivan Karp (1926-2012) located in New York City. Karp, known for his support of the Pop art movement, was director of the Castelli Gallery before opening Hundred Acres. He was also the owner of the O.K. Harris gallery that operated across the street from Hundred Acres gallery.
Hundred Acres gallery was in operation through most of the 1970s and represented contemporary artists including John Baeder, Shirley Pettibone, Liliana Porter, Mark Wilson, and numerous others. The gallery held group shows, the exhibition Judy and Adrienne - Two Lives (1973), and published Radical Realism I, a portfolio of lithographic prints by artists such as Richard Estes and Ralph Goings.
Related Materials:
Also found at the Archives of American Art are the Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014.
Provenance:
The Hundred Acres gallery records were donated by Ivan Karp, owner and director of the gallery, in 1982.
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 audiovisual recordings in this collection must use access copies. 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.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Hundred Acres gallery records, 1969-1977. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
Interview of Liliana Porter, conducted by Judith Richards for the Archives of American Art, Smithsonian Institution in Rhinebeck, NY, on June 27-28, 2012.
Porter speaks of how her grandparents immigrated from Romania to Argentina; how her parents met; her father, the film director Julio Porter, and his relationship with her mother; going to art school in Mexico; learning printmaking; her earlier exhibitions in Mexico City; visiting New York City and deciding to stay; making prints at the Pratt Graphics Center; the community of Latin American artists in New York; opening a studio with her first husband, Luis Camnitzer; her early exhibitions, including at the Van Bovenkamp gallery and in MoMA's Information show; her influences, including Arte Povera and Pop art; her first trip to Europe; moving back to New York and opening another workshop there; her second husband, Alan Wiener; teaching at Queens College; beginning to collect and use toys in her work; her transition from Cibachrome to digital photography; her galleries; her collaborations with Ana Tiscornia; and her print, photography, video, and public works, including Alice in Wonderland, the Wrinkle works, the Dialogues series, the Forced Labor series, the Corrections series; the Reconstructions series, For You, Fox in the Mirror, The Traveler. Porter also recalls Juan José Arreola, José Emilio Pacheco, Luis Felipe Noé, José Castillo, Fritz Eichenberg, Kynaston McShine, Barbara Toll, Ana Mendieta, Inés Katzenstein, and others.
Biographical / Historical:
Interviewee Liliana Porter (1941- ) is a mixed media artist working in printmaking, works on canvas, photography, video, installations and public art projects in Rhinebeck, N.Y. Interviewer Judith Olch Richards (1947- ) is the former executive director for iCI in New York, N.Y.
General:
Originally recorded as 4 digital wav files. Duration is 5 hr., 41 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:
This transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.
Occupation:
Mixed-media artists -- New York (State) Search this
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.
