Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Names:
Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Extent:
124 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2011 June 3-4
Scope and Contents:
An interview of Jennifer Bartlett conducted 2011 June 3 and 4, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Bartlett's home and studio, in Brooklyn, New York.
Jennifer Bartlett speaks of her childhood in Long Beach, CA; her early interest in French New Wave films and Arshile Gorky; attending Mills College in Oakland, CA; her experience and training at Yale University's Art School; friendships, acquaintances, and professors in the Yale Art department; the art community in the neighborhood of SoHo in the late 60's; her techniques involving grid, scale, and repetition; the physical arrangement of her studios along with her working process; inspiration of classical Italian art as well as impressionists Vincent van Gogh, Paul Cézanne, and Georges Seurat; the issue of gender discrimination both within and outside of the art world; her own landscaping and gardening project and the influence of the natural world on her work; insight into two of her large scale works, Rhapsody [1975-76] and Recitative [2009-10]. Bartlett also recalls Chuck Close, Richard Serra, Volker Schlöndorff, John Cage, Brice Marden, and Elizabeth Murray.
Biographical / Historical:
Jennifer Bartlett (1941- ) is a painter in Brooklyn, New York. James McElhinney (1952- ) is a visual artist and writer in New York, New York.
General:
Originally recorded as 8 sound files. Duration is 4 hr., 55 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:
Painters -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.
Scope and Content Note:
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993, with the bulk from the period 1931-1982. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.
Biographical material includes Tworkov's citizenship certificate, awards, diplomas, a copy of Jack Tworkov: Video Portrait, produced by Electronic Arts Intermix, and a motion picture film, USA Artists: Jack Tworkov, produced by National Education Television.
Correspondence consists largely of incoming letters. It is both professional and personal in nature and often combines both spheres. Correspondents include artists Jennifer Bartlett, William H. Calfee, Giorgio Cavallon and Linda Lindeberg, Grace Hartigan, Helene Herzbrun (also named Helene McKinsey), Karl Knaths, Joe Summerford, Joan Thorne, and Adja Yunkers; cartoonist Robert C. Osborn; collectors Donald M. Blinken and David A. Praeger (who was also Tworkov's lawyer); illustrator Roger Dovoisin; critics Dore Ashton and Andrew Forge; critic and poet John Ashbury; galleries that represented Tworkov: Egan Gallery, Leo Castelli, Nancy Hoffman Gallery, Poindexter Gallery, Stable Gallery and Zabriskie Gallery; and many museums, arts organizations, colleges and universities.
Interviews with Tworkov include one with Ricky Demarco videotaped in 1979 and two conducted on video by Twokov's daughter Helen in 1975. The remaining interviews are sound recordings, one conducted by Grace Alexander for the show Artists in New York in 1967, one conducted by Michael Newman in 1980, and the remainder by unidentified interviewers. None have transcripts.
All writings are by Tworkov and include poems, an artist's statement, and documentation for two children's books by Tworkov illustrated by Roger Duvoisin. Two additional notebooks contain miscellaneous notes, teaching notes, and some specific to identified courses. Lectures exist as untranscribed sound recordings.
Tworkov's journals (33 volumes) span a period of 35 years, from 1947 until 1982, with the final entry dated a few weeks before his death. They record his reflections on painting, his challenges as a painter, aesthetics, the role of the artist in society, Jewish identity, painters he admired (especially Cézanne and Edwin Dickinson), politics, and teaching. They also recount everyday life: the comings and goings of friends and family members, social engagements, professional activities, illness, and travel.
The lone subject file concerns Mark Rothko and includes a photograph of Rothko and the guest list for the dedication of the Rothko Chapel in Houston.
Artwork consists of a small number of sketches by Tworkov in pencil and ink. Tworkov's sketchbooks (28 volumes) contain sketches and some finished drawings. Most are in pencil, but scattered throughout are a few pencil sketches embellished with colored marker or pastel, and a small number in ink.
Photographs are of people, places and events. Most photographs are of Tworkov alone and with others including Giogio Cavallon, though most friends and students are unidentified. Of note are views of Tworkov producing a series of prints at Tamarind Institute. Also found is an informal portrait of Wally Tworkov. Events recorded include the jurying of "Exhibition Momentum" in Chicago, 1956. Among the places shown are Tworkov's studios at Black Mountain College and in Provincetown. When known, photographers are noted; among them are Paul Katz, Herbert Matter, Arnold Newman, Renate Ponsold, Theo Westenberger, Dennis Wheeler, and Howard Wise.
A separate series of audiovisual recordings was established for those recordings that could not be readily identified to be arranged in other series. They consist of three videocassettes (2 VHS and 1 miniDV).
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1933-1981 (Boxes 1, 9, 11, FC 13; 0.7 linear ft.)
Series 2: Correspondence, 1926-1993 (Boxes 1-5; 3.8 linear ft.)
Series 3: Interviews, 1978-1982 (Boxes 5, 9-10; 1 linear ft.)
Series 4: Writings, Notes, and Lectures, 1955-1982 (Boxes 5, 9; 0.5 linear ft.)
Series 5: Journals, 1947-1982 (Boxes 5-7; 2.0 linear ft.)
Series 6: Subject File, 1961-1977 (Box 7; 1 folder)
Series 7: Printed Material, 1952-1981 (Box 7, OV 12; 0.1 linear ft.)
Series 8: Artwork, circa 1950s-1960s (Box 7: 3 folders)
Series 9: Sketchbooks, circa 1950s-1960s (Boxes 7-8, 11; 1.0 linear ft.)
Series 10: Photographic Materials, 1941-1981 (Boxes 8-9; 0.5 linear ft.)
Series 11: Audiovisual Recordings, 1961-1975 (Box 9; 0.1 linear ft.)
Biographical Note:
New York School painter Jack Tworkov (1900-1982), best known for his Abstract Expressionist paintings and as a highly regarded teacher, lived and worked in New York City and Provincetown, MA.
At age 13, Tworkov (born Yakov Tworkovsky) emigrated from Poland with his mother and sister to join his father already in the United States. In America, they chose to use the name of distant relatives, the Bernsteins, who were their sponsors. Eventually, Jack and his sister, Janice, reclaimed and shortened their name to Tworkov; later, she adopted the name of their hometown in Poland and became the painter Janice Biala.
As a high school student in New York City, Tworkov attended drawing classes. After graduating from Columbia University, where he had been an English major and considered becoming a writer, Tworkov instead turned to art. He studied with Ivan Olinsky at the National Academy of Design between 1923 and 1925, and from 1925 to 1926 attended painting classes taught by Guy Péne Du Bois and Boardman Robinson at the Art Students League. During his college years, Tworkov began visiting museums and became a great admirer of Cézanne. Tworkov's early paintings - still life, landscapes, and portraits - showed the influence of European modernism and Cézanne.
Tworkov spent his first summer in Provincetown while still a student and subsequently returned to study with Ross Moffet. In Provincetown he met and was greatly influenced by Karl Knaths and developed a lifelong friendship with Edwin Dickinson. By 1929, Tworkov was painting there year round. Over the years, Tworkov and his family continued to return for long stretches, and in 1958 he purchased a house in Provincetown.
During the Great Depression, Tworkov participated in the Treasury Department's Public Works of Art Project until 1934, and then moved to the easel division of the WPA Federal Art Project. He felt uncomfortable with the growing ideological and political influences on art and found it depressing to paint for the WPA rather than for himself, so he left the WPA in 1941. Tworkov, who had studied mechanical drawing while in high school, spent most of the War years employed as a tool designer and draftsman at an engineering firm with government contracts.
By the 1940s, Tworkov was painting in the Abstract Expressionist style. Between 1948 and 1953, he leased a studio on Fourth Avenue that adjoined that of his friend Willem de Kooning. During this time, they mutually influenced each other as they developed into mature Abstract Expressionists. At Yale in the 1960s, Tworkov became close friends with fellow student Josef Albers. Alber's influence on Tworkov resulted in a turn to geometric compositions of small, systematic, and repetitive strokes defined by a grid. He experimented with diagonal compositions, and later geometric work that featured large areas of color and soft texture.
Tworkov's first teaching experience was during 1930-1931 when he served as a part-time painting instructor at the Ethical Culture Fieldston School. His teaching career began in earnest when he joined the faculties of Queens College, 1948-1955, and Pratt Institute, 1955-1958. During the summers he taught at various schools, most notably Black Mountain College's 1952 summer session. Tworkov was a visiting artist at the Yale University School of Art and Architecture, 1961-1963, and became chairman of its Art Department from 1963 until his retirement in 1969. In retirement he lived in Provincetown and was a visiting artist for both short and extended periods at various universities and art schools.
An avid reader of literature and poetry, Tworkov also wrote poems and essays. He published essays in It Is, Art Digest, and Art In America; his most notable piece, "The Wandering Soutine," appeared in Art News, November 1950. Tworkov also kept a journal for 35 years (1947-1982) that recorded his thoughts on a wide range of subjects concerning professional, personal, and philosophical issues, as well as details of everyday life.
Tworkov was among the founders of the Artists' Club or The Club in 1949, and for a decade actively participated in the stimulating discussions for which the group was known. In 1968 he helped to establish the Fine Arts Work Center in Provincetown. Its residency program enabled younger artists and writers to advance their careers and kept Provincetown's historic artists' colony active year round.
He was the recipient of the William A. Clark Award and Corcoran Gold Medal from the Corcoran Gallery of Art, 1963; Skowhegan School of Art's Painter of the Year Award, 1974; and Distinguished Teaching of Art Award from College Art Association, 1976. Tworkov was appointed to serve on the Massachusetts Art Commission, 1970-1971, and in 1981 was named a Fellow of The Cleveland Museum of Art and of the Rhode Island School of Design.
Following his second divorce in 1935, Rachel (Wally) Wolodarsky became Tworkov's third wife and their marriage endured. They had two daughters. Hermine Ford (b. 1939) is an artist married to fellow painter Robert Moskowitz. Helen Tworkov (b. 1943) is the founder of Tricycle: The Buddhist Review and the author of a book about yoga.
Tworkov remained physically and intellectually active after a diagnosis of bone cancer around 1980, and continued to paint until shortly before his death in Provincetown on September 4, 1982.
Related Material:
Among the holdings of the Archives of American Art are two oral history interviews with Jack Tworkov, one conducted by Dorothy Seckler, Aug. 17, 1962, and another by Gerald Silk, May 22, 1981. There is also a small collection of three letters written by Jack Tworkov to friend Troy-Jjohn Bramberger.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N70-38 and 62) including writings by Tworkov, notebooks, notes for teaching and talks, notes on art and miscellaneous subjects, poems, artist's statements, biographical data, the transcript of a 1970 interview with Tworkov conducted by Phyllis Tuchman, and a few letters and drafts of letters, 1950-1963. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jack Tworkov lent the Archives of American Art papers for microfilming in 1970-1971. Jack Tworkov's daughters, Hermine Ford and Helen Tworkov, donated the rest of the collection in 2009, which included some of the material from the original loan.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Reels N70-38 and 62: Authorization to publish, quote, or reproduce requires written permission from Helen Tworkov or Hermine Ford. 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.
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery. There is an 85.5 linear foot unprocessed addition to this collection donated in 2023 that includes artist files, exhibition files, correspondence, audiovisual material, archtectural plans and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Scope and Content Note:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.
The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.
Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.
Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.
The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.
There is an 85.5 linear foot unprocessed addition to this collection donated in 2022 that includes artist files, exhibition files, correspondence, audiovisual material, architectural plans, and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Arrangement:
The collection is arranged as 4 series:
Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)
Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)
Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)
Series 4: Unprocessed Addition, circa 1970-2018 (Boxes 53-138, OV 139-146; 85.5 linear feet)
Historical Note:
The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.
Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.
The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.
Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.
Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.
Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich Rückriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.
Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).
Related Material:
Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)
Provenance:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in thre accessions in 2006, 2009 and 2022.
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 and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. 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.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Transcripts
Photographs
Citation:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
An interview of Jennifer Bartlett conducted 1987 June 18-September 28, by Avis Berman, for the Archives of American Art.
Bartlett discusses her family background and the dynamics within the family; her childhood interest in art; growing up in suburban Long Beach, California; attending Mills College and Yale School of Fine Arts; and her teachers and co-students there. She remembers in particular Elizabeth Murray, Jack Tworkov, and Richard Serra. She speaks about themes and intentions in her work, especially "Rhapsody" and various commissions including works created for ISI, Saatchi, Volvo, and Battery Park. Bartlett speaks about her writings "Cleopatra" and "History of the Universe" and their relationship to her painting. She concludes the interview with philosophical musings about art and taste.
Biographical / Historical:
Jennifer Bartlett (1941-2022) was a painter, writer, and art instructor in New York, New York.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 15 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 interview is open for research. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Conceptual artists -- New York (State) -- New York Search this
The records of the Nancy Drysdale Gallery measure 9.0 linear feet and span the years 1971 to 1996. The bulk of the collection comprises artist files that document the gallery's relations with 67 artists, many of whom were represented by the gallery.
Scope and Content Note:
This collection measures 9.0 linear feet and dates from 1971 to 1996. The bulk of the collection comprises artist files that document the gallery's relationships with 67 artists, many of whom were represented, or whose work was handled by, the gallery. In addition to artist files, the collection contains exhibition files, printed material, and publishers files.
Arrangement:
The collection is arranged as four series reflecting the original arrangement imposed by the Gallery.
Missing Title
Series 1: Group Exhibition Files, 1978-1994 (Box 1, 0.5 linear ft.)
Series 2: Fine Art Publishers Files, 1972-1995 (Boxes 1-2, 1.5 linear ft.)
Series 3: Artist Files, 1971-1996 (Boxes 2-9, 7 linear ft.)
Series 4: Miscellaneous Printed Material, 1993-1994 (Box 9, 1 folder)
Historical Note:
When colleague Max Protetch moved to New York City in 1976, his gallery at 2151 P Street, N.W., Washington, D.C., became the Protetch-McIntosh Gallery under his successor, Cincinnati dealer, Nancy McIntosh Drysdale. Drysdale then moved the gallery to 406 7th Street, N.W., and changed the name to the McIntosh/Drysdale Gallery. Several years later, Drysdale vacated the 7th Street address and operated as a private dealer before opening the Nancy Drysdale Gallery at 2103 O Street, N.W., in 1991.
Provenance:
The records of the Nancy Drysdale Gallery were donated to the Archives of American Art by Nancy Drysdale in 1997.
Restrictions:
The collection is open for resesarch. Use 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.
Jennifer Bartlett and Dodie Kazanjian. Interview with Jennifer Bartlett, 2005 July 19. Dodie Kazanjian papers, 1949-2017. Archives of American Art, Smithsonian Institution.
Jennifer Bartlett. Jennifer Bartlett letter to Jack Tworkov, ca. 1970. Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Jennifer Bartlett, 1987 June 18-September 28. Archives of American Art, Smithsonian Institution.
Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Jennifer Bartlett, 2011 June 3-4. Archives of American Art, Smithsonian Institution.
Process and product : the making of eight contemporary masterworks / Donald Burton Kuspit and Linda Weintraub ; photography by Douglas Baz ; organized by the Edith C. Blum Art Institute, Bard College Center
Author:
Kuspit, Donald B (Donald Burton) 1935- Search this
