are delighted that The 197(J's: NEW American , which we organized for the International Communications Agency , opened on June 13 in Belgrade, Yugoslavia.

We have tried and thus far succeeded to create an organization whose primary Winter1979 NEWS responsibility is both to artists and their Spring 1980 work and to the public who comes to view that work. To this end, we have seen as much new work as possible, both in the studio and by means of slides and portfolios brought in to our office.

We have sought to remain fl exible and adapt our own abilities to the demands placed on us by the nature of tlie work we exhibit; we have begu n to solicit From The Director outside curatorial services, in order to show the widest possible variety of work and attitudes; we have shown Since we opened in our current space on work for the first tim e which could not Nove mber 11, 1977, thanks to the help be seen elsewh ere, and provided infor- of hundreds of donors, volunteers and mation in th e form of catalogs, offset artists, we have been able to organize handouts and free gallery talks to the fifteen exhibitions, eight perfor- public. mances, eight symposia, and many lectures. Perhaps most important, from our point of view, is that we have accomplished Our staff has increased from three to something which is not necessarily visi- el even people, our regular volunteer bl e to others. We have, as we had hoped, and internship program has grown, and created an organization which is not our Board of Trustees now numbers yet prey to the difficulties of a bureau- nine. We have elected officers, and are cracy, especially to those problems delighted to have Henry Luce Ill as our indigenous to museums as we have President, Vera List as Vice President, known them. Allen Goldring as Treasurer, and Maureen Stewart, the Museum's Admin- We are unique in working in an at- instrator, as Secretary. mosphere where the needs and in- tentions of artists, curators, admini- Without an endowment, and without strative staff, volunteers, interns and th e certainty of long- term funding in tTu stees are in no way at odds. There the immediate future, much of our is a feeling of shared endeavor and of attention is focused on day-to-day sub- shared accomplishment on all our sistence. Each day, however, seems to parts; there is no sense that one person's bring increased optimism, since we work is more valuable than another's, began in January 1977 with not much no matter how different the nature of more than energy and good intentions. that work might be.

Despite financial uncertainty, many of There are often 12 of u working in less the plans that were intrinsic to our than 500 square fee t of office space, original thinking have come to fruition. and we find after two years in these We have, as we hoped, produced an cramped quarters that we still enjoy ex tensiv e and illustrated catalog for each other's company, respec t each each ex hibition ; we have compiled other's privacy, and that the informality and maintained a selective and useful and warmth of our working situation slide archive of artists' work by artists have offset the hardship of excessively to which one would otherwise not have long hou rs, noise and physical discom- access. This archive has been used fort. extensively by other museum profes- sionals from the U.S. and Europe. Once again, I would like to thank everyone who is part of The ew We are ex pecting in th e very near future Museum for making it what it is - a to have some of our exhibitions shown place where all of us, despite th e many at other museums in this country, and mistakes we have made and the many difficulties we encounter daily, can think and work at the limits of our intelligence and our imaginations. Director

Museum Receives Jerome Foundation Grant

The received a $10,000 grant for its 1978-79 program year from the Jerome Foundat~ion to support exhibitions of work by emerging artists.

The Jerome Foundation, founded in 1954 by the late J. Jerome Hill , focuses on the arts and humanities, particularly cinematography, dance, mu sic, theatre and the visual arts. The Foundation encourages experimental, innovative and creative endeavors in th ese media and, through appropriate non-profit in stitu- tions, devotes itself to assisting artists whose work has received little public ex posure.

photo credit: GeoffryeHood Support is limited to Greater , the State of Minnesota (where th e Foundation's headquarters is located) Mime, Music and Magic and adjoining midwest states. The New Museum is grateful to the ] eromc Foundation for its generous assistance. "Mime, Music and Magic" was the theme for the Museum's first major fundraising benefit, which was held at TNM Trains College Interns the Museum on Sunday evening, A pril 22. Approximately 350 persons at- tended th e event, (or which tickets Th e New Museum's internship program were sold at $100 each. A mime, flutist, provides students interested in museum harpist, magician and palm reader were studies an opportunity to receive aca- on hand to perform while gues ts en- demic credit for their participation in joyed an informal eve nin g of cocktails, museum projects. buffet supper and disco dancing.

Through 1979 our intern ship program Al so featured was a preview of the has included the following students: ex hibition Sustained Visions, wh ich Elizabeth Baldin g, Co nn ecticu t Co ll ege; focused on , drawings and Robin Carpen ter, University of South sc ulpture by three artists who have Florida; Cheryl Cipriani, Kirkland Col- worked in isolation and maintained lege; Jim Cohan, Washington University ; a consistent idi osyncratic vision over Anne Duberek, Drew University; Susan- a long period of time. Works in the nah Elliott, Sarah Lawrence Coll ege; show were by Gaylcn C. Hansen of Alexandra Hal kin , ; Pullman, Washington, and Claire Moore Marcia Heimbinder, Empire State Co l- and Salvatore Scarpitta of New York lege; Ed Jones, City College of City City . .U niversity; Cy nthia Marciarille, Barnard College; Margot None , Connecticut The benefit's Celebration Committee, College; George Perez, Empire State chaired by trustees Vera List and College; Eliza Rand, Sarah Lawrence Henry Luce III, assembled for a cock- College; Terry Rooney, Empire State tail meetin g at the home of J. Patrick Coll ege; Jane Saunders, Co nnecticut Lannan and Mary McFadden earlier in College; Phyllis Shafer, Empire State th e spring when plans for the evening College; Leslie Schutzer, Rutgers Uni- were still in progress. Members included: versity; Mario Teruel, School of the ; Ellen Va nden Claire B. Benenson Broeck, Sarah Lawrence Coll ege. Ja cqueline R. Bildner Vera Lisl and Henry Luce Ill J. Pa trick Lannan and Mary McFadden photo credit: Geoffrey Hood photo credit: Geoffrey Hood

lack Boulton Francoise Rambach Mr. and Mrs. Paul Bowman Robert Rauschenberg Mrs. Joel Bross Mr. and Mrs. Milton F. Rosenthal Eleanor Cash Mr. and Mrs. William Sarnoff Leo Castelli George Segal Dr. Jack E. Chachkes Laura and Saul Skol er Mr. and Mrs. Edward Cohen Holly and Horace Solomon Elaine Dannheisser Mrs. Sidney Solomon Barbaralee Diamonstein David Sterling Edward R. Downe, Jr. Maureen Stewart Commissioner Henry Geldzahler Jock Truman Lola and Allen Goldring Marcia Tucker Nancy S. Graves Angela Westwater Mark Hampton Paul C. Harper, Jr. Italicized names indicate members of AI Held the Board of Trustees. Dieter Kearse Mr. and Mrs. Oscar Kolin Membership Studio Tour f. Patrick Lannan Nora Lavori Mr. and Mrs. J oesph Lebworth Laura Skoler, head of The New Mu- Dr. and Mrs. Peritz Levenson seum 's Activities Council, organized Mrs. Vivian Levin The Museum's first Artists in Residence Mr. and Mrs. Joseph E. Levine tour for Sustaining, Sponsoring and Roy Lichtenstein Patron members. The studio tour took athaniel Lieb place Saturday afternoon, October 13, Mr. and Mrs. Joseph Linhart and began with a visit to the Dimensions Vera List Variable exhibition at The Museum. Henry Luce, III Members were then taken by bus to see Mr. and Mrs. Herbert Lust work by a number of New York artists: Ms. Mary McFadden Nancy Arlen, Jeff Way, Jenny Holzer, Mr. and Mrs. George Moskowitz Michael Glier, Mary Lemley and Louisa Louise evelson Chase. The studio visits, which were Brian 0 'Doherty accompanied by informal discussions Mr.and Mrs. Stephen A. Oppenheim with the curatorial staff, were followed Mrs. Bronka Rabin by cocktails at Nancy Graves' home. The New Museum's Window explored changes in various aspects of the art community between the 1950s and 1970s. Each of the consecutive As of December 8, 1979, The New Mu- Wednesday evenings was devoted to a seum has initinted an ongoing series of single facet of the New York art world, special installations which are displayed and was attended by a diverse "standing in the large window on 14th Street near room only" crowd of more than 250 5th Avenue. The window space measures people. Many of the discussions were 8' x 22'4" x 18". We are interested in accompanied by heated debate between exhibiting work which is conceived panelists and the audience. A New York especially for this site and encourage A rt Community Dialog seems to have artists to send proposals clearly labeled filled a definite, long-awaited need. The "Window Proposal", with a return, self- idea for the symposia was spurred by addressed envelope. We cannot accept our concurrent exhibition, Sustained proposals for works which will perma- Visions, and our desire to explore the nently alter the structure of the display ways in which New York art issues case. have changed in the past three decades. The topics and participants were: Our first two window exhibitions in- clude: Artists and the Community Mary Lemley December 8-]anuary 7 J ennifer Bartlett Fantasy fashion and accessories created Ron Gorchov, moderator from cellophane, tissue paper, and tape Gaylen C. Hansen and painted with acrylics. Claire Moore Salvator Scarpitta John Ahearn January 12-February 11 Art Writing and Criticism Plaster cast head molds, carved and Nicolas Calas painted to emphasize ex pressions and Douglas Davis poses which are sometimes poignant, Joseph Masheck sometimes outrageous. Carter Ratcliff Barbara Rose Irving Sandler, moderator Picnic Honors Volunteers And Museums and Ex hibitions of Co ntem- Interns porary Art John I.H. Baur Former Director, The museum is deeply indebted to the Whitney Museum of American Art many volunteers and interns whose Linda Cathcart Curator, assistance is so vital to our operation. Albright-Knox Art Gallery For the second spring in a row we have Linda Shearer Assistant Curator, paid tribute to them by holding a picnic Guggenheim Museum in their honor. Rain, however, has kept Marcia Tucker, moderator Director, us away from Central Park on both The ew Museum occasions. This year's picnic, which Palmer Wald Administrator, took place on May 18, was moved in- Whitney Museum of American Art doors to the home of Carla NordstTom, just as it was last year. Once again, Carla Galleries, Artists, and the Public volunteered her excellent cooking abili- ties and prepared a delicious meal for Leo Castelli the event. Arnold Glimcher, moderator Betty Parsons The spring picnic has become a tndi- Julian Pretto tional way of saying "thank you" to Holly Solomon those who have generously offered Jock Truman their time and assistance to help make the museum a reality. Collectors and the Private Patronage System Richard Brown Baker Symposia Sondra Gilman Barbara Schwartz Eugene Schwartz, moderator This past spring The New Museum Dorothy Vogel hosted a series of five symposia which Herbert Vogel Left to right : Ro bin Winters, Christo,Chagy , GideonMary Lanier, llans Ha acke, Barbara Gladstone photo credit: I.Uo Kahane

A series of symposia was scheduled on Colen Fitzgibbon Artist three consecutive Saturday afternoons Richard Goldstein Senior Editor, during November. This series, entitled Village Voice Art & Politics, was organized as a result Dieter Kearse, moderator Director of an obvious need for dialog within the of Planning and Development, art community about controversial The ew Museum political, social, and economic issues. Jim Reinish Direc tor, Current in creases in government and Visual Arts Program, corporate funding, a renewed emphasis ew York State Council on the Arts on human rights and the decision- Carrie Rickey Chief Art Critic, making processes involved in acquiring Village Voice and exhibiting art are issues that re- ceived public attention. This series pro- Populism and Elitism: vided an opportunity for lively dis- Aesthetic Control and Public Involve- cussions among panelists and an active, ment often aggressive exchange between pan- Director, elists and audience. The topics and Stefan Ein s participants were: Fashion/Moda Robert Godfrey Director, Artists' Choice Museum Corporate Support Artist (A Positive John Halpern Artist or egative Influence on the Arts) Jenny Holzer Lucy Lippard Author Jack Boulton Vice President & Feminist art critic & Direc tor, Art Program, Marcia Tucker, moderator Direc tor, Chase Manhattan Bank The New Museum Gideon Chagy Vice President, Busin ess Committee for the Arts Christo Artist Barbara Gladstone Direc tor, Many important issues arose which we Barbara Gladstone Gallery would like to share \vith those who were Hans Haacke Artist unable to attend. In order to make that Mary Lanier, moderator Art advisor possible The ew Museum will tran- & former Direc tor, Art Program, scribe and condense tapes made during Chase Manhattan Bank each of the discussions and publish Robin Winters Artist them in an informal catalog. The Mu- seum would like to thank the Alverlist Populism and Elitism: Censorship Lecture Fund fo r making the series Mel Edwards Artist possibl e. Curatorial Activities artists, students, and others interested in contemporary art. For the museum's curatorial staff, this The most direct way for us to obtain pastyear's activities proved to be more information about current work is by varied, challenging, and fulfilling than jurying exhibitions and making studio could have been anticipated. From visits. We have juried several shows this visiting artists' studios in California year, including ones at Saint Lawrence or New York to giving presentations University, Canton, New York; ew on contemporary art for government Canaan, Connecticut; and Pratt Insti- o}ficials in Washington, D.C. , each talk, tute, , ew York. In addition trip, and studio visit provided a unique to the studio visits we made in ew chance to explore and consider the York City, we traveled to Chicago, inexhaustible number of current ap- lllinois; Albuquerque, ew Mexico ; proaches to art. Our travels suggested and San Francisco, Sacramento, and the richness and diversity of art through- Santa Barbara, California. During these out the country and we are anxious to trips we sometimes visited as many as visit more regions in the coming y ear. sixteen or twenty artists a day. Artists, In our work at home, we continued curators, and critics were extremely to investigate further New York 's helpful in providing general hospitality ever active art community , and visited and transportation, and most important, over 500 studios in the last y ear. the names of local artists to contact. Marcia Tucker also provides us with Our involvement with the 48 artists information obtained during her lecture we have exhibited since last spring engagements. Often, after a member of has been especially rewarding. Since we the staff visits an area, artists feel en- are responsible for all aspects of an couraged to send us slides of their work. exhibition that are normally handled by several departments in an established Our slide viewing process is one of our museum, we are able to develop a most valuable resources for becoming particularly close working relationship acquainted with artists who ~re un- with the artists whose work we show familiar to us. We have vi ewed at least 3,000 artists' slides and met over 1,500 In the last year we have presented more artists in our office. We welcome infor- than 50 gallery talks. Earlier this year, mation from artists who want to intro- Kathleen Thomas and Allan Schwartz- duce usto their work. The bes t way to man gave slide presentations to intro- make initial contact is to send us fully duce government representatives to the labeled slides or photographs, any new and unfamiliar art work included relevant biographic material or docu- in our Eastern Europe exhibition. mentation, and a stamped self-addressed return envelope. It usually takes one to Subsequently Allan was commissioned two months to return this material. to create an educational audio tape to accompany the exhibition and Kathleen We cannot accept original art mailed was invited to give two lectures in July to us because of insurance limitations. on contemporary American art to For- Office visits can also be arranged for eign Service art administrators in Wash- showing transportable works and ington, D.C. slides when artists are from out of town. This fall, Kathleen Thomas and Susan Logan participated in a panel for We are open to discussing any aspect artists on presentation and outlets for or approach to art presently being their work at the Just-Above-Midtown made, or to proposals for projects or Gallery in New York City. Other talks specific exhibitions. Our involvement on the museum and current art were with current art reiterates a suspicion given in connection with juried exhibi- we had wh en we began at The New tions or curatorial travel. Allan and Museum. The more you know, the Susan presented a slide talk at the more you recognize how much more University of California at Santa Bar- there is to find out. bara during a studio tour of orthern California this March. Kathleen also spoke at Saint Lawrence University- in Canton during her three day stint, this April, for a juried exhibition of under- graduate work. Th ese various opportun- Susan Logan, Allan Schwartzman ities allowed us to exchange ideas with and Kathleen Thomas Trustees' Profiles serves as Vice-President of our Board of Trustees. Th e ew Museum's Board of Trustees Henry Luce III is Vice President for represent a variety of professions and Corporate Planning and member of interests. th e Board of Direc tors of Time, Inc. He has previously served in other capacities Jack Boulton, a Vice-President of Chase at Time, including that of Publisher. Manhattan Bank and Director of its Art His many activities include serving as Program, recently moved to ew York direc tor of a number of corporations from Washington, D.C. where he was and as President of the Henry Luce Direc tor of the International Exhibitions Foundation, Inc., Chairman of the Committee of the American Federation Board of Trustees of the China Institute of Arts. Before that, Boulton was Direc- in America, Inc. and Chairman of tor of the Contemporary Arts Center in Columbia University's Advisory Council Cincinnati. He has also served as the on East Asian Art. Luce is a Trustee of U.S. Commissioner at the Bienal in Sao Princeton Theological Seminary, The Paulo, Brazil. College of Wooster, The Skowhegan School of Painting and , Elaine Dannheisser is a patron and The United Board for Christian Higher collector with special enthusiasm for Education in Asia, and th e Eisenhower new art. She is a member of the Whit- Exchange Fellowships. He is a collec tor ney Mu seum Council, a lifetime member of Oriental and contemporary art, and of the Guggenheim, and is also a trustee serves as President of The ew Mu- and member of the Acquisitions Com- seum 's Board of Trustees. mittee of Guild Hall , East Hampton's center for the arts. Brian O'Doherty is currently Director of the Media Arts program of the Allen Goldring, President of Goldring N ational Endowment for the Arts. International, is the founder and Chief He is a previous director of th e Visual Executive Officer of a group of auto- Arts program of the EA, has published mobile marketing and distribution com- several books and has also written for panies, and serves as a Director of sever- many art publications. He is an adjunct al other corporations. He is currently Professor of Art History at Barnard Col- Direc tor of the Management Decision lege, Columbia University, and has been Laboratory of ew York University's a visiting professor at the University of Graduate School of Business, and is a California at Berkeley . He initiated two member of th e Metropolitan Presidents television series and was architec ture, Organization and the World Business photography and art reporter for the Council. Goldring is a collector of Today program on BC for six years. contemporary art, and serves as Trea- He keeps his life as a writer and public surer of th e 1useum 's Board of Trustees. servant strictly separated from that of his alter ego, Patrick Ireland, artist. J. Patrick Lannan is a businessman with a long and active career which includes Natalie Lang, the Mu seum 's most recent serving as Director of a number of cor- addition to the Board, is responsible for porations. He is chairman of the Board Hill and Knowlton's Public Issues/Public of Trustees of the Modern Poetry Asso- Policy Group. She has a wide-spread ciation, Chicago and President of the reputation in the field of social/public Lannan Foundation which is dedicated policy planning. Ms. Lang has been espe- to th e arts. He has assembled a vast col- cially active with special commissions, lection of contemporary art which will local and national community groups, one day serve as the basis of a public minority and women's organizations museum. and other civic groups. Some of the boards on which she is cu rrently serving Vera List has long had a special interest include: Governor Hugh Carey 's Panel in and respec t for new developments in on the Future of Government in New contemporary art. In addition to being York; The a tiona! Urban League's an adventurous and innovative coll ector Commerce and Industry Council, ew respected and admired by many artists, York; The ational Urban Coalition, her educational involvements are equally Washington Corporate Urban Affairs extensive. She serves on the Executive Advisory Committee; The ational Committee for the Council for the Arts Urban League's Black Executive Ex- at M.I.T. and is also a Trustee of the change Program, New York; and the ew School for Social Research. She Chamber of Commerce of the United has been a devoted supporter of The States, Washington Community and ew Museum from its inception, and Urban Affairs Committee. Prior to her involvement with Hill and Knowlton, February 16-April 17, 1980 she was with Booz, Allen & Hamilton for twelve years and served as a vice. The first retrospective exhibition of president of that firm. drawings, paintings and· installations by the late Ree Morton, a major con- temporary artist, originates at The New Mu eum Publications Receive ew Museum before traveling to other Award museums around the country. The artist's strongly innovative work has yet to receive sufficient scholarly Three of The New Museum 's 1978 ex· evaluation. hibition catalogs were awarded honor· able mentions for excellence by the Contemporary Arts Museum, Houston, Art Libraries Society of ew York Texas (ARLIS/ Y) in their sixth annual pre· May 16-June 29, 1980 sentation. Outside ew York, "Bad" University of Colorado Museum, Boul- Painting, and Barry Le V a were chosen der, Colorado as examples of "exceptionally well- September 12-0ctober 16, 1980 designed and informative publications Albright-Knox Art Gallery, Buffalo, by a young museum documenting work ew York by young American artists." January 16-March 1, 1981 Renaissance Societ y of the University of Chicago, Chicago, Dlinois Museum Hosts MPO March 15-April19, 1981

On November 14 the Museum was Outside ew York pleased to host a panel discussion and April26-June 26, 1980 artists' studio tour for the Metropolitan Presidents Organization. Allen Goldring, This is a continuation of an ongoing member of the MPO and Treasurer of series of exhibitions periodically pre- The New Museum's Board of Trustees, sented by the museum to show some of organized the event. More than fifty the extraordinary variety and vitality of New York businesspeople and their the art being made around the country spouses toured the current exhibition, today. The artists live and work outside Dimensions Variable, after which they of ew York and have not been exhib- attended a panel discussion focusing on ited extensively either in ew York or current issues in contemporary art. in their own regions. Panel members were Marcia Tucker, Director of The New Museum , Linda On The Edge Cathcart, Director of the Contempo- rary Arts Museum in Houston, and July 8-September 4, 1980 Commissioner Henry Geldzahler of the New York City Department of Cultural This exhibition of contemporary photo- Affairs. graphy, guest-curated by critic Shelly llice, seeks to expand the expressive Following the discussion the MPO mem- scope of individual photographs by bers were divided into four smaller their inclusion in larger creative assem- . groups, each of which was led by a blages, installations, book-like works, member of the Museum 's curatorial and performances. The exhibition ex- staff. The small groups then proceeded plores the limits of the photographic by bus to visit several artists and gallery tradition in the fin e arts and proposes ies: Sarah Canright, Claudia DeMonte, a broaderdefinition. Joe DiGiorgio, Diana Donaldson, the Franklin Furnace, James Hill , Phyllis The Formal Sensibility: A Re-Exam· Kind Gall ery , Ed McGowin, Dennis ination Oppenh eim , Neil Slavin, Marianne September 13-November 13,1980 Stikas, and Barbara Toll Fin e Arts.

The entire group reunited at the Susan This exhibition prese nts th e work of Caldwell Gallery for cocktails and approximately ten lesser-known artists buffe t dinner. from around the country whose work, however diverse, shar es a concern for exploring new formal criteria. The Exhibitions to Come exhibition will contain several essays by critics and art historians examining issues raised by formalist criticism and Ree Morton Retrospec tive 1971-1977 th e art of the recent past. Events "At this point, The ew Museum looks like the best thing to happen to th e U.S. Nove mber 22, 1980-]anuary 22, 1981 art world since 1929 when a trio of women named Rockefeller, Bliss and A series of unique events and installa- Sullivan founded th e Museum of Mod- tions organized in collaboration with ern Art in a modest Manhattan space. individuals and/or independent artist groups. Focus will be on non-main- loy Hakanson Colby, stream, non-traditional ethnic work. THE SUNDAY NEWS Detroit, Oct. 2, 1977

"The New Museum was established in 1977 with a more combative idea in mind, to counterpoint th e presently entrenched museum system in ew York, and hardly shies from the con- troversy. lane Bell, NEW YORK JO UR NAL Nov.-Dec. # 12, 1978

"The New Museum maintains the veracity of its "New" label by being a hotbed of cross-country curiosity. Peter Frank, THE VILLAGE VOICE Nov. 13, 1978

Ree \lo rt o n TerminalClusters 1974 "The Museum will be active in the vacuum left by the existing institu- New Museum Press tions which are no longer intimately and integrall y involved with the un- foldin g of today 's art. Roberta J.M. Olson, THE SOHO WEEKLY NEWS Feb. 10, 1977

"One of the things I like about The ew Museum is that its program seems biased toward art which is irritating, art that challenges our notions of what is good, proper, and substantial by insis- ting on qualities of inelegance, eccentri- city, and sillin ess. Peter Frank, THE VILLAGE VOICE July 3, 1978

"For those who harbor the precon- ceiv ed notion that museums are stuffy, educational archives of ancient treasure SalvatoreScarpitta 1978 and priceless masterpieces, a visit to The ew Museum, the newest addition to "The new bad art has been around for Manhattan's culture- trove will dispel a whil e, without yet making it big. such a prejudice. Last year it was picked up on by the Mary Lieberthal, NEWSDA Y ultra-se nsitive antennae of the ew Nov. 12, 1978 Museum , which put toge ther a show call ed 'Bad' Painting. "We must learn to cut the cake accord- John Ashbery, in g to the cake's own form, not accord- NEW YORK MAGAZINE in g to habitual or preconceived notions. September 17, 1979 The New Museum, it wou ld appear, is aimed at helping us arriv e at that kind "The ew Muse um Wh ere Small of fl exibility. Is Beautiful Alfred Frankenstein, John Russell, THE NEW YORK TIMES SAN FR ANCISCO CHRONICLE Nov. 11, 1977 ]an. 15, 1978 Director's Activities art museums, Wolfgang Becker (Aachen, Germany), Dr. Johannes Cladders (Mon- chengladbach, Germany) and Marcia In the past year, the Museum's Director, gave lectures on their respective muse- Marcia Tucker, visited a variety of ums to a small group of people, includ- places and organizations in the United ing members of the business community, States, Canada and Europe, lecturing, who are organizing a new alternative jurying exhibitions, and visiting artists' space in France. From there, Marcia's studios. last stop was Paris, where she spoke about the Eastern European show at An extensive series of studio visits and the Centre Culture! Americain. discussions took place in January in Minneapolis for W.A.R.M. (Women Artists' Registry of Minneapolis). Over a four day period, she met with and saw the work of approximately forty artists. From there, she visited three universities in the Pacific Northwest (in Pullman and Spokane, Washington, and in Moscow, Idaho.)

Other lectures, mostly concerning issues in contemporary art or the genesis and development of The New Museum, were given in the midwest (Kansas City; Columbus, Ohio; Minneapolis) as well as in Florida, Oklahoma, northern Cali- fornia and New York City. Of special interest was a lecture in early February at the Glenbow Museum in Calgary, Canada, which was the opening talk of a series which included Leo Steinberg and Robert Rosenblum. It was attended by over 500 visitors. The lecture series was organized by Peter White, a curator at Glenbow, who worked at The New Museum as an intern in 1978 when he was on leave from his job as art critic for a Toronto newspaper.

Exhibitions, mostly of a national scope, were juried by Marcia alone (in Florida, Las Vegas, and Crystal Bay, Minnesota) TNM Organizes Major or with a group of colleagues. A Biennial American Painting Exhibition exhibition held at the Indianapolis To Travel in Eastern Europe Museum of Art was selected by her, Jack Boulton (New Museum trustee), Roy Slade (Director of the Cranbrook The 1970's: New A merican Painting, School of Art in Michigan) and Dean completely selected and organized by Porter (Director of the museum at The New Museum on behalf of the State Notre Dame in Indiana). The selection Department's International Communi- process is always difficult, but provides cation Agency, was opened in Belgrade, the Museum access to the work of many Yugoslavia last June by Mrs. Joan Mon- artists who would otherwis.e be un- dale, and will travel all over Europe, familiar to us. including several of the Eastern coun- tries, for approximately two years. The The 1970s: New American Painting, exhibition consists of forty-two paint- organized by our Museum for the U.S. ings, each by an American artist who International Communication Agency, has gained recognition and been influen- opened in Belgrade, Yugoslavia this tial in the past decade. It is housed in summer. Marcia travelled to Zagreb a specially designed geodesic dome, 120 and Ljubljana to visit future sites for feet in diameter, which will be assembled the travelling show and to give talks at each site. The painting exhibition is about the exhibition. From there, she the main feature of the overall project, spent two days in Lyon, France, at a America Now, which documents con- conference organized by Le Nouveau temporary performing and visual arts Muse e. Three directors of Contemporary of the United States. Curatorial Associates Allan Schwartz- If ever there was an Operation Boot- man and Kathleen Thomas were respon- strap, The ew Museum is it. A product sible for the coordination of this project. of some combination of an intellectual They wrote a sixty page essay for the leap and act of faith, it had th e benefit ex hibition catalog, which also includes of neither a long planning period nor an introductory essay by Marcia Tucker of funding. It simply appeared. Once in and fu ll color reproductions of all forty- vi ew, there was no making it go away. two works. Ms. Tucker and Ms. Thomas The idea was contagious. gave presentations to ICA officials in Washington prior to the opening. Mr. Friends flocked to volunteer their ser- Schwartzman produced a tape recorded vices and to make small contributions. overview of the exhibition and m et with Services included everything from cura- Mrs. Joan Mondale to discuss plans. ting to bookkeeping to carpentering. At ex hibition openings it is not unusual to The organization of this exhibition see noted artists tending bar. Art stu- proved to be an exciting and eventful dents regularly apply for the privilege ex perience, to say the least. For exam- of being unpaid helpers. ple, one painting which was scheduled to be included was confiscated in Teh- In time, through the good offices of my ran, Iran and sidetracked to Tokyo fellow trustee, Vera List, The New before the Flying Tiger Airlines flew it School for Social Research lent the back to ew York City on the day be- museum exhibit and office space, a fore th e exhibition was scheduled to most generous commitment, but a depart. Marcia Tucker travelled to Bel- temporary one which still calls for a grade, Yugoslavia to supervise the more permanent solution. installation and attend the opening. Museum preparator, Robert Price, has Early support from the ational En- since travelled to Zagreb, Yugoslavia dowment for the Arts and the New to arrange the installation there. Allan York State Council on the Arts was Schwartzman and Kathleen Thomas will crucial in making several exhibitions later travel to Europe to oversee sub- possible. While the museum was still sequent installations of the ex hibition. only in its second year, the Endow- m ent took the unprecedented action of officially recognizing it as a museum From The President for purposes of its program categories.

It is easy to forget that it is only in the But The ew Museum still has no last couple of decades that American Mellons, Rockefellers, Vanderbilts or Guggenheims behind it. What it has, in art has come to be internationally recog- addition to devoted staff and volun- nized as the dominant thrust of the con- teers, is a few hundred m embers and temporary art scene, and that New York a few dozen supportive friends, whose has become not only its capital, but the generosity is hereby acknowledged capital of the entire art world as well. with great thanks. We are also thankful to those who served as members of the Far from being confined to the activity of sophisticated connoisseurs, this per- Celebration Committee, which organ- iod has witnes ed an explosive boom in ized the museum 's first benefit event mu seum attendance, to the point where last April to mark its second anniversary. museums are under pressure to keep mounting one so called "blockbuster" I know the staff and director are espe- of an exhibit after another. As the cially grateful for the support and number of appreciators has swelled, so counsel of my fellow trustees. For also has the number of practitioners, myself, I stand a bit in awe of their th e artists. temerity in electing m e their president, but trust that their confidence will In this context it seems clear that the not have been misplaced. time for The New Museum had come three years ago wh en it sprang from the imaginative mind and determined will of Director Marcia Tucker. ew York needed a place where more artists, young and old, could achieve visibility, and where established museums and commercial galleries could enhance th eir awareness of new and different Henry Luce, III work. President, Board of Trustees TNM Exhibition Catalogs Lynne Elton Available For Eleven Shows essay by Allan Schwartzman Steve Keister essay by Allan Schwartzman Early Work David Middaugh By Five Contemporary Artists essay by Susan Logan Nov. 11 -Dec. 30, 1977 Fred Smith essay by Susan Logan introduction & acknowledgements J eff Way by Marcia Tucker essay by Allan Schwartzman

Ron Gorchov no. of b/w photos 24 interview by Susan Logan no. of pages 31 Elizabeth Murray price $3.75 interview by Allan Schwartzman Dennis Oppenheim Outside New York intervi ew by Allan Schwartzman Sept.23-Nov. 11 , 1978 Dorothea Rockburne preface & acknowledgements interview by Marcia Tucker by Marcia Tucker Joel Shapiro interview by Susan Logan Katharine T. Carter no. of b/w photos 23 essay by Kathleen Thomas no. of pages 32 Tom Hatch price $3.75 essay by Robert McDonald James R. Hill "Bad" Painting essay by Susan Logan ]an. 14-Feb. 28, 1979 Alexa Kleinbard essay by Allan Schwartzman acknowledgements by Marcia Tucker Janis Provisor catalog essay by Marcia Tucker essay by Phil Linhares Dan Rizzie James Albertson essay by Robert M. Murdoch Joan Brown Eduardo Carrillo no. of b/w photos 18 James Chatelain no. of pages 36 Cply price $3.75 Charles Garabedian Robert Chambless Hendon Barry LeVa: Joseph Hilton Four Consecutive Installations Neil J enny & Drawings 1967-1978 Judith Linhares Dec. 16, 1978-Feb. 10, 1979 P. Walter Sil er preface & acknowledgements Earl Stalev by Marcia Tucker . Shari Urquhart William Wegman "Barry LeVa: Work from 1966-1978" no. of b/w photos 14 essay by Marcia Tucker no. of pages 40 no. of color photos 2 price $3.75 no. of b/w photos 53 no. of pages 62 Alfred Jensen : price $5.00 Paintings From The Years 1957-1977 March 18-April 21, 1978 Sustained Visions April 23-]une 23, 1979 catalog essays by Linda Cathcart & Marcia Tucker acknowledgements by Susan Logan, Allan Schwartzman, Kathleen Thomas no. of col or photos 26 introduction by Marcia Tucker no. of b/w photos 34 no. of pages 97 Gaylen C. Hansen price $12.00 essay by Kathleen Thomas Claire Moore New Work/New York essay by Allan Schwartzman May 13-]ul y 8, 1978 Salvator Scarpitta essay by Susan Logan introduction by Marcia Tucker no. of b/w photos 35 Susan Dallas no. of pages 36 essay by Susan Logan price $3.75 In a Pictorial Framework Ree Morton Retrospective 1971-1977 June 30-September 15, 1979 Fe bruary 16-April 17, 1980

preface by Marcia Tucker preface by Marcia Tucker introduction by Kathleen Thomas overview by Allan Schwartzman and Kathleen Thomas Story Mann essay by Dieter M. Kearse no. of color photos 4 Finley Fryer no. of b/ w photos 102 essay by Allan Schwartzman no. of pages 108 David Saunders price $8.00 essay by Susan Logan Phyllis Bramson essay by Susan Logan Gundersen Clark Join The New Museum essay by Kathleen Thomas

no. of b/ w photos 30

no. of pages 48 The New Museum needs your help to continue its programs Your member- price $3.75 ship in The New Museum is an oppor· tunity to support art by living artists. Dimensions Variable We invite your participation. September 29-November 29, 1979 categoriesof Membership

Individual acknowledgements and catalog essay invitationsto exhibition pre\·iew parties. reduced subscriptions rates to art peri- by Susan Logan, Allan Schwartzman, odicals. Discound of 25% on Museum giftsand Kathleen Thomas publications. Advance notice for special Museum preface by Marcia Tucker events. Reduced admiseion to special i\luseum 1!\'ents. no. of b/w photos 41 Artist/Student/Senior Cititen no. of pages 45 (All benefits of lndivi(lual 1\lembership) Availabl~ to artists., full·tim t" students price $3.75 and persons at least 62 years o f age.

Contri buting ew Work/New York (All benefits of Individual Membership) Exhibiton posters signed by artist. December 8, 1979-February 8,1980 Discountof 40% On Mustum gift! and publications.

acknowledgements by Susan Logan Supporting (All benefits of Contributing Member· & Allan Schwartzman ship) One uhibition catalog, pf choice, upon request. preface by Marcia Tucker F'n:c admission to special events. & catalog essay by Susan Logan Allan Sustaining Schwartzman (All benf'fitsof SupportingM( mbership) Three exhibition catalogs. no. of b/ w photos 30 Speeialtour of New York artist's studio. no. of pages 32 Sponsoring (All benrfits of S\•staining J\lt m bership) price $3.75 Special party for Sponsoring ~1 emhtrs and New Musrum exhibition artists. All exhi bition catalogs.

Patron \ (All benefi ts of Sponsoring ~l emhe rship) Active participation in all Museum acti\·· itieg and special event!.

Corporate Sponsorship (For infonnation call 212 741-8962)

Application

"The High Wire", created especially for Individual s 30.00 Artist/Student/Senior Citizen s 15.00 The New Museum's "Celebration/1979" Contributing s 50.00 by Nicholas Africano, is available at the Supporting s 100.00 museum in a limited edition of 100 Sustaining s 250.00 Sponsoring s 500.00 7" x 9 " color lithographs, on Arches Patron SIOOO.OO

Paper, individually boxed and hand Museum m emberships are t.ax deductible to the extent allowed by law.

titled by the artist. The price is $150.00. (Gift memberships c:an be arranged by contacting The New Museum.)

For further information, write to the Activities Council, c/o The ew Mu- seum, 65 Fifth Avenue, ew York, N.Y. 10003 or telephone (212) 741-8962. My mem hershp is new renewed Past Exhibitions Organized By This exhibition was made possible in The New Museum part by public funds from the ew York State Co uncil on the Arts.

Alfred J ensen : Paintings and Diagrams from the Years 1957-1977 Early Work by Five Contemporary Artists March 18-April21, 1978 November 12-Dece mber 30, 1977 Alfred J ensen has long pursued an This exhibition presented earlier work independent course of work, the last two decades of which was reviewed in in a variety of media by five artists who this exhibition. His intensely chromatic, have received some critical attention and acclaim in the past several years. obsessive checkerboard paintings are in- spired by ancient numerological systems The pieces in this show had heretofore derived from theories of Ptolemy, Leo- rarely, if ever, received public exposure. nardo, Goethe; from Egyptian, Chinese, It provided an opportunity to observe Mayan and Greek cultures; and from the the genesis of ideas from which later, scientific explorations of Faraday, Max- better known work evolved and to well and Lorenz. This was the first examine the artists' most recent activity museum retrospective in America for in light of their earlier pieces. this veteran painter, now in his 70s, Works by Ron Gorchov, Elizabeth whose work has influenced two genera- Murray, Dennis Oppenheim , Dorothea tions of artists. Rockburne and Joel Shapiro. This exhibition was organized by Linda L. Cathcart, Curator of the Albright- "Bad" Painting Knox Gallery and member of The New Museum 's Advisory Board, and selected January 14-February 28, 1978 by Ms. Cathcart and Marcia Tucker. It was chosen as the official United States This exhibition presented the figurative representation at the 1977 Sao Paulo work of fourteen artists who have Bienal, Brazil, and then traveled con- consciously defied the classic canons of secutively to the Albright-Knox Art good taste, draughtsmanship, acceptable Gallery, Buffalo, New York; The New source material, rendering or illusion- Museum, New York City ; The Museum istic representation. These "bad" paint- of Contemporary Art, Chicago; The La ings are so called because they avoid the J oUa Museum of Contemporary Art, La conventions of high art either in terms Jolla, California; The Department of of traditional art history or recent taste Fine Arts Gallery and University of and fashion. They emerge from a tradi- Colorado Museum, Boulder ; and The tion of iconoclasm, their romantic and San Francisco . expressionistic sensibility linking with diverse past periods of culture and art This exhibition was made possible in history. These works are radically differ- part by public funds from the New ent from th e visually straightforward, York State Council on the Arts. simple forms and objects which consti- tuted the avant-garde of the past ten years, and which today seems to consti- ew Work/New York tute a classicized esthetic. They raise several controversial issues about the May 13-]uly 8, 1978 nature and use of imagery in recent American art. One of the major aims of The New Museum is to present new and provoca- Works by James Albertson, Joan Brown, tive work which has not had previous Eduardo Carrillo, James Chatelain, Cply, extensive exposure. This exhibition Charles Garabedian, Robert Chambless focused on the variety of fresh ap- Hendon, Joseph Hilton, Neil J enney, proaches taken by six ew York artists Judith Linhares, P. Walter Siler, Earl whose work had received little public Staley, Shari Urquhart and William notice. Wegman. These artists represent a diversity of personalities, ages, back- Works by Susan Dallas, Lynne Elton, grounds and geographical areas, coming Steve Keister, David Middaugh, Fred from Chicago, Detroit, Houston, Los Smith and Jeff Way. Angeles, Madison, ew York, Sacra- mento, San Francisco and Spokane. This exhibition was made possible in part by public funds from the ew Provisor (California), and Dan Rizzie York State Council on the Arts. (Texas). This exhibition was supported by a grant from the National Endowment Double take for the Arts in Washington, D.C., a July IS-September 2, 1978 Federal Agency and was made possible in part by funds from the New York This exhibition consisted of work by State Council on the Arts. 18 artists who participated in the first three shows organized by The ew Museum between its inception in Janu- ary 1977 and opening in its present location in November of the same year. Because the museum did not have an exhibition space of its own during those first few months, it utilized borrowed ones. Doubletake provided an oppor- tunity for these artists to exhibit their most recent work to a wider audience in ew York City. Although originally the artists were selected because they had not received wide exposure in ew York, since their first exhibition Barry LeVa: by The ew Museum many of them Four Consecutive have had the opportunity to show their Installations and Drawings 1967-1978 work more extensively. December 16, 1978-February 10,1979 Works by Sarah Canright, Don Dudley, Edward Flood, Brenda Goodman, Steve This was the first solo museum exhibi- Gwon, Sharon Haskell, Kent Hines, Bill tion in the United States for the artist, J ensen, Dennis Kardon, Ron Morosan, whose influence on the sculpture of the Earl Rip ling, Jonathan Santlofer, Claudia 1970s has often been acknowledged. Schwalb, Martin Silverman, Katherine His work had not been widely seen or Sokolnikoff, D. Jack Solomon, Mari- written about and remains very much anne Stikas and Donald Sultan. an enigma to even those who have been supporters of it. It is closely re- This exhibition was made possible in lated to ideas and questions recently part by public funds from the New raised in other fields, particularly those York State Council on the Arts. of psychology, physics, and architec- tural theory. While the formal aspects Outside ew York of Le V a's work - its simplicity, ele- gance, mystery and intelligence - have September 23-December 2, 1978 been admired by his peers and public alike, it is in the realm of ideas that This was the first in an ongoing series of the work has made its greatest con- exhibitions by The New Museum tribution. presenting some of the extraordinary variety and vitality of the art being The exhibition consisted of four con- made around the country today. In- secutive installations and a large body creasing mobility and changing attitudes of drawings from 1967-1978. about so-called regionalism are helping This exhibition was supported by a people become more receptive to the grant from the National Endowment for possibility that serious art can be the Arts in Washington, D.C., a Federal made outside the acknowledged major Agency, and was made possible in part art centers. The artists in this show live by funds from the New York State and work outside of ew York and have Council on the Arts. not been exhibited extensively in their own regions. Their work, presented in ew York for the first time, defies The Invented Landscape easy categorization and embodies eccen- tric visions which may in part result February 17-AprillS, 1979 from the artists' isolation from a larger art community. This exhibition, guest-curated for The New Museum by Christopher English, a Works by Katharine T. Carter (Florida), Chicago photographer/historian, fea- Tom Hatch (California), James R. Hill tured the work of ten contemporary (Texas), Alexa Kleinbard (Florida), Janis photographers who explored new alter- natives to the traditional landscape In a Pictorial Framework photograph. Their work was commis- June 30-September 15, 1979 sioned by the museum especially for this ex hibition. Rather than stressing A series of installations by artists work- the primacy of the natural scene, the ing with visual elements on an environ- photographs emphasized the actions of mental scale. the artist. New, synthetic landscapes arose from a wide range of responses. to Story Mann Possumh ead nature. The results included highly man- June 30-July1 ipulated prints incorporating drawing Finley Fryer The Cat Band and hand-applied color as well as un- David Saunders Scope altered images that are non-traditional July 28-Aug. 21 only through their distortions of con· Phyllis Bramson Myths of Inspiration ceptual categories. Gundersen Clark Dagar Ane Aug. 25-Sept. 15 Works by Peter De Lory, Aspen, Colo- rado; Bonnie Donohue, Boulder, Colo- rado; Victor Landweber, Hollywood, California; David Maclay, San Francisco, California; Martha Madigan, Grosse Pointe Park, Michigan; Richard Ross, Santa Barbara, California; Tricia Sample, Gainesville, Florida; Michael Siede, At- lanta, Georgia; Carl Toth, Bloomfield Hills, Michigan; Gwen Widmer, Cedar Falls, Iowa. This project was supported by a grant. from th e National Endowment for the Arts in Washington, D.C. , a Federal Agency. Dimensions Variable September ·29-November 29,1979

This was an exhibition of work by .seven artists whose aim is not the traditional making of art objec ts per se. The artists sought to explore the ephemeral , elusive, and undefinable by creating and util- izing specific substances and objects with little or no "art" identity: light, prisms, water, motors, plastic, wires and gas. Works by Jim Clark, 1ew York City; Gary Justis, Chicago, Illinois; Cork Marcheschi, Minneapolis, Minnesota and Kansas City, Missouri; Ann Knut- son, ew York City; Stephen Mill er, Sustained Visions ew York City; Carlton Newton, San Francisco, California; Mike Roddy, ew April 23-June 23, 1979 York City. This exhibition focused on the recent This ex hibition was supported by a work of three mature artists whose grant from the NationalEndowment for style has long remained idiosy ncratic th e Arts in Washington, D.C. , a Federal and personal , and who had never been Agency, and was made possible in part part of a specific group or movement. by funds from the ew York State Council on the Arts and by the J erome Works by Gaylen C. Hansen, Pullman, Foundation, Inc. Washington; Claire Moore, ew Yo rk City; Salvatore Scarpitta, New York City. New Work/New York This project was supported by a grant December 8-February 7,1980 from the ational Endowment for the Arts in Washington, D.C., a Federal This ex hibition consists of painting and Agency and by the Jerome Foundation, sculpture by artists li ving and working Inc. in New York City whose work has received little prior exposure. The Kathy Redish artists selected for show maintain Ann Shengold distinctly individual approaches to mak- Charles Sitzer ing art; their pieces reflect the current Mark Solomon diversity and vitality of this city's art Ulasta Srutkova community. Suzinn Weiss Works by ancy Arlen, Louisa Chase, Activities Council: Rudy Heintze, F.L. Schroder, David Wells. anette Laitman This exhibition was made possible in Laura Skoler, Chair part by public funds from the ew Francoise Rambach York State Council on the Arts and Jock Truman supported by a grant from the Jerome Foundation. August 13, 1979 Reciprocal Memberships for New Museum Members

In the near future The New Museum will institute a program of reciprocal membership with other contemporary art museums across the country. Con- tributing members at the $50 level and all members in higher categories will be able to enjoy the privileges of membership in like categories at the other participating organizations.

Some of those museums involved in the reciprocal plan include The Insti- tute of Contemporary Art (Philadel- phia), The Albright-Knox Art Gallery 1979 Volunteers Aid The New (Buffalo), The Institute of Contem- Museum porary Art (Boston), The Contemporary Arts Museum (Houston), The San Fran- cisco Museum of Modern Art and The Among the regular volunteers zn 1979 Contemporary Art Center (Cincinnati). were the following: This plan should give our members an Thatcher Bailey opportunity to expand their awareness Connie Bangs of the activities of contemporary arts Shelley Caldwell centers throughout the country. At the Claudia Carr same time, the Museum's own programs Elizabeth Carter will be publicized to a larger national Candy Clark audience. We hope that this kind of Paula Datesh cooperation between similar institutions Ron Edson can lead to other areas of exchange to Gary Gale the mutual benefit of all. Elisa Goodk:.ind Claudia Gould Karen Hatch Search Begins Maxine Hayt For Larger Facilities Cham Hendon Karen Hind John Jacobs The Museum's first three years have Paul Kolderie been a time of expanded scope and Kenyon Kramer tremendous growth. As the Museum Marcia Landsman matures it becomes apparent that its Peter Lee current space cannot sufficiently accom- Jody Moss modate the larger scale and broader Anne evin range of programs we would like to pro- Carla ordstrom vide to the public. A larger exhibition Penny Otton area would permit us to exhibit much Dawn Prevet more new work than we can currently show, giv en our present limitations. at the American Association of Mu- Staff and volunteers are now crowded seums annual conference by Maureen into tiny office space, which must also Stewart, our Administrator. The con- function as the viewing area for new ference, which took place in Cleveland work and storage place for slides and during June 3 - 7, is attended by archives. More office space is desper- museum professionals and representa- ately needed. tives of art service organizations from across the country. Participants partici- The Museum is grateful to The ew pate in a variety of sessions relating to School for its extreme generosity in concerns relevant to today 's museums providing the site where we have been and are able to share ideas and knowl- operating since th e summer of 1977. edge which will be useful to their It has served us well as we began to representative institutions. establish ourselves as a new institution. ow, however, the search for a new Dieter Kearse, our Director of Planning facility is among our major priorities. and Development, represented the Mu- seum this past March at th e Art Museum We are actively seeking larger quarters Development Association annual con- where we might relocate within the ference at The Museum of Fine Arts not too distant future and hope to fi nd in Boston. Development directors from a suitable donated space which could museums aeross the country pooled serve as our home until we are in a ideas and attended sessions in which financial position to establish our o·wn topics of discussion ranged from cor- quarters. To that end, we are anxious porate involvement in the arts to the to hear from anyone who can offer future of federal funding for arts pro- assistance in this regard. We are seeking grams. contact with organizations and individ- Dieter received a fellowship to partici- uals who would like to be actively pate in the "Principles of Management involved in contemporary art and ideas for Cultural Institutions" program and who believe that the presence of a taught by faculty from the Columbia young contemporary art museum would University Graduate School of Business. bring a fresh new dimension and inter- esting diversity of activity to their si te. Representatives of arts organizations throughout the East Coast attended the program, sponsored by Museum's Col- Corporate Membership laborative, Inc. Sessions were held at Arden House, the former estate of As of December, 1979, corporate mem- Averill Harriman in upstate New York. bers include: A week of intensive instruction in February was followed by coursework Chase Manhattan Bank Art Program and special projec ts which were re- Con Edison viewed in March and presented at Arden Exxon Corporation House in May. Dieter has also lectured Helena Rubenstein Foundation, Inc. this year to students in New York International Telephone and Telegraph University's graduate course entitled Corporation "The Twentieth Century Museum" as Mobil Foundation, Inc. well as to a class of fine arts students Newsweek at Parsons School of Design. RCA Salomon Brothers Marcia Tucker and Dieter Kearse have The Sperry and Hutchinson Company twice travelled to Washington, D.C. to Teachers Insu rance and Annuity Associ- meet with representatives of the Nation- ation of America al Endowment for the Arts, The ation- Texaco Inc. al Endowment for th e Humanities, The Time Inc. Institute of Museum Services, the Amer- Warren Equities, Inc. ican Association of Museums, the Inter- national Communication Agency, Mrs. For further information about corpo- Joan Mondale and members of her staff, rate sponsorship, contact Dieter Kearse, and museum administrators in the city. The New Museum's Director of Planning Jack Boulton, trustee of the Museum, and Development. hosted a dinner party in honor of Marcia and Dieter to introduce them to Administrative Staff Travel a number of people involved in art and art services organizations in Washington.

This year the Museum was represented This June Dieter travell ed to Washington to represent the Museum at the Vice Peter Buchholz President's House where a reception was Mrs. Jack E. Butler being held by Mrs. Mondale. The occa- Milton Brutten, Ph.D. sion honored artists whose work was D.W. Budd Jr. being shown in the First Western States Sabra W. Calland Biennial Exhhition. In September Marcia Wayne E. Campbell and Dieter were guests of Mrs. Mondale Ellen Carey at a small dinner party in Marcia's honor Laura L. Carpenter at the Vice President's House. Elizabeth Carter Katharine T. Carter Lynn Gumpert Joins Staff Eleanor Cash Leo Castelli, Inc. Lynn began work in March, 1980, follow- Dolores J. Cathcart ing Kathleen Thomas' decision to leave Linda L. Cathcart the Museum. Lynn is a graduate of the Dr. Jack E. Chachkes Univ. of California at Berkeley and re- Rose"'arie Chiarlone ceived her M.A. from the Univ. of Mich- Lyle' B. Chrysler igan. Lynn comes to us from the Jewish Jan Cicero Museum in New York where she has been J erry Clapsaddle a curatorial assistant for over two years. E.K. Clark Michael Clark New And Renewed Members Karen Cohen Through Decemb er l , 1979 C.J. Collins Norman B. Colp Pam Adler Gallery Clyde D. Connell Mr. & Mrs. Hugo Aglietti Patricia Kolk Conner Stephen J. Albair William . Copley Richard M. Allen Steven Cortright Carl Andre Jane Couch Robert Eddy Armstrong Fran B. Cox Atlanta Arts Alliance Bruce Cunningham Thatcher Bailey John D'Agostino Barbara Balch Joe Dancinger Rick Barcheck Elaine Dan nheisser Mrs. Alfred H. Barr Mrs. Irwin D. Davidson Sam Bartosik Brad Davis Linda Bastian Christian de Boschnek Arlene Becker Gino DeGeorgio Lilian A. Bell Marjorie Del Parker Helen W. Benjamin de Saisset Art Gallery S.O. Beren Jon Dewey Michael Berger Gallery Sari Dienes Mr. & Mrs. E.A. Bergman M.K. Dilli Mattie Berhailg Mary J. Dougherty Mr. & Mrs. William Berley Edward R. Downe, Jr. Betsy A. Berne Kit Duffield Stephanie H. Bernheim William Dunlap Sanford M. Besser William Easton Lloyd P. Birmingham R.A. Ellison Leslie Bohnenkamp Christopher English Mary Boone Nancy English Coral Bourgeois Lynn Epsteen Priscilla Bowden Joe Erdelac Cheryl 0. Bowers Mr. and Mrs. Richard Echikson ].D. & L. Boyd Diane E. Eshleman Fred Boyle Rosa Esman Gillian Bradshaw-Smith Suzan Etkin Albert Braun Frederick Eversley David Carlton Bright Feigenson-Rosenstein Gallery, Inc. Agnes Hahn Brodie Julia A. Fenton Jocelyn Brodie Kathleen Ferguson Lilly Brody Alan Finkel Myron Brody Mr. & Mrs. Mitchell Flaum Hal Bromm Gallery Josefine Fontanals Cameron Brown Henryka Frajlich Joan Brown Harriet K. Francisco Marcia Frankel Peter Julian June & Edmond Freeman James Juszczyk Stewart Freeman Barry Kahn Vida Freeman Luis Palacios Kaim B.H. Friedman Muriel Kaplan Janet Fruchtman Dennis Kardon Emily Fuller Jak Katalan Hansen Fuller Gallery Melvin Katz Richard Fumosa Broce Kaufman Galerie Simone Stern Mr. & Mrs. M.S. Keeler Galleria Odyssia, Inc. Steve Keist er Lonny Gans Karen Johnson Keland Henry Geldzahler Pamela W. Kelly ancy Genn Mrs. I.H. Kempner Ill Mr. & Mrs. Morris W. Getler Alan & Helen Kikuchi Adele Gidwitz Kevin Kobus Mrs. Charles Gilman, Jr. Tatsuo Kondo Maxwell Gimblett Mr. & Mrs. Wern er Kramarsky Barbara Gladstone Gallery Janet Kusmierski Arthur & Carol Goldberg Ted Kurahara Joseph G. Goldring Foundation Nanette L. Laitman Mr. & Mrs. Abner Goldstone Mr. & Mrs. W. Loeber Landau Margaret Goodman Emily Landau Robert Gord y !Jr. & Mrs. A.R. Landsman Cheryl L. Graeff J. Patrick Lannan J erry Gratenstein Ell en Lanyon ancy Graves Modesto Lanzone Melanie Greene Samuel & Claudia Larcombe Harold L. Gregor Rex Lau Peggy Ell en Gregory Mary K. Lazaru s George Gerry' Griffin Alyssia Lazin F ri edrich Gross Raymond J. Learsy Peter Gu tkin J erry & Stephanie Lederman R ichard Haas Richard Lee Les Haber Gerard Le Francois Elaine & Alan Hahn Hec tor Leonardi Susan Hager Richard Levine Sharon Haskell Tom Levine Gerald Hayes Brett W. Lewis Don Hazlitt Louis Lieberman .Julia Schmilt Healy Philip & Sharon Lin hares Pamela Hepburn Mr. & Mrs. Joseph Linhart Alan Herman Larry Lippold Margo Herr Albert A. List Foundation Karen F. Heynen Vera G. List The High Museum of Art Harry Litwin Hill 's Gallery of Con temporary Art Anne Livet Nancy Hoffman Gallery Henry Luce ill William J. Hokin Michael Lucero James Holl Brenda 1. Luckin icole & Lindsay Holland Mr. & Mrs. Herbert Lust Davie Homer Peter E. Lynn Davi Dct Hompson Denis McCarthy Edward J. Horan Robin McDaniel Howard Hirshfield Companies Mary H. Mcintyre Susan Howard Sa ndra McKee Bryan Hunt Dr. & Mrs. Andrew Maci na Dagmara lgals William E. 1ahan Flora Irving Robert & Betty Marcus Martha Jackson Gallery, Inc. Louis Marcheschi Christo & Jeanne Claude Javacheff Kathryn 1arkel Mary Anne K. Jenkins Mr. & Mrs. Edward 1arks Jerome Foundation, Inc. John Ma rmaras Leslie Johnson J o Anne Marquardt .Janet Jones Caroline Marsh all- Rosenbaum John Jones William A. Marstellar Jay R. Massey Joanne Seltzer James Melchert Robert & Anne Marie Shapiro J. Creighton Michael Sidney & Renate Shapiro Joan Moment David Sharpe Allen Moore Joyce Cutler Shaw Olga Moore Ann Shengold ell & George 1o kowitz Mrs. RichardT. Shields Alan Myers Mr. & Mrs. Morton A. iegler .A.M.E. Gallery Gerald Silberman Mr. & Mrs. William ewman Mrs. Julius Silver Joe W. 1icholson Patterson Sims Masaaki oda Laura & Saul Skoler Carl & Jane Nordstrom Mimi Smith ancy M. 0 'Boyle Katherine Sokolniko££ Helen Oji J arret Solinger Carol Olbum Holly Solomon Gallery Inc. Margit Omar D. Jack Solomon Bohdan D. Osyczka Sonnabend Gallery Getler/Pall Gallery Ted Stamm Dr. Guiseppe Panza di Biumo Charles J. Stanley Parasol Press Ltd. Kathy Stark Elizabeth Parry Sandra L. Steadham Betty Parsons Gallery Mr. & Mrs. Walter Stern Mark J. Pascale Sash Stollman Stephen K. Pavolvic John A. Stone Ruth Y. Peabody Mr. & Mrs. Thomas W. Strauss Robert M. Pennoyer Marion B. Stroud John G. Peters Tania John Phillips Willard & Fredericke Taylor Elsie Pickering Mr. & Mrs. Bertram Teich Kenneth Polsky Gary Tenebaum Claire F. Prussian Radford Thomas Mrs. Federico Quadrani Julius Tobias Barbara Quinn Betty Tompkins Mrs. Pat Ralph John Torreano Harvey & Francoise Rambach Irwin Touster Serena Rattazzi Anne Truitt Mr. & Mrs. GeorgeS. Rattner Shari Urquhart Edith Read De Wain Valentine David Reed Art Vandenberg Elaine Reichek Riccardo Vitiello Edda Renouf Herbert & Dorothy Vogel Earl Ripling Gail Von Der Lippe Tony Robbin r ula K. von Rydingsvard Mrs. Barbara Roberts Helen L. Wash or John Rogers Gregory F . Weaver Robert Rohm Idelle Weber Mr. & Mrs. Daniel Rose Sam Weiner atalie Rosenberg Doris & Jack Weintraub Richard & Cissy Ross Holger A. Weiss-Hanson Paul Z. Rotterdam Wendy Weldon William R. Salomon David athaniel Wells Max M. Sandfield Lynton Wells Mrs. William Sarnoff Charles D. Welz Dr. William Sawyer Dr. & Mrs. Samuel Wenger Erik $axon Jerome Westheimer Italo Scanga Harris & Alice Weston Barbara Schaeffer Arthur Wcyhe Keith M. Scheider MD Mr. & Mrs. Dorset White Jane Schneider Nancy J. Whyte Donna Schneier Women & Their Work J ohn Schnell Robert E. Wooding Estelle Schwartz Wright State University Amy Schwartzman ina Y ankowitz James Seawright Robert A. Y assin John Seinoski Rita Yokoi Help!

We need .assistance from volunteers and interns in the following positions:

Curatorial interns to work side-by-side with our Curatorial Associates, assisting with coordination and installation of exhibitions and research. Typing is necessary, and we prefer individuals who can devote at least four continuous months.

A development intern to work with th e Director of Planning and Development, researching possible funding sources, coordinating and implementing such information, and completing grant applications. Typing is helpful.

Clockw ise fro m upper left : SuSlln l.Jp n, Allan Schwartzman, Kathleen Thomas Spot typists and file clerks for nu- and Ro bert !'rice merous tasks.

Someone to assist with publicity of ent associations as unpaid volunteers: a exhibitions and special events through trial and "success" process. Wh en op- communications with magazines, news- portunity has knocked, invariably th ere papers, and independent writers. Help has been someone waiting in the wings. write and distribute press releases. Long A case in point occurred in May, 1978, term input helpful. when the International Communication Agency of the United States govern- Someone to assist with packing and ment invited The New Museum to in stalling work for exhibitions. We often organize a major exhibition to travel need experienced help with carp en try throughout Eastern Europe. and construction. In order to assume this additional Archivist to organize library of books. project, it was necessary that th e catalogs, archives of slides, articles, and existing staff be expanded, and as a related material pertaining to living result, Kathleen Thomas was enlisted as artists. co-coordinator of this exhibition (with Allan Schwartzman) and hired as a Staff writer needed for help with grant third · Curatorial Associate. Having re- proposal narratives, newsletters and a cently completed a Helena Rubenstein variety of other creative projects. Fellowship in Art History and Museum Studies at the Whitney Museum of Your direct participation in The Ne w American Art, she had been volunteer- Museum affords an opportunity to help ing her servi ces at The ew Museum shape the direc tion of a growing young since February. Originally from Kansas, arts institution. This is an excell ent which she describes as " one of the few opportunity for students and those places where you realize that the world seeking careers in administrative and is not flat," she pursued studies in art curatorial aspects of the arts to gain history at Wichita State University and invaluable experience. If you are inter- Indiana University at Bloomington es ted in volunteering, contact Maureen before coming to ew York City. After Stewart at Th e New Museum. the Whitney program, Ms. Thomas felt that "it just didn 't make se nse to return to Bloomington to study contemporary Staff Profiles art. " Sin ce her affiliation with The ew Museum, she has shared full curatorial responsibilities with associates Susan Logan and Allan Schwartzman.

Bonnie Johnson was hired as an admini- If th e New Museum had a personnel strative assistant in September, 1978. . department, it would probably be called Ms. Johnson, a painter, is from Califor- the " Volunteer Division", as the major- nia wh ere she worked towards a grad- ity of th e museum staff began their pres- uate degree in art history at San Fran- Clockwisefrom upperleft Bonnie1.. Johnson MarciaTucker Dieter M. Kearse Ld t to right: Emory Craig and Fred Humphery (former museum gallery guard and Maureen Stewart whu left to concentrate full-timeo n doctoralstudies)

cisco Art Institute and California State ates, Allan Schwartzman, Kathleen University at San Francisco. A New Thomas and Preparator, Emory Craig. York resident for the past two years, Ms. Johnson's varied work experience in cludes teaching primary school for CETA seven years; managing a museum shop in San Francisco for two and a half The New Museum was very fortunate years, and working for the International in having Laura Miller, a high school Money Market at the Bank of America. student from the city's CETA Summer Youth Program, work with us as an Emory Craig began working with The office assistan l during July and August. New Museum over a year ago as a Museum guard. Since that time, his position has ex panded to that of full The New Mu seum time Docent/ Preparator. Mr. Craig co- Board of Trustees ordinates installations of our bows and oversees the day to day operation Jack Boulton Vice President of our exhibition space. He frequently & Director, Art Program , lectures to organized groups visiting Chase Manhattan Bank the Museum. Mr. Craig came to the Elaine Dannheisser Collector Museum because of his affil iation Allen Goldring President, with the New School where he is Goldring International working towards a Ph.D. in philo- Natalie S. Lang Hill and Knowlton sophy. He attended Louisiana State J. Patrick Lannan Businessman University as an undergraduate wh ere & Collector he received his Bachelor's Degree in Vera G. List Collector Political Science. Henry Luce III Vice President, Corporate Planning, Cheryl L. Cipriani was recently hired Time Inc. as a Curatorial Coordinator after Susan Brian O'Doherty Director, Media Arts: Logan took a leave of absence in order Film/Radio/Television, to pursue graduate studies at Columbia National Endowment For The Arts University. Prior to her present posi- Marcia Tucker Director, tion, Ms. Cipriani worked as a curatorial The ew Museum intern at The ew Museum two and a half years ago, and completed her B.A. Staff in fin e arts at Kirkland/1-Iamil ton College, Administrative Clinton, ew York, and Skowhegan School of Painting and Sculpture, Bonnie L. Johnson Administrative Skowhegan, Maine. Since she has re- Assistant turned to New York and The ew Dieter Morris Kearse Director of Museum this fall , she has shared full Planning & Development responsibilities with Curatorial Associ- Terry Rooney Administrative Assistant Maureen Stewart Administrator Robert Rosenblum Professor of Marcia Tucker Director Art I-I istory Institute of Fine Arts Curatorinl ew York niversity Cheryl Cipriani Curatorial Coordinator Janet Solinger Director Susan Logan Curatorial Associate Resident A sociate Program (On leave of absence) AJJan Schwartzman Curatorial Associate Kathleen Thomas Curatorial Associate Technical and Educational Emory Craig Docent/Preparator Sara Davidmann Gallery Guard Robert Price Preparator Bobbie Smolow Gallery Guard

Advisory Board

Richard Boardman Fine Arts Adviser Editor William Dunn International Communication Agency Associate Editor Ken yon Kramer Linda Cathcart Direc tor Art Director ancy Feldman Contemporary Arts Museum Houston, Texas Contributors: William Dunn Attorney Anne Focke Director Photographer David Hartman "and/or" (alternative TNM Editor Tim Yohn exhibition center) Typesetting Goldring Seattle, Wa shington International Philip Linhares Direc tor Mills College Art Gallery Oakland, California The ew Mu seum is indebted to Robert Linda ochlin Professor of L. Eller, Leonore LeVin e, Matthew Art History Iaccarino and Thomas Amato for their Vassar College special assistance.

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