DOCSLIB.ORG

Jackson Mac Low Papers, 1923-1995

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/kt709nb2cz No online items Register of the Jackson Mac Low Papers Mandeville Special Collections Library 0175S UC, San Diego La Jolla, CA 92093-0175 Phone: (858) 534-2533 Fax: (858) 534-5950 Email: [email protected] Repository Website: http://orpheus.ucsd.edu/speccoll/ © 1997 The Regents of the University of California. All rights reserved. Register of the Jackson Mac Low MSS 0180 1 Papers Jackson Mac Low Papers, 1923-1995 MSS 0180 Mandeville Special Collections Library UNIVERSITY OF CALIFORNIA, SAN DIEGO La Jolla, CA 92093-0175 Contact Information: Mandeville Special Collections Library 0175S UC, San Diego La Jolla, CA 92093-0175 Phone: (858) 534-2533 Fax: (858) 534-5950 Email: [email protected] Repository Website: http://orpheus.ucsd.edu/speccoll/ This file last updated: October 2003. Descriptive Summary Title: Jackson Mac Low Papers, Date (inclusive): 1923-1995 Collection number: MSS 0180 Creator: Mac Low, Jackson Extent: 33.15 linear feet(79 archives boxes, 1 records carton and 1 oversize folder) Repository: Mandeville Special Collections Library, UCSD La Jolla, CA 92093-0175 Abstract: Papers of Jackson Mac Low, a poet, composer and performance artist who has frequently used systematic chance operations and other non-intentional compositional methods in his work. The bulk of the collection dates between 1937 and 1995. The collection contains notebooks (1948-1990); biographical material; correspondence (1943-1995); manuscripts of poetry, prose, essays, plays, music and performance instructions; writings of others; interviews with Mac Low; conference and residency documentation; posters and programs; and subject files. Prominent correspondents include Kathy Acker, Julian Beck, Carol Berge, Paul Blackburn, John Cage, Robert Creeley, Larry Eigner, Clayton Eshleman, Peter Ganick, Paul Goodman, Allen Ginsberg, Donald Hall, Spencer Holst, Vera Lachmann, Denise Levertov, George Maciunas, Judith Malina, Steve McCaffery, Nam June Paik, Jerome Rothenberg, Ron Silliman, John Taggart, Diane Wakoski, Anne Waldman, and William Carlos Williams. The collection is arranged in ten series: 1) NOTEBOOKS, 2) BIOGRAPHICAL MATERIAL, 3) CORRESPONDENCE, 4) WRITINGS, 5) WRITINGS OF OTHERS, 6) INTERVIEWS, 7) CONFERENCES, FESTIVALS AND RESIDENCIES, 8) PROGRAMS AND POSTERS, 9) SUBJECT FILES, and 10) ORIGINALS OF PRESERVATION PHOTOCOPIES. Physical location: For current information on the location of these materials, please consult the Library's online catalog. Language: English. Access Poems in Box 52, Folder 28 are restricted by the donor until 2020. Preferred Citation Jackson Mac Low Papers, MSS 0180. Mandeville Special Collections Library, UCSD. BIOGRAPHY Born in Chicago, Ill. on Sept. 12, 1922, Jackson Mac Low spent his grade school years studying music and poetry. In 1939, he entered the University of Chicago to study philosophy, leaving there in 1943 with an Associate of Arts Degree and relocating to New York City. In 1955, Mac Low enrolled in Brooklyn College, where he completed a Bachelors of Arts program in Greek in 1958. The bachelors degree allowed Mac Low to secure a number of better paying and more flexible jobs, thus giving him time for his artistic career. He worked as reference-book editor and taught courses at New York Register of the Jackson Mac Low MSS 0180 2 Papers University. In February 1962, Mac Low married the painter Iris Lezak. In 1963 they gave birth to a son, Mordecai-Mark and, in 1966, to a daughter, Clarinda. Mac Low and Iris Lezak divorced in 1978, and twelve years later he married Anne Tardos, a poet, composer, multimedia artist. Mac Low is the author of some thirty books of poetry, four playscripts, and numerous critical statements. His work has been published by a range of trade and fine presses, and individual pieces have appeared in a great number of poetry journals. Mac Low is known to most readers as an ardent practioneer of chance operations in poetry composition, which Mac Low first experienced in the musical work of John Cage, Earle Brown, and Christian Wolff. But the poet Ron Silliman has suggested that is a smaller part of Mac Low's overall importance. As Silliman explains, "Mac Low was more or less alone in the 1950s in his explorations of poetic form as system (to my mind a far more important implication of his work than his use of chance operations, whaich are merely one type of system)." Mac Low's interest in poetry as system dates from 1954, when he used a chance operation to generate the text "5 biblical poems." The poems he wrote during the previous sixteen years were more conventional expressions of the writers emotions and reflections. Most of these early poems have not yet been published (a handful do appear in the collection REPRESENTATIVE WORKS, 1986), but are present in Mac Low's archive. In the 1960s and 1970s, Mac Low's writing became prolific and more experimentally daring or reliant on what Mac Low describes as non-intentional methods. THE MARRING MAIDEN, a theatrical work, was first performed by the Living Theatre in during the 1960-1961 season. A performance piece, action in the play was determined by action cards given to actors at random intervals and by the director's scenarios. The plays language was determined using the I CHING. In STANZAS FOR IRIS LEZAK, a nearly 400 page work written in 1960 but published twelve years later, was generated from an assortment of religious and scientific texts, newspapers, and whatever else the poet was reading at the time. A year later, Mac Low composed ASYMMETRIES 1-501, an investigation of irregular poetic form, unlike the regular forms acheived in STANZAS FOR IRIS LEZAK. In 1967, Mac Low's VERDUROUS SANGUINARIA was performed in Yoko Ono's loft as part of a series of "happenings" organized by La Monte Young. This work was generated from chance operations applied to twenty-six dictionaries, and it is the only work of Mac Low's to have yet been published by a university press. THE PRONOUNS, also written in the 1960s, was composed as a book of poems and a score for actions. The work, which Jerome Rothenberg describes as taking "hold of those old workhorses of our language," was conceived as a score for dance. While it has been performed infrequently, the work has become recognized as Mac Low's most anthologized composition. Other works rendered during this period include 22 LIGHT POEMS (1968), THE VIRIGINIA WOOLF POEMS (1985), WORDS ND ENDS FROM EZ (1989) and 42 MERZGEDICHTE IN MEMORIAM KURT SCHWITTERS (1994). Collectively they reveal the various generative methods and source texts Mac Low employed in composing his texts. From a formal point of view, 1954 marks a rupture in Mac Low's career, as conventional intentional strageties are displaced by non-intentional strategies. But from a political perspective there is a certain and problematic continuity. Mac Low has always been a political activist, a self-proclaimed pacifist-anarchist. This political stance is evident in the content of the verse written before 1954, as it is also in the Mac Low's activity as an editor of anarchist publication. After 1954 and Mac Low's increasing use of non-intentional strategies, the politcal stance is shifted to the poem's form and becomes actualized in the transaction between the text and the reader. As Bruce Campbell has explained, Mac Low has no desire "to be a dictator....Instead Mac Low wants to 'empower' the reader....The reader is not someone who simply gazes upon the work or arrives at a prefabricated meaning; the reader helps to make the meaning." In short, using non-intentional strategies allows Mac Low to alter radically the power relationship of conventional author / reader transactions. Mac Low's work, because of its experimental and difficult characteristics, has not received a strong general audience; it has been most enthusiastically read by poets broadly interested in some of the same poetic / aesthetic values Mac Low investigates in his texts. Nevertheless, Mac Low has been the recipient of several awards: two Creative Artists Public Service Program fellowships (1973-74 and 1976-77), a National Endowments for the Arts fellowship (1976), a Guggenheim Memorial fellowship (1985), a Fulbright fellowship (1986) and, more recently, The Fund for Poetry awards (1988-89 and 1991-92). Mac Low continues to reside in New York City with his wife Anne Tardos. SCOPE AND CONTENT The Jackson Mac Low Papers span the bulk of his career as a poet, composer and multimedia performance artist, combining extensive documentation of his literary production with record of his political activities and influence on other artists. The collection is largely comprised of materials from the late 1930s to 1995, although there are a few documents from earlier years. The collection is arranged in ten series: 1) NOTEBOOKS, 2) BIOGRAPHICAL MATERIAL, 3) CORRESPONDENCE, 4) WRITINGS, 5) WRITINGS OF OTHERS, 6) INTERVIEWS, 7) CONFERENCES, FESTIVALS AND RESIDENCIES, 8) PROGRAMS AND Register of the Jackson Mac Low MSS 0180 3 Papers POSTERS, 9) SUBJECT FILES and 10) ORIGINALS OF PRESERVATION PHOTOCOPIES. SERIES 1: NOTEBOOKS The notebooks (1948-1990) are arranged chronologically and contain drafts of poems, quotations from literature read by Mac Low and reflections made at poetry readings and other places. SERIES 2: BIOGRAPHICAL MATERIAL This series provides a chronological overview of Mac Low's artistic production and includes biographies of various lengths, bibliographies, resumes, and lists of readings, performances, recordings, and publications. Also included are photographs of Mac Low and his family, calendars from the 1970s and 1980s that document his daily activities and tax returns (1972-1988). SERIES 3: CORRESPONDENCE The CORRESPONDENCE series documents Mac Low's relationships with other writers, artists, editors, publishers, and scholars and the collaborative nature of many of his compositions. A lesser portion of the correspondence is from family, primarily Mac Low's parents, his children and his wives.
Recommended publications
  • Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52

    Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52

    Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R.
  • Keeping Score: “With Womens Work” at Issue Project Room

    Keeping Score: “With Womens Work” at Issue Project Room

    Keeping Score: “With Womens Work” at Issue Project Room artnews.com/art-in-america/aia-reviews/with-womens-work-issue-project-room-1234590445 April 21, 2021 Within the ecosystem of publications documenting the heterogeneous art world of the 1960s and 1970s, the first issue of the little-known 1975 magazine Womens Work stands as a modest but critical volume. A slim booklet printed in brown ink on beige paper, it contains thirty-two pages of event scores, elliptical texts written as instructions for performative actions. The genre is typically associated with a motley group of male Fluxus artists, particularly George Maciunas and La Monte Young. Together with Jackson Mac Low, they produced the book An Anthology of Chance Operations (1963), a compendium of these emergent language notations, with works by Yoko Ono and Simone Forti as the lone contributions by Cover of Womens Work volume 1, 1975. women. Womens Work, by contrast, announced Courtesy Annea Lockwood an irruption of text-based scores by a network of female practitioners working across music, dance, performance, and visual art. Emerging at the height of second wave feminism, the publication highlighted both the messy interdisciplinarity inherent to experimental artmaking in the postwar period and the women left out of narratives around it. The second and final issue of the magazine, published in 1978, took the form of a fold-out poster containing photographs and reproductions that are less immediately readable as instructional scores; Primary Information produced a facsimile edition of both issues in 2019. For the digital performance series “With Womens Work,” presented by Issue Project Room in Brooklyn (through May 5), an international roster of female-identifying artists was invited to interpret and respond to the 1975 scores, offering an opportunity to revisit this important publication and consider its continued resonance today.
  • Sari Dienes, 93, Artist Devoted to the Value of the Found Object by ROBERTA SMITH Published: May 28, 1992

    Sari Dienes, 93, Artist Devoted to the Value of the Found Object by ROBERTA SMITH Published: May 28, 1992

    Sari Dienes, 93, Artist Devoted To the Value of the Found Object By ROBERTA SMITH Published: May 28, 1992 Sari Dienes, an artist whose career spanned many different media and several decades of the New York art world, died on Monday at her home in Stony Point, N.Y. She was 93 years old. She died of cancer, said Rip Hayman, a friend and the curator of the Sari Dienes Foundation. Mrs. Dienes, whose original name was Chylinska von Daivitz, was born in Hungary in 1898 and in her youth studied dance, music and philosophy. She was married at the age of 19 to a French mathematician, Paul Dienes, and she did not decide to become an artist until she was 29 and living in Wales with her husband. Over the next decade, she studied art in Paris and London with Ferdinand Leger, Andre Lhote and Henry Moore. Stranded in New York at the outbreak of World War II, she made the city her home, supporting herself by teaching art. 'Nothing Is So Humble' As an artist, Mrs. Dienes had an innately experimental approach to materials and techniques and a lasting faith in the power of the found object. "Bones, lint, Styrofoam, banana skins, the squishes and squashes found on the street: nothing is so humble that it cannot be made into art," she once said, and her work tended to prove her right. During her career she made elaborate rubbings of American Indian petroglyphs and New York City manhole covers, created assemblages out of bones and sundry other materials, painted Abstract Expressionist drip paintings and turned her studio- house in Stony Point, in Rockland County, into a walk-in art environment.
  • Imc Robert Creeley

    Imc Robert Creeley

    ^IMC ROBERT CREELEY: A WRITING BIOGRAPHY AND INVENTORY by GERALDINE MARY NOVIK B.A., University of British Columbia, 1966 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February, 1973 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date February 7, 1973 ABSTRACT Now, in 1973, it is possible to say that Robert Creeley is a major American poet. The Inventory of works by and about Creeley which comprises more than half of this dissertation documents the publication process that brought him to this stature. The companion Writing Biography establishes Creeley additionally as the key impulse in the new American writing movement that found its first outlet in Origin, Black Mountain Review, Divers Books, Jargon Books, and other alternative little magazines and presses in the fifties. After the second world war a new generation of writers began to define themselves in opposition to the New Criticism and academic poetry then prevalent and in support of Pound and Williams, and as these writers started to appear in tentative little magazines a further definition took place.
  • Fourth Floor, 1940-1970

    Fourth Floor, 1940-1970

    Fourth Floor, 1940-1970 407 Frank O'Hara, Lunchtime Poet 2202.1967.86.b Preparatory drawing for In Memory of My Feelings Robert Rauschenberg 1967 Watercolor and frottage on acetate 14 x 11" (35.5 x 27.9 cm) Gift of the artist 696.1959.2 Us from Stones Larry Rivers 1957, published 1960 Lithograph from an illustrated book with thirteen lithographs and one oil on paper drawing composition (irreg.): 13 3/4 x 17 7/8" (35 x 45.4 cm); page (irreg.): 19 x 23 1/4" (48.3 x 59.1 cm) Gift of Mr. and Mrs. E. Powis Jones 696.1959.5 Love from Stones Larry Rivers 1958, published 1960 Lithograph from an illustrated book with thirteen lithographs and one oil on paper drawing composition (irreg.): 16 1/8 x 17 7/8" (41 x 45.4 cm); page (irreg.): 19 x 23 1/4" (48.3 x 59.1 cm) Gift of Mr. and Mrs. E. Powis Jones 2202.1967.88 Preparatory drawing for In Memory of My Feelings Larry Rivers 1967 Pencil on acetate 14 1/16 x 20 1/16" (35.7 x 51 cm) Gift of the artist 2202.1967.94 Preparatory drawing for In Memory of My Feelings Niki de Saint Phalle 1967 Pencil and ink on acetate 14 x 11" (35.6 x 28 cm) Gift of the artist Page 36 of 126 Fourth Floor, 1940-1970 407 Frank O'Hara, Lunchtime Poet 132.1961 Elegy to the Spanish Republic, 54 Robert Motherwell 1957-61 Oil on canvas 70" x 7' 6 1/4" (178 x 229 cm) Given anonymously W4686.5 USA: Poetry / Frank O'Hara and Ed Sanders Frank O'Hara 1966 The Museum of Modern Art, New York 288.1976 Double Portrait of Frank O'Hara Larry Rivers 1955 Oil on canvas 15 1/4 x 25 1/8" (38.4 x 63.6 cm) Gift of Stuart Preston Page 37 of 126 Fourth Floor, 1940-1970 408 Stamp, Scavenge, Crush 323.2018 Untitled (BMC.145, BMC Laundry Stamp) Ruth Asawa c.
  • Information to Users

    Information to Users

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy sutimitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorged copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9* black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMÏ EIHETORICAL HYBRIDITY: ASHBERY, BERNSTEIN AND THE POETICS OF CITAHON DISSERTATION Presented in. Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy m the Graduate School o f The Ohio State University By \fatthew Richardson^ hlA . ***** The Ohio State Unwersity 2001 Dissertation Committee: Approved by Professor Jon Erickson. Adviser Professor Jessica Prinz .
  • The 27Th Annual Art Show Henry Street Settlement Art Dealers

    The 27Th Annual Art Show Henry Street Settlement Art Dealers

    MEDIA MATERIALS THE ART SHOW MARCH 4–8, 2015 The 27th Annual Art Show Park Avenue Armory At 67th Street, New York City TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America FOUNDED 1962 Lead Partner of The Art Show THE ART SHOW ANNOUNCES 39 SOLO AND 33 THEMATIC PRESENTATIONS FOR THE FINE ART FAIR’S 27th EDITION ORGANIZED BY THE ART DEALERS ASSOCIATION OF AMERICA (ADAA) TO BENEFIT HENRY STREET SETTLEMENT MARCH 4 – 8, 2015 GALA PREVIEW MARCH 3 The Art Show 2014 at the Park Avenue Armory, New York. Photo by Timothy Lee Photography New York, December 16, 2014 —Gallery presentations at the 27th annual ADAA Art Show, the nation's longest running fine art fair, will feature thoughtfully curated solo, two-person, and thematic exhibitions by 72 of the nation’s leading art dealers. The Art Show takes place March 4 - 8, 2015 at the historic Park Avenue Armory, with a ticketed Gala Preview on Tuesday, March 3. All ticket proceeds from the gala and run of show benefit Henry Street Settlement, one of New York City’s most effective social services agencies. AXA Art Americas Corporation has returned for the fourth consecutive year as Lead Partner. Solo Shows One of the premier trademarks of The Art Show remains the emphasis on one- person presentations, and the 27th edition is no exception. Three galleries will present comprehensive surveys highlighting the work of women artists in their 90s—Tibor de Nagy Gallery will honor the late painter Jane Freilicher, CRG Gallery will feature a selection of work and ephemera from the studio of Saloua Raouda Choucair, and Galerie Lelong will present Etel Adnan’s paintings and accordion-fold books (leporellos).
  • DICKEY, JAMES. James Dickey Papers, Circa 1924-1997

    DICKEY, JAMES. James Dickey Papers, Circa 1924-1997

    DICKEY, JAMES. James Dickey papers, circa 1924-1997 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Dickey, James. Title: James Dickey papers, circa 1924-1997 Call Number: Manuscript Collection No. 745 Extent: 204 linear feet (421) boxes), 11 oversized papers boxes and 18 oversized papers folders (OP), 2 extra-oversized papers (XOP), 21 bound volumes (BV), 1 oversized bound volume (OBV), and AV Masters: 1.75 linear feet (2 boxes and LP1) Abstract: Personal and literary papers of American poet and novelist James Dickey, including correspondence, manuscripts, personal notebooks, printed material, photographs, and sound recordings. Language: Materials entirely in English. Administrative Information Restrictions on access Special restrictions apply: Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Due to the fragile nature of the World War II correspondence in Subseries 1.4, researchers are required to use the photocopies. Use copies have not been made for all of the audiovisual series at this time. Researchers must contact the Rose Library in advance for access to these materials. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository.
  • William Packard Autobiography 2

    William Packard Autobiography 2

    William Packard's plays include THE LIGHT OF LIFE (1981) and THE KILLER THING (directed by Otto Preminqer in 1980); his FOUR PLAYS (LIVING POETS PRESS) includes SANDRA AND THE JANITOR (published in BEST SHORT PLAYS OF 1971); THE FUNERAL (staqed by The Dove Company, by Jose Ferrer, later translated and produced in Paris as CEUX QUI RESTENT); THE MARRIAGE and WAR PLAY (produced and directed by Gene Frankel). William Packard has published several collections of poetry and prose, including THE CONDITION FOR ALL POETRV, GENIUS IS DESIRE, WHALES & TOMBS, TO PEEL AN APPLE, VOICES/I HEAR/VOICES, WHAT HANDS ARE THESE, and THE AMERICAN EXPERIENCE. Of his FIRST SELECTED POEMS, 1977, James Dickey wrote: "William Packard's poems are firm, concise, and deep. He has a fine ear and a marvelous sense of imagery. American literature is praised to have him." Richard Eberhart wrote: "William Packard's poems are disturbing, powerful, full of dark truth. They are keen, immediate, display tactile energy, pierce through barriers to show many kinds of reality, and spread before us in generosity the zeal of a fearless poet. It is action poetry of acclaim, insight, total realization." Muriel Rukeyser wrote: "These poems are the acrid smoky lyrics of the love that haunts our nightwalking. They have the murderous drama of Ty Cobb, along with the laugh saving the suburbs - the fine life line. They are the life of the energy in the eye of William Packard." Packard's poetry has been recorded at the Library of Congress in Washington, D.C., and was used on the sound track of Tinto Brass's film THERMIDOR, spoken by Irene Worth and Ben Gazzara.
  • 11Th Annual Avant-Garde Festival of New York

    11Th Annual Avant-Garde Festival of New York

    PROGRAM Ilth ANNUAL AVANT GARDE FESTIVAL AT SHEA STADIUM Flushing, Queens - ADMISSION FREE (Nov . 15, 1974) Charlotte Moorman presents with the Artists and through the Cooperation of the City of New York, Abraham D. Beome, Mayor, Parks, Recreation & Cultural Affairs Administration, Edwin L. Weisl, Administrator, Alexander Wirin, First Dep . Administrator, New York Mets, Mrs . Joan Payson, President, M. Donald Grant, Board Chairman, New York Jets, Philip H . Iselin, President, Electronic Arts Intermix, Inc ., Howard F . Wise, President Annual Avant Garde, Festival, Frank C . Pileggi, Chairman . With Special Appreciation to Sidney J. Frigand, Press Secretary to the Mayor, Irving Goldman, Commissioner of Cultural Affairs, Michael J. Codd, Commissioner, N.Y. P. D. , James K . Thomson, Vice President Mets, Weeb Ewbank, Vice President, Jets, John Free, Business Manager & Traveling Secretary, Jets, Patrick B. McGinnis, Dep"ut~ Commissioner of Cultural Affairs, Stephanie Sills, Director of Programs, Harold Weisman, Public Relations Director, Mets, Arthur Richmond, Promotion Director, Mets, Bill Murray, Asst . Controller, Mets, Frank Ramos, Director of Public Relations, Jets, Janet Cotton, Counsel P. R.C.A., Warren Gardner, Public Relations Director, P.R. C.A ., Frank Pepchinski, Stadium Director, Tom O'Keefe, Stadium Operations, Mets, John McCarthy, Head Ground Keeper, Mets, Marvin Petrower, Head Electrician, Shea John Minoque, Shop Steward, Shea, John Mooney, Local 177, Special Officers Union, James O'Hara, Local 3, IBEW, Howard Chaiken, Local 54, Theater Amusement, and Cultural Service , Employees Union, Oscar Katin, Plumbers Local I, David Reiner, Inc . Personal thanks to Juan Thomas Crovetto, Festival Associate Coordinator, Shridar Bapot, Festival Video Director, Jud Yalkut, Festival Film Director, Si Fried, Festival Production Associate, Michael Cooper, Festival Poetry Coordinator, Jerald Ordover, Festival Attorney, Peter Moore, Festival Photographer, and Peter Bradley, Lydia Silmon, Henry L .
  • Sari Dienes October 8–November 16, 2014

    Sari Dienes October 8–November 16, 2014

    Sari Dienes October 8–November 16, 2014 The Lab For further information and images, please contact Molly Gross, Communications Director, The Drawing Center 212 219 2166 x119 | [email protected] October 6, 2014 New York – The Drawing Center presents Sari Dienes, the first museum show ever devoted to the artist. In the early 1950s, Sari Dienes used experimental processes to create bold works on paper, impressing into her pictorial support the gritty and vibrant terrain of New York City’s streets. Her transfer drawings of subway grates, sidewalks, and manhole covers produced images that were at once abstract patterns and highly recognizable subjects. Armed with an ink roller, she mapped her urban haunts as well as her body’s movement; uneven and ghostly skeins of pigment document her Sari Dienes, Tred Squares, c. repetitive application of a standard-size brayer across the surface. Dienes placed drawing at the 1953–55, Ink on webril, 36 x center of her practice while simultaneously challenging traditionally held views about the medium. 36 inches. Courtesy of The Sari Dienes Foundation, The eight works and associated ephemera included in this exhibition were produced between 1953 Pomona, NY. © Sari Dienes Foundation/ Licensed by and 1955, the most intensive period of the artist’s process-based experimentation. These drawings VAGA, New York, NY. had a profound formal, technical, and iconographic impact on a young generation of artists, including Robert Rauschenberg and Jasper Johns. While widely exhibited and well–received at the time of its creation, her work has been largely overlooked in recent decades. This exhibition highlights her practice and sheds new light on her legacy.
  • Oral History Interview with Rachel Rosenthal, 1989 September 2-3

    Oral History Interview with Rachel Rosenthal, 1989 September 2-3

    Oral history interview with Rachel Rosenthal, 1989 September 2-3 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Rachel Rosenthal on September 2, 1989. The interview took place in Los Angeles, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. Interview [Tape 1, side A; 45-minute tape sides] MOIRA ROTH: This is a recording with Rachel Rosenthal in Los Angeles at her house, and it’s a recording for the Archives of American Art for the Oral History Program, September 2, 1989. If we could begin with your birth, where you were born, when, and a context. RACHEL ROSENTHAL: I was born in Paris in 1926, and my parents were both Russian Jews. My father was twenty years older than my mother. He was an emigré at age fourteen, which means that if he was born in 1874 he arrived in Paris in 1888, right? And went through “La Belle Epoque” [referring to Paris in the 1890s and turn of the century—RR] in Paris as a young man. He came penniless, and by the age of twenty-five he was a multi- millionaire. He had made a fortune in precious stones and Oriental pearls and became a wholesaler importer. The House, the business—was called Rosenthal et Frères, was himself and his brothers, and operated out of Paris; he sent his brothers all over the world to pick up these objects and bring them back to Paris where he prepared them for retail.