TABLE OF CONTENTS
Series Descriptions/Container Listing
Joellen Bard's, Ruth Fortel's, and Helen Thomas' Exhibition Records of Tenth Street Days: The Co-ops of the 50s
A Finding Aid to Joellen Bard's, Ruth Fortel's, and Helen Thomas' Exhibition Records of Tenth Street Days: The Co-ops of the 50s, 1953-1977, in the Archives of American Art
by Catherine S. Gaines
August 2004
- Contact Information
- Reference Department
- Archives of American Art
- Smithsonian Institution
- Washington. D.C. 20560
- www.aaa.si.edu/askus
Collection Overview | ||
| Creator: | Joellen Bard | |
| Title: | Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s | |
| Dates: | 1953-1977 | |
| Abstract: | Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.65 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977. | |
| Extent: | 0.65 linear feet | |
| Language: | The records are in English. | |
Administrative Information
Provenance
Gift of Joellen Bard, coordinator of the Association of Artist-Run Galleries and curator of Tenth Street Days: The Co-ops of the 50s, 1977-1978.
Processing Information
The collection was processed by Catherine S. Gaines in 2003.
Preferred Citation
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977. Archives of American Art, Smithsonian Institution.
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Restrictions
Restrictions on Access
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Ownership and Literary Rights
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated too public use for research, study, and scholarship. The collection is subject to all copyright laws.
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Index Terms | ||
| This collection is indexed in the online catalog of the Archives of American Art under the following index terms. People, families and organizations are listed under "Names" when they are creators or contributors and under "Subjects" when they are the topic of collection contents. | ||
| Subjects: | ||
| Brata Gallery | ||
| Camino Gallery | ||
| Hansa Gallery (New York, N.Y.) | ||
| James Gallery (New York, N.Y.) | ||
| Tanager Gallery (New York, N.Y.) | ||
| Subjects-Topical: | ||
| Group work in art -- United States -- Exhibitions | ||
| Art galleries, Commercial -- New York (State) -- New York | ||
| Art, American -- Exhibitions | ||
| Art, Modern -- 20th century -- United States -- Exhibitions | ||
| Curators -- New York (State) -- New York | ||
| Types of Materials: | ||
| Photographs | ||
| Scrapbooks | ||
| Video recordings | ||
| Names: | ||
| 14 Sculptors Gallery | ||
| Amos Eno Gallery | ||
| Association of Artist-run Galleries | ||
| Fortel, Ruth | ||
| Noho Gallery (New York, N.Y.) | ||
| Pleiades Gallery | ||
| Thomas, Helen | ||
| Ward-Nasse Gallery | ||
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Biographical Note
Tenth Street between Third and Fourth Avenues, was an artist community that was home to many of the first generation Abstract Expressionists. The neighborhood was also home to The Club and the Cedar Tavern. After 1953, many of younger artists--the second and third generations of Abstract Expressionists--came to live and work near Tenth Street. They organized and ran a number of cooperative galleries that became an important focus and provided much needed exhibition opportunities for the large number of young artists lured to New York City in the late 1950s and early 1960s.
Researched and organized by painter and art instructor Joellen Bard, Ruth Fortel and Helen Thomas in co-operation with the Association of Artist-Run Galleries and Pleiades Gallery, Tenth Street Days: The Co-ops of the 50s, was held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. A corollary exhibition, Tenth Street in 1977, was shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. An expanded version of the exhibition was circulated by The Gallery Association of New York State.
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Scope and Content Note
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.65 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.
Series 1: Exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977 (0.4 linear ft.) documents the exhibition that was held December 20, 1977 through January 7, 1978 at Amos Eno Gallery, 14 Sculptors Gallery, Noho Gallery, Pleiades Gallery, and the Ward-Nasse Gallery. Included are the grant proposal, resumes, budget, and background information on the Association of Artist-Run Galleries, exhibition catalog and other printed matter, and congratulatory telegram from John Krushenick. Research files concerning Brata Gallery, Camino Gallery, Hansa Gallery, James Gallery, and Tanager Gallery contain a variety of printed items and historical notes. Of particular interest are administrative records of Camino Gallery that include its articles of agreement and minutes; and a reminiscence of Craig Hazlet who funded Tanager Gallery for 5 years, by daughter Sally Hazlet Drummond. Research files also include artist address lists, responses to a questionnaire about Tenth Street galleries circulated by Bard, and general printed matter about Tenth Street galleries and artists. Additional exhibition records consist of 35-mm color slides of works of art, and small number of black and white photographs of galleries and artists.
Series 2: Records of Tenth Street in 1977, December 20, 1977-January 8, 1978 (0.25 linear ft.) relates to the corollary exhibition shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. Records consist of 2 disbound scrapbooks, arranged alphabetically by artist, that contain biographical information, miscellaneous printed matter, and photographs of works of art.
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Arrangement | ||
The collection is arranged into 2 series. Material in Series 1 is arranged chronologically within each folder. Series 2 is arranged alphabetically by artist. | ||
| Series 1: Records of Tenth Street Days: The Co-ops of the 50s, 1953-1977 (Box 1 and OV; 0.4 linear ft.) | ||
| Series 2: Records of Tenth Street in 1977, 1977 (Box 2; 0.25 linear ft.) | ||
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Series Descriptions/Container Listing
Series 1: Tenth Street Days: The Co-ops of the 50s, 1953-1977 (0.4 linear ft.; Box 1 and OV) |
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Research files concerning galleries consist mainly of printed matter, with some exceptions. The file for Camino Gallery includes administrative records such as legal documents and minutes. Also of particular interest are a Brata Gallery membership list, a brief history of the James Gallery, and a reminiscence of Craig Hazlet who funded the Tanager Gallery. |
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Photographs are of Milton Resnick's studio; a view of Tanager's Roof; Irving Sandler and Lois Dodd in Tanager Gallery; and Bill de Kooning, Lutz Sander, and Charles Cajori in de Kooning's Studio. Also included is a black and white negative of an unidentified, undated 9th Street Gallery exhibition installation. 35-mm color slides of works of art (1 slide box)is organized by gallery, with slides for each gallery arranged alphabetically by artist. |
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Box |
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| 1 (Hol) | Documentation of the Exhibition, 1977 (2 folders) | ||||||||
| Research Files | |||||||||
| Answers to a Questionnaire about Tenth Street Sent to Artists in the Exhibition--Sent by Joellen Bard Sept. 1976-June 1977, 1976-1977 | |||||||||
| Brata Gallery, 1958, undated | |||||||||
| Camino Gallery, 1956-1963, undated | |||||||||
| "In celebration: the street," a poem by John Burnett Payne, undated | |||||||||
| Hansa Gallery (photocopies), 1953-1954 | |||||||||
| James Gallery, 1958-1960, undated | |||||||||
| Tanager Gallery, 1952-1962, undated | |||||||||
| Tenth Street Artists Address List, circa 1977 | |||||||||
| Tenth Street General Information, 1957-1977 | |||||||||
| Tenth Street Reviews (See: OV 3), 1954-1959 | |||||||||
| Photographs | |||||||||
| 35mm Color Slides of Works of Art (1 slide box), undated | |||||||||
| Photographs (copy prints), 1956 | |||||||||
| Black and White Negatives, 1956, undated | |||||||||
Box |
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| 3 (OV) | Tenth Street Reviews, 1954-1959 | ||||||||
Series 2: Tenth Street in 1977, 1977 (0.25 linear ft.; Box 2) |
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Box |
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| 2 (pam) | Scrapbooks (2 disbound vols.) | ||||||||
| Volume 1: A-J, 1977 (2 folders) | |||||||||
| Volume 2: K-Z, 1977 (2 folders) | |||||||||