The First Art Newspaper on the Net    Established in 1996 Saturday, December 3, 2022


Exhibition at David Nolan Gallery pays homage to four women art dealers
Rosalyn Drexler (b. 1926), Cigarette Smoking May Be Hazardous to Your Health, 1967. Acrylic and paper collage on canvas 9 x 12 in (22.9 x 30.5 cm) Credit line: Courtesy the Artist and Garth Greenan Gallery.



NEW YORK, NY.- MAD WOMEN is a homage to four women art dealers who were very influential in New York City in the 1960s and who helped shape the contemporary art world as we know it today. Some of the most renowned and respected artists of the 20th century would have remained unknown to American audiences if not for these highly innovative gallerists who recognized the true value of their art in the 1950s and 1960s.

It was an admittedly difficult endeavor to single out Jill Kornblee, Martha Jackson, Eleanor Ward, and Eleanore Saidenberg from among the unusually rich and varied circle of women art dealers active in that period. A primary consideration in doing so was our desire to showcase the gallerists who had an extraordinary history of producing culturally significant exhibitions as well as exposing groundbreaking installations by some then relatively unknown artists, many of whom would go on to have deeply influential and illustrious careers with work that would have undeniable cultural and political resonance today.

MAD WOMEN features a selection of 26 of the artists these four gallerists championed during the 1960s, exhibiting them in both solo and group shows. Inspired by the galleries’ programs, we chose to install the artworks in dialogue with one another in order to highlight the rich aesthetic innovations of the period while also fostering a multi-level discourse that will encourage newly meaningful art historical connections.




In assembling the exhibition, when it was not possible to find specific artworks that had been shown at these galleries in the 1960s, we chose pieces dating back to that decade, finding exemplary works that would correspond to what the artists were making at the time they were associated with the gallerists’ programs. An exception is Hans Hofmann, who is represented by an exuberant painting from the late 1940s. He was Martha Jackson’s teacher from 1949, and encouraged her to become and art dealer and open her gallery.

We were able to locate a number of significant pieces specifically associated with these galleries in the 1960s, such as a vibrant blue painting by Billy Al Bengston that was included in the artist’s solo presentation at Martha Jackson Gallery in May 1962; a painting by Robert Indiana created as the basis for the poster announcing his solo exhibition at the Stable Gallery in 1962; a Louise Bourgeois latex sculpture featured in Louise Bourgeois: Recent Sculpture, which ran from January 7-30, 1964 at the Stable Gallery; a Ground Drawing by Alex Hay presented at the Kornblee Gallery on the occasion of the artist’s solo show in 1969; and a three-dimensional work by Paul Thek dedicated to Lyndon B. Johnson that has never been seen publicly since it was first exhibited at the Stable Gallery in 1967, on the occasion of Thek’s solo exhibition that opened that year. Slightly different is the case of Eleanore Saidenberg’s gallery, which showcased artists already established in the 1960s, with presentations that included work from earlier decades.

The ephemera featured in MAD WOMEN illustrate an inspirational aspect of the art dealer’s business model in the 1960s: Kornblee, Jackson and Saidenberg, notably collaborated with other gallery owners (men and women) based in New York City. For instance, Kornblee shared with Leo Castelli and Tibor de Nagy the exhibition Drawings: To Benefit the Foundation for Contemporary Performance Arts in December 1965; Eleanore Saidenberg spearheaded a majestic tribute to Picasso in 1962 in collaboration with eight New York galleries (Knoedler, Rosenberg, Duveen, Perls, Staempfli, Cordier-Warren, New Gallery, and Gerson) showing Picasso simultaneously in April-May;
Martha Jackson and Jill Kornblee mounted the op art exhibition Vibrations Eleven with Amel, Sidney Janis and Stephen Radich galleries “to make better known some of the younger American artists whose work is somewhat similar,” on view in January 1965.

Our focus on the historically vibrant cultural ecosystem along Madison Avenue originated from our wish to celebrate the current crop of innovative galleries, among which David Nolan Gallery, that have emerged or continue to thrive in many of the very same locations as their memorable predecessors.

Our research made us realize that many of the inherent challenges and rewards of sustaining an intellectually ambitious artist-centric program remain remarkably similar over time. Jackson, Kornblee, Saidenberg, and Ward each possessed that essential quality of a keen and prescient eye, working in tandem with an innovative and responsive approach to what can often be a volatile business. To survive art dealing in the 1960s, not unlike today, took stamina and an aesthetically driven sixth sense for the strategic evaluation of a rapidly evolving local and international scene. Whether with quiet resolve or sufficient self-confidence to buck popular trends, these four women had the force of character to support the audacity and genius of the artists they worked with. That Kornblee, Jackson, Ward, and Saidenberg were able to flourish in an entrenched androcentric society is both a testament to their brilliance and tenacity, and a source of true inspiration to all of us.










Today's News

September 24, 2022

Opening Paul Allen's treasure chest

Artsy to Auction new Stanley Whitney painting to benefit reproductive rights and criminal justice reform

Broadening our view of abstract art with works from the Arab world and beyond

Now on view at Friedman Benda: Nendo sees Kyoto

In Istanbul's private retreats of the sultans, time stands still

African American art at Swann - Oct 6: Norman Lewis, Winfred Rembert, Elizabeth Catlett & more

The magnificent poem jars of David Drake, center stage at the Met

From prison to the art gallery

Olga de Amaral opens her first solo show in London at Lisson Gallery

Gió Marconi opens André Butzer's sixth solo show with the gallery

Stephen Friedman Gallery opens a solo exhibition by Anne Rothenstein

A two-venue survey exhibition featuring artwork by Gladys Triana opens in Connecticut

Paradigm Gallery opens its second solo show with Sarah Detweiler

Peter Doroshenko is appointed Director of The Ukrainian Museum in New York

Sarah Darro named curator and exhibitions director at Houston Center for Contemporary Craft

Exhibition at David Nolan Gallery pays homage to four women art dealers

National Gallery opens Cressida Campbell with announcement of major new acquisition

How a sooty old piano helped Beth Orton reach a new creative peak

Hilary Mantel, prize-winning author of historical fiction, dies at 70

In 'Joyce's Women,' two great Irish writers square up

Delicious Gift Basket Ideas To Brave Up Holiday Shopping For Family

File Management: From Clutter to Organization

How Much Money Can You Withdraw from Your 401(k) Account?

How to find the best gun deals at auction

Explore Top Reasons to Invest in a Titanium Wedding Band

How to Choose the Perfect Wedding Band

How to Choose the Perfect Wedding Ring for Your Style

Job software: does it really help you find a job?

Some Quick Plantar Fasciitis Treatments You Need to Consider

The Top 15 Trends in Men's Wedding Bands

Tying the knot: A guide to choosing the perfect men's wedding ring

ESG Australia: Meaning and Importance

How to Boost Your Business's Online Presence

What is the difference between clipping path and masking? - Briefly Explained

Dental Crown Cleansing Tips: A Comprehensive Guide to The Treatment

10 Creative Ideas for Decorating Large, Empty Walls at Home




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful