Posted in 1940s, 20th Century, abstract art, Art Education, Creating Digital History, Digital Archive, Greenwich Village, Modern Art, New York University, Studio 35, Subject of the Artist School, tagged 1940s, 20th Century, Abstract Art, Barnett Newman, David Hare, Digital Archive, Greenwich Village History, Mark Rothko, Modern Art, New York University, Robert Motherwell, Studio 35, Subject of the Artist School, William Baziotes on October 6, 2015|
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This semester, for the larger Greenwich Village History Digital Archive, I would like to contribute an online exhibition that examines the Subject of the Artist School founded by artists Robert Motherwell, Barnett Newman, William Baziotes, David Hare and Mark Rothko at 35 East Eighth Street in Greenwich Village in 1949. These artists, who were all either associated with Abstract Expressionism or Surrealism, organized a series of lectures in order to convey the idea there was meaning in abstract art. It was this lecture series that endured after the school failed financially just a year after it opened its doors. Organized by professors from New York University, the series continued once the space became Studio 35.
My research is in its beginning stages, but it seems this project will be a bit of a challenge since the school is often unfamiliar even to art historians. In fact, the school has usually only been mentioned briefly in footnotes. However, I have been able to find a few scholarly articles using Worldcat and at least book, Artists’ Sessions at Studio 35 (1950), all of which contain rich bibliographies that will lead to me to other sources. Additionally, I will look through the 1949-1950 issues of the Education Sun, the student newspaper for New York University’s School of Education at New York University’s University Archives, as well as contune searching through the artist collections of the Archives of American Art. While visiting the Archives of American Art’s website, I discovered a few transcribed interviews with artists who speak about the school’s mission. At least one of these interviews is in the public domain and readily available to use in my archive. These interviews are incredibly valuable resources for my project because they describe who attended the series and what events actually occurred during the meetings. Similarly, these artists’ estates may have primary sources that can reveal further details about this short-lived, experimental venture.
New York University’s Bobcat database has been an essential tool during the beginning stages of my research.
By completing this project I hope I can not only contribute an online entry that fills a hole in the course’s Greenwich History Blog and Archive, which is currently lacking in entries and exhibitions from the 1940s, but I also hope to fill a hole in the art historical literature, which, at this time, contains more information about Studio 35 than the Subject of the Artist School. Sources are limited, but I hope to be able to determine why these founders initially came together, what ideas they hoped to convey, what methods they used to convey their ideas, how their philosophies compared or related to other artist-run schools the time, who attended the school and lectures, and ultimately what was the lasting legacy of the short-lived venture.
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Despite growing up in a small town in western Pennsylvania that’s rarely ever included on maps, where there’s nothing to do for miles, and whose residents don’t travel too far from home, stay away for too long, or concern themselves with art or fashion, I firmly believed a move to New York City would change my life for the better. Even before graduating from high school, I recognized my undergraduate education at The Pennsylvania State University was a stepping stone to even higher education, initially believing medical school was the next logical step after college. Like many incoming freshmen, I was under the impression only a curriculum in science could ever result in a successful career. However, everything changed with a single art history elective and a trip to New York City to visit the Metropolitan Museum of Art. Since then, more classes in the humanities have followed and have stimulated my thinking and creativity in ways science never could. Half way through my undergraduate education, I decided to change my major from premedicine to art history and even interned as a curatorial assistant for the university’s Palmer Museum of Art where I initially fell in love with working with primary documents and original artwork firsthand.
I moved to New York City soon after graduating from Penn State in order to attend the new MA Fashion Studies program at Parsons The New School for Design. Outside of the classroom I wrote concise, critical reviews on contemporary art exhibitions in and around the city for the blog M Daily, volunteered for Karen Augusta of Augusta Auctions, a rare dealer of historical textiles and antique clothing, as well as interned for the Special Collections and Archives of the Fashion Institute of Technology. Although I enjoyed learning more about experimental fashion and other instances of how art and fashion intersect, I truly missed learning about fine art and decided to finish my graduate education at Christie’s Education New York. In 2013, after finishing an internship with the Rare Books and Manuscripts Department of Christie’s Auction House, I graduated with an M.A. in The History of Art and the Art Market from Christie’s and began working as a freelance archival assistant.
My freelance positions made me realize I need to continue to strengthen my research and archival skills if I want to advance in the competitive field of modern and contemporary art and ultimately work for a museum or university collection. I’m excited to be a first-year student of NYU’s Archives and Public History graduate program, as well as a new graduate assistant at Fales Library. For this course I am looking forward to building upon my pre-existing skills, as well as learning more about digital humanities as I research the relocation of the Hans Hofmann School of Fine Arts to Greenwich Village in the late 1930s. This is certainly an exciting time to research Hofmann since a comprehensive catalogue raisonné on the artist, Hans Hofmann: Catalogue Raisonné of Paintings by Suzi Villiger, was only recently published in 2014.
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