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22-535: The artist-led show was intended to make names — and it did. Word of the exhibition slipped out prior to the Monday night preview, but that only added to the interest. Author Mary Gabriel writes, "Nothing sold, but no one cared. The exhibition had earned the artists attention on their own terms." Their form of art — the New York School — was later called "the quintessential American and modern art movement." At

44-758: A New York School "member," documented the exhibit with a series of photographs. Afterward, "[t]he artists celebrated not only the appearance of the dealers, collectors and museum people on the 9th Street, and the consequent exposure of their work," Altshuler writes, "but they celebrated the creation and the strength of a living community." Critical response after the Ninth Street Show encouraged and helped define early abstract expressionism, while also promoting it. Critic Harold Rosenberg 's "famous 1952 essay, 'The American Action Painters,' [which] effectively likened artists such as Willem de Kooning and Franz Kline to heroic existentialists wrestling with self-expression"

66-642: A text to the influential women artists in the 9th Street Show. Mary Gabriel (author) Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.133 via cp1102 cp1102, Varnish XID 536311415 Upstream caches: cp1102 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 05:34:35 GMT Stable Gallery The Stable Gallery , originally located on West 58th Street in New York City ,

88-401: Is one good example. But praise from critics like the make-or-break " [Clement] Greenberg ... collectors like Peggy Guggenheim , and curators like MoMA ’s Alfred H Barr ... [also helped] abstract expressionism eventually gain momentum among the art glitterati of New York in the 1950s, despite never being popular among the wider American public." It was Greenberg, in fact, who claimed that "for

110-481: The Coenties Slip , high communal spirits, and almost universal devotion to abstraction." Note, however, although 74 artists were exhibited, only 64 are listed below, which is sourced from Franz Kline's original poster. (Selection was limited by availability.) (Source: 9th St. Art Exhibition poster, 1951 ) (Selection was limited by availability.) "[R]ent for the decrepit [exhibition] space for

132-437: The "Stable Annual", was a great success for the gallery. The Stable Annuals represented what came to be known as the New York School abstract expressionists of the 1950s. However, the first and second generation Abstract Expressionist artists began to go in their own directions, and new art movements in 1960s including Pop art would become more currently fashionable. In light of those developments Ward expanded

154-645: The Movement That Changed Modern Art . The best-selling book ignited interest in the underappreciated women of abstract expressionism and in women artists, generally. On April 24, 2019, The Hollywood Reporter published an exclusive, reporting that Amazon Studios had optioned Gabriel's book for Amy Sherman-Palladino and Daniel Palladino to develop into a series. The University of California, Los Angeles (UCLA) also developed an art history class called "Ninth Street Women: The Women of Abstract Expressionism," which assigned Gabriel's book as

176-399: The Ninth Street Show for setting a precedent for showing more daring work because the show was conceived and organized by artists: This exhibition was conceived and organized by artists, the event rightly to be considered the precedent for this one was the famous "Ninth Street" show held in the spring of 1951 on the ground floor of a vacated store, on East 9th St. Like this one, that exhibition

198-507: The artists and the exhibition's selection process, "the rush to participate was so intense that everyone was limited to a single piece. Even in this renegade atmosphere," she continues, "there was some initial discussion of whether including women in the exhibition would diminish its chance of being taken seriously. Eventually, the jury selected eleven women, and sixty-one men, to represent the creatively rich (if otherwise impoverished) new downtown art world, with its cheap industrial lofts, such as

220-420: The entire length of the show was only $ 70."Arts journalist Philip Barcio explains."But nearly everyone involved in the show was broke, and some were literally starving. [Future art dealer Leo] Castelli covered the bill, and the artists did all of the work to renovate ... the basement and first floor of a condemned building at 60 East 9th Street." Castelli, in his first curatorial effort, six years before he opened

242-556: The exhibition included eight of the 12 single images of Marilyn Monroe that came to be known as the “Flavor Marilyns,” because each had a colored background. By doing this Eleanor Ward established a reputation for the Stable Gallery as a meeting place for both great emerging and established artists of the time. By 1960, the Stable Gallery had moved to 33 East 74th Street in New York, a location that possessed enough space for

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264-570: The first time ever, the most 'advanced' form of Western art was no longer being produced in Europe but instead in New York. For him, it was painters like Pollock, Motherwell, De Kooning, Rothko, Kline, and Newman that were now, thanks to the new abstract languages they were developing, carrying on the work that had begun with the European avant-gardes." A less enthusiastic public, however, meant that few local galleries mounted shows featuring members of

286-646: The gallery beyond having only a permanent stable of artists, and began bringing forth artists of various movements to exhibit, including: Joseph Cornell , Varujan Boghosian , Edward Dugmore , Robert Engman , Marisol Escobar , John Ferren, Ian Hornak , Will Insley , Alex Katz , Conrad Marca-Relli , Joan Mitchell , Lowell Nesbitt , Isamu Noguchi , Larry Rivers , Leon Polk Smith , Richard Stankiewicz , Cy Twombly , Jack Tworkov , and Wilfred Zogbaum. The Stable Gallery organized Andy Warhol ’s first one-man show in November 1962, after Leo Castelli turned him down;

308-406: The gallery exhibition area. The building was also large enough to contain living quarters for Ward on the ground floor, opening to the garden at the rear. 1970 would mark the closure of the Stable Gallery, which came about very quickly and unexpectedly after Eleanor Ward stated that: due to the evolving commercialization of Fine Art and her personal loss of interest in what was becoming contemporary in

330-417: The gallery that made him famous, also hung the show. It was said he was selected because he was popular, and many of the artists thought he would hang their work impartially, but he also "paid for most of the expenses." Prior to the show, artist Franz Kline designed and created of all of the promotional materials, including the poster that gave the show its official name. During the event, Aaron Siskind , also

352-576: The group. The Stable Gallery , a converted horse stable, located at 924 7th Avenue and 58th Street in Manhattan, was an exception, and as host of the New York Painting and Sculpture Annuals from 1953–57, it exhibited some of the "Ninth Street Show" artists. The poster for the second New York Painting and Sculpture Annual, also held at The Stable Gallery in 1953, included an introduction by critic Clement Greenberg, both crediting and praising

374-626: The military during World War II. In 1949, members of the Downtown Group, helmed by Philip Pavia, created a more structured group that met regularly on 39 East 8th Street, and came to be known as "The Club." Weekly discussions at the Club led to the idea of organizing the 9th Street Art Exhibition as a launching pad. "Since few of them had ever received any significant notice," the New Yorker 's Claudia Roth Pierpont writes , describing both

396-533: The time, however, "[i]t appeared as though a line had been crossed, a step into a larger art world whose future was bright with possibility." During the late 1940s and early 1950s, dozens of painters and sculptors all had art studios in lower Manhattan between 8th and 12th streets and First and Sixth Avenues. Collectively known as the Downtown Group, many of them were former Federal Art Project artists, including Philip Pavia , Willem de Kooning , Landes Lewitin, Franz Kline and Jack Tworkov . Several had also served in

418-668: Was fashion related. Eleanor Ward had received much encouragement for her gallery from important figures such as Christian Dior , and by the mid 1950s the Stable Gallery would begin to annually host a homage exhibit to the “ 9th Street Art Exhibition ” of 1951 where Ward would bring forth notable Abstract Expressionist artists including Willem de Kooning , Phillip Guston , Varujan Boghosian , Howard Kanovitz , Franz Kline , Nicolas Carone , Knox Martin , Robert Motherwell , Jackson Pollock , Robert Rauschenberg , Ad Reinhardt , Joop Sanders , Fritz Bultman , and Jack Tworkov to exhibit. This yearly event, which would come to be known as

440-407: Was founded in 1953 by Eleanor Ward . The Stable Gallery hosted early solo New York exhibitions for artists including Marisol Escobar, Robert Indiana and Andy Warhol . The Stable Gallery, which was originally located in an old livery stable on West 58th Street in New York City , received its name from the origin of its location. Initially, the gallery sold mannequins and exhibited photography that

462-516: Was married to Willem), and [Lee] Krasner —the oldest of them but the last to bloom, coming into her own only after Pollock’s death, in 1956, a painful loss yet the start of a remarkably productive twenty-eight years of widowhood." In 2018, author Mary Gabriel published a collective biography of them, their work and their underacknowledged contributions to American art in the acclaimed Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and

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484-637: Was organized, and its participants named and invited, by artists themselves, and a range of the liveliest tendencies within the mainstream of advanced painting and sculpture was presented. I don't think the reverberations of that show have died away yet..." Sixty-one men and eleven women participated in the Ninth Street Art Exhibition. "Five of the women went on to have international careers, their work collected by major museums and subject to ever-expanding bibliographies: Grace Hartigan, Helen Frankenthaler, Joan Mitchell, Elaine de Kooning (who

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