Letters found in the loft written to Mimi and Lennart at the American Academy in Rome. Several reflect on the evolving New York art world at the end of the 50s and dawn of the 60s.
Philip Pearlstein
Writing from 181 Avenue A, NY 9, NY
We are settled back into our old dull routine of a-social isolation, watching with open mouths the current festival of lavish, brightly lit, glamorous openings – all the galleries are bigger and more heavily financed than ever – of young and older artists burning brightly with ambition and whispered Machiavellian schemes.
Pat Passlof
Writing from 89 E 10th Street, NY 3, NY
my painting has changed a lot – it is a more sensitive way of painting so more exciting. in fact the whole art world has changed enormously – the familiar landmarks – janis and kootz – are about where you left them but from there on its a new world – 100’s of new people painters sculptors critics dealers books magazines etc. 10th st isn’t very inside anymore –
Writing from Springs, East Hampton, NY
I am still in the March gallery. I get into all the new talent shows around town, chances are good that I will have a gallery within the next year or so. I sold 3 or 4 small things this year which is a triumph for me but a drop in the bucket to anyone else.
Lois Dodd
Writing from 30 E. 2nd Street, NYC 3
All in one week Dorothy [Pearlstein] gave birth (a girl), Philip’s show opened at Frumkin and he had a small fire in his studio. He plugged in a stove to cook some glue. The outlet got too hot & flared up after a while. He put it out with water but thought he’d get a fireman to check it. Within minutes fire trucks filled 10th St. They slopped around in his spilled glue & then left. What a time for a conflagration what with artists being thrown out of lofts and all.
Writing from 336 E 29th Street, NYC 16, NY
The artist’s club had a new years day party serving eggs & bacon from 1 PM on. Children were welcome & it seemed that the people with children mostly appeared. [….] The newspapers no longer cover us what with Dore Ashton’s exit from the Times. It affects attendance & appreciation considerably not having that serious appraisal.
Marcia Marcus
Writing from New York City
the cedar gossip may be there but no one ever tells me anything. there was a dismal meeting at the club which i don’t think i am up to relating in anything like a complete description, but pat moderated (so to speak) and milton was a real crumb, […] anyway it was about the worst (if not the) of any meetings within history and the jist of it seems to be they can’t (pat-milton) stand the dispersion of the old order and the infiltration of the ‘new’ which as you know is hardly new except in cases so rare i can’t even think of any off hand.
Read Marcus’ letter dated February 24th, 1959.
since you are interested i will tell you that in all our travels through the art world of today the only complete show that was really good was jimmy rosati and that was very good and being somewhat unconscious at the moment i can’t think of anything else and it might be there was really nothing else except lewitan has drawings at rose fried and that was good, also his paintings at art usa where is also kaldis whose show opened a couple weeks ago (no liquor but he told everyone there would be so they’d go to opening) and i ran into dickinson looking through his half glasses and told him i didn’t get anything he recommended me for but i was on unemployement so he was glad for me.
Edwin Dickinson
Writing from 420 W. 119 Street, NYC 27
I’ll, right now, write John R. Frazier. We were fellow students in 1913. I hope I’m not too late in “getting on” this. I teach at the League, 1 class, and carry on work in my studio; and I find all outside matters very difficult to “get at.” Are you performing in the premiere-coup style?
Read Dickinson’s letter dated November 19th, 1960.
Philip Guston
Writing from 440 W. 34 Street, New York 1, NY
I saw so much in Europe this last summer that it is going to take me considerable time to absorb and think and work.
Two Houses 