1951 Ninth Street

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Freshman (College 1st year) ・Art ・MLA ・1 Sources

The chapter focuses on the 1951 Ninth Street exhibit in New York City and includes the majority of people who created it, however depicted how they passed their legacy to other artists. The exhibit marked self-awareness and recognition moments. The public that realized the recognition used to be not only slim but also elite, folks that brought the "first generation" to important be aware and success in the late 1940s. Some of the non-artists that participated in this recognition are Alfred Barr, Jr. As a supporter of current painting Barr was instrumental in convey the works of Pollock, de Kooning and others in the Museum of Modern Art (MOMA) collection. However, when Barr came to the opening of the Ninth Street show with Dorothy Miller, MOMA's main curator he was astonished that he only knew a few artists.

Barr and others knew of a Club of artists' organization that met for night lectures. The talks and discussion revolved around New York’s intellectual activity in the 1950s, with panelists from philosophy, literature and music. Just like the Club, the Ninth Street Show responded to the needs, however it was associated with happenstances. Therefore, the 60 East 9th Street was suggested by various artists such as Conrad Marca-Relli, Franz Kline, Jean Steubing, Fedrick Kielser and John Ferren. While the Ninth Street Show was organized by the charter and the Club's members, it was not the Club's role and composed of external artists’ (Altshuler & Greenberg, 158). Once the idea was raised, meetings were conducted at the Club and Marca-Relli and Farren's studios. In addition, Klein and Marca-Relli rented the first floor and the basement for two months, because the show was meant to take place immediately while the building was to be demolished. The organizers collaborated to clean the place, paint walls, installed the lighting system and created more space by way of partitioning. The artists could be reached using the Club's membership contacts and Merca-Relli alleges that the event was ready for one or two weeks. Nonetheless, the main concern was who was to participate in the show. During this time, New York painting was exhibited globally. They were promoted as the triumph of American culture, the main issue here was New York's MOMA that organized several traveling shows of new American paintings in Europe that led to the development of Guitar Art Association in Osaka, Japan (Altshuler & Greenberg, 173).

Works Cited

Altshuler, Bruce, and Mark Greenberg. The avant-garde in the exhibition: New art in the 20th century. New York: Abrams, 1994.

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