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DIGITAL ART GALLERY BIOGRAPHY

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In 1933 the Museum hired Newmeyer to organize its first publicity department. Her initial project was a national tour-in-progress of James McNeill Whistler's paintingArrangement in Grey and Black No. 1 (1871)also known as "Whistler's Mother." Revitalizing an almost nonexistent publicity effort, she sent a flood of press releases announcing each city on the tour, describing the lengths the Museum had gone to borrow the painting from the Louvre and highlighting its insurance valuation of $1million. Due in large part to her efforts the tour was a nationwide sensation: more than two million people visited their local museums to view the work and the United States Postal Service created a stamp featuring it. For the 1935 exhibition Vincent van Gogh, Newmeyer issued advance releases announcing Alfred H. Barr, Jr.'s trip to Europe to select works and giving highly sentimental descriptions of the artist's life. During the show, police had to be brought to the Museum to control the crowds. Newmeyer likewise capitalized on sensation with the 1940 exhibition Italian Masters, which consisted of loans of Renaissance masterworks, including Botticelli's Birth of Venus (c. 1485), that had been insured for $26 million. When they arrived in New York, she arranged to have them escorted by mounted police to the Museum and unpacked under floodlights, inside the back entrance. By 1947 the Museum was the most highly publicized in the world, receiving roughly ten times as much publicity as any other museum and probably more than all the museums in North America collectively. When Newmeyer left the Museum in 1948 Nelson Rockefeller noted, "She has been a pioneer in this field.This show, the first group exhibition of women artists at the Museum, showcased the work of Margaret Bourke-White, Esther Bubley, Tana Hoban, Dorothea Lange, Hazel Frieda Larsen, and Helen Levitt. These artists—three well-known and three lesser-known—worked in various aspects of photography, including photojournalism, documentary photography, portraiture, and commercial photography. The exhibition was organized by Edward Steichen, Director, Department of Photography.In June 1969 the Art Workers' Coalition (AWC), a New York–based group of artists, architects, filmmakers, critics, and museum and gallery personnel (leadership included Lucy R. Lippard and Joan Snyder), made a number of demands of MoMA on behalf of artists: that its board of trustees be divided evenly between museum staff, patrons, and artists; that admission be free; that a section of its exhibition space be under the direction of underrepresented groups and devoted to the exhibition of their work; that artists retain control of their work in the Museum collection; and that "the Museum should encourage female artists to overcome the centuries of damage done to the image of the female as an artist by establishing equal representation of the sexes in exhibitions, museum purchases and on selection committees."¹ In December 1969 AWC's Women Artists in Revolution (WAR) committee met with Museum staff Betsy Jones, Associate Curator, Department of Painting and Sculpture, and John Szarkowski, Director, Department of Photography. In the negotiations that followed, the Museum agreed in principle to the following recommendations: that it should designate a curator in the Department of Painting and Sculpture to research women artists not represented by major galleries and report his or her findings to the department; investigate the feasibility of a historical survey of women artists; and consider a temporary exhibition of work by lesserknown women artists. There is no evidence that the Museum took substantive action on these matters. In 1976 a group of women artists—the MoMA and Guggenheim Ad Hoc Protest Committee (organized by Nancy Spero)—picketed the Museum during the exhibition Drawing Now, organized by Bernice Rose, Curator, Department of Drawings, on the grounds that the show included too few women artists (of the forty-six artists in the show, five were women), and artist Joanne Stamerra placed erasers stamped "erase sexism from MOMA" throughout the galleries. The group accused the Museum of "blatant sexism in overlooking both black and white women artists" and demanded, unsuccessfully, that MoMA organize another Drawing Now exhibition in which fifty percent of the artists would be women.The Museum was picketed again in 1984, on the opening of its new, greatly expanded building and the exhibition International Survey of Recent Painting and Sculptur, organized by Kynaston McShine, Senior Curator, Department of Painting and Sculpture. The show, intended to be an up-to-the-minute survey of the most significant contemporary art in the world, included only fourteen women among the 169 artists chosen. The protest was sponsored by the New York chapter of the Women's Caucus for Art, with organizational support from the magazine Heresies, the Women's Interart Center, and the Feminist Art Institute, all in New York. Out of this protest and subsequent research into the under-representation of women artists at other museums and galleries, the Guerrilla Girls were born. In one of its earliest posters, from 1985, the activist artist group asked, "How many women had one-person exhibitions at NYC museums last year?" MoMA was listed below with the tally .