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FAMOUS ART GALLERIES BIOGRAPHY

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In 1952, at the urging of Museum director René d'Harnoncourt, MoMA created its International Program, underwritten by a five-year grant from the Rockefeller Brothers Fund, with the goal of furthering international understanding through the exchange of contemporary art. The International Council—an affiliate membership group designed to expand the program's base of support—was conceived in 1953 by d'Harnoncourt with Blanchette Rockefeller. Rockefeller spearheaded the organization, enlisting Eliza Bliss Parkinson and Emily Woodruff as colleagues. Members of the council contributed energy, ideas, and annual dues to support the International Program, and the body has continued to thrive under the leadership of remarkable women, such as Jo Carole Lauder and Agnes Gund, to this day.The Junior Council was established in February 1949 to further the Museum's programming through volunteer activity by younger people with an interest in the arts. Though not restricted to female membership, the council and its leadership were predominately female. Blanchette Rockefeller was the founding chairman of the council, and over its thirty-year existence it was led by women with remarkable skill and passion, including Lily Auchincloss, Beth Straus, Joanne Stern, and Barbara Jakobson. The council was responsible for many important, innovative programs at the Museum, including its Art Lending Service, Penthouse exhibition program, and Christmas card and appointment calendar fundraising endeavors as well as a number of lecture series. In 1981 the Junior Council became the Associate Council, which, in 1986, became the Contemporary Arts Council.In her early career, shortly after her graduation from Smith College in 1958, the critic and activist worked as a page in the Museum Library. In 1960 Lippard resigned that position, but she continued to spend a significant amount of time at the Museum, conducting research and translations and compiling bibliographies. Starting in 1969, with the advent of the Art Workers' Coalition (in which she was a leader), Lippard participated in protests and artists' rights demonstrations against the Museum. Her activism included founding the group Political Art Documentation/Distribution (PAD/D) in 1979, an artists' collective (active through 1988) with the following goals: "To provide artists with an organized relationship to society, to demonstrate the political effectiveness of image making, and to provide a framework within which progressive artists can discuss and develop alternatives to the mainstream art system."1 PAD/D's archive of clippings, photographs, posters, mail art, and ephemera from the period 1979–88 is now part of the Museum Library.London began her career at the Museum in 1970 as program assistant for the International Program. In 1974, while working in the Department of Prints and Illustrated Books as a curatorial assistant, a position she held until 1977, she established a pioneering video program at the Museum, showcasing work being produced internationally in the new art medium. London was responsible for numerous key acquisitions by women video artists at a critical point in the medium's early history. In 1978 she founded the long-running Video Viewpoints lecture series (now Modern Mondays), in which contemporary video artists present their works, and in 1984 she initiated the Museum's Video Study Center. Artwork using video and other timebased media (as well as Web, performance, and installation art) is now the purview of the Department of Media and Performance Art, created by the division of the Department of Film and Media in 2006. London is currently an associate curator in that department.