"Can Women Have One-Man Shows?" Nina Yankowitz Paintings, 1960s–70s

NINA YANKOWITZ

Essay by Alexandra Schwartz

Nina Yankowitz’s Draped, Pleated, and Stitched Paintings, 1967–72

by Alexandra Schwartz

In 1969–70 Nina Yankowitz held her first solo exhibition at New York’s Kornblee Gallery. Titled Draped Paintings, it consisted of monumentally scaled works that straddle painting and sculpture. The unstretched canvases, spray painted with earthy, muted tones, were alternately draped and hung loosely from irregular points on the wall. Some also included geometric shapes, rendered as lines of unpainted canvas that become distorted by the gravitational fall of the cotton duck or linen fabric. They looked like little else that was being made in New York. Jill Kornblee, who had a record of taking risks on new talent, offered Yankowitz—who was then still an undergraduate student at the School of Visual Arts—an exhibition immediately upon seeing her work.1 The artist would continue producing Draped Paintings as well as Stitched Paintings (which were ruched and shirred) and Pleated Paintings (which were pleated), showing them in another solo exhibition at Kornblee in 1971.

When Yankowitz attended the School of Visual Arts in the late 1960s, Minimalism, with its industrial materials and geometric forms, was at its peak, dominating galleries and the art press in which artists including Robert Morris and Donald Judd theorized their work. Conceptualism, which adopted the formal vocabulary of Minimalism while emphasizing the idea over the object, was just beginning to emerge. SVA’s

faculty included many young pioneers in Minimal and Conceptual art; Yankowitz recalls, “Sol LeWitt was teaching there, and he was the one who introduced me to Eva Hesse. . . . Michael Heizer came and gave some lectures. My classmates were Adrian Piper, Cynthia Eardley, and Saul Ostrow. . . . Joseph Kosuth graduated the year before I did. . . . It was a very conceptual . . . and theoretical time.” 2

Yankowitz’s Draped, Pleated, and Stitched Paintings engaged with Minimalism and Conceptualism in unconventional ways. She admired Hesse, who was then constructing sculptures, often attached to the wall, from textiles such as rope, string, and canvas as well as industrial materials such as rubber and latex. Yankowitz was also aware of Robert Morris’s Felt Pieces , first exhibited in 1967: large-scale sculptures made from industrial felt, which sometimes hung from the wall onto the floor. She shared both artists’ concern with the formal breakdown between artistic media; her works were, she says, “blurring edges between painting and sculpture, spilling off the wall and into the space of the gallery.” She also had a deep interest in materiality: “I was thinking about canvas and linen, which are the traditional painting [surfaces] on stretcher bars. . . . I saw these works as an overarching way of embracing . . . canvas or linen as material.” 3 The Pleated Paintings in particular reflect a Conceptual emphasis on using mathematical systems for art-making. The artist explains, “Running the

Draped Drips , detail, 1970, acrylic spray with compressor on canvas

canvas through the pleating machines started conceptually as algorithmic: the pleats would expand, get larger and larger, and take on different shapes.” 4

Yankowitz’s techniques for manipulating her ruched and shirred canvases derived, of course, from fashion. The textile industry influenced especially her Canvas Paint Swatches (1969) work in at least one direct way: her studio was (and remains) in downtown Manhattan, which in the 1960s was home to many garment factories and wholesalers. Walking around the neighborhood, she would regularly peer into their windows and was fascinated by the enormous bolts of fabric hanging from the ceilings. The Draped, Pleated, and Stitched Paintings echo these forms. 5 Yankowitz in fact hired garment industry workers to help fabricate these works—sailmakers to stitch and shirr, and professional pleaters to pleat the linen canvas; although she did the draping and, of course, painting herself.

From early on critics remarked upon the relationship between these paintings and clothing, including in the exchange from which the present exhibition takes its title. Reviewing Yankowitz’s 1971 second

“one-man” Kornblee exhibition for The New York Times, James R. Mellow described her Pleated Paintings as “seductive” and “fancifully draped, somewhat feminine— a painting en déshabille.” 6 In a 1972 letter to the editor responding to Mellow’s review, critic Cindy Nemser picked up on his evocation of dress, commenting, “It seems to me that it is the artist, not the artwork, that the writer is seeing in his mind’s eye in this state of seductive undress. I sincerely doubt that Mellow would use this kind of coy language if the works he was reviewing were manmade.” 7 While Nemser’s point was to call out Mellow’s sexist bias, it is significant that both critics evoked the dressed (or undressed) body in their assessments of the paintings.

Dress was, in fact, increasingly on Yankowitz’s mind. She recently recalled, “I started seeing the references to clothing in the Pleated [and Stitched ] Paintings , and in 1972 I had this exhibition in Chicago and I called it Visual Clothing Gestalt . Those large paintings [like the prior Draped Paintings series and Canvas Paint Swatches from 1969] were painted with a compressor and a spray gun [but used here] to

above and center : Installation view of Draped Paintings, Nina Yankowitz’s first solo exhibition at Kornblee Gallery, New York, 1969. Courtesy of Nina Yankowitz

look like different fabrics, like satin or nylon. I tried to capture the essence of the materials.” 8 Held at the Deson-Zaks Gallery in 1972, the exhibition was reviewed in the Chicago Tribune by Jane Allen and Derek Guthrie in a lengthy piece titled “Roots of the Past, Woven into a Place of Pride.” The article considered three exhibitions then on view in Chicago: Yankowitz’s, Deliberate Entanglements at the Museum of Contemporary Art, and New Concepts in Tapestries from Poland at Baruch Gallery. The article’s sole illustration was an image of “An untitled cloth work by Nina Yankowitz,” as the caption read, but Allen and Guthrie’s consideration of Visual Clothing Gestalt was brief, consisting of a simple description of how the artist “concentrates on shaping cloth into various draped forms by stitching, ruffling, and pleating the raw canvas, and suspending it from several points.” 9

The most revealing aspect of Allen and Guthrie’s piece was the fact that they chose to review Yankowitz’s show alongside two other exhibitions devoted exclusively to what came to be known as “Fiber Art.” Allen, one of the Tribune’s regular art critics, had

top : Cover page of the Hanging / Leaning exhibition catalogue, The Emily Lowe Gallery, Hofstra University, February 2–27, 1970. Yankowitz’s Sagging Spiro (1969) was featured in the exhibition.

bottom : Nina Yankowitz’s page from Highlights of the 1969–1970 Art Season exhibition catalogue, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, June 21–September 13, 1970. Yankowitz’s Sagging Spiro (1969) was featured in the exhibition.

previously reviewed Deliberate Entanglements in an October 1972 article entitled “Soft Sculpture: Unraveling the Weavers.” 10 There, she offered a definition of “fiber sculpture, a new genre that lies somewhere between craft and fine art . . . traditional crafts of weaving, crocheting, macrame, and braiding have been used to create abstract structures—soft sculpture.” 11 The emergence of Fiber Art was clearly of considerable interest to Allen, and only six weeks after that review was published, she returned to Deliberate Entanglements in “Roots of the Past, Woven into a Place of Pride.” In it she and Guthrie trace the evolution of fiber sculpture through the 1962 establishment of the Lausanne International Tapestry Biennial by France’s Centre Internationale de la Tapisserie Ancienne et Moderne, to fiber artist Magdalena Abakanowicz winning the gold medal at the 1965 São Paulo Art Biennial, to the current moment in which “museum after modern museum in both Europe and the United States has recognized tapestries and fabric structures as worthy of major art treatment in group and one-man exhibitions. . . . Soft sculpture, fiber work, stitching, and knitting are now well established as fine art.” 12

Among the most influential of these museum exhibitions were Wall Hangings at the Museum of Modern Art in 1969 and Forms in Fiber at the Art Institute of Chicago in 1970, both of which helped institutionalize Fiber Art on an international stage.13 In her indispensable study, String, Felt, Thread: The Hierarchy of Art and Craft in American Art , Elissa Auther points out that these exhibitions were generally organized by museums’ design or decorative arts specialists, rather than their curators of modern and contemporary art.14 This is no small detail, for it reflected a longstanding perception of fiber work as “craft” and therefore different from, and inferior to, “art.” With their reliance on ancient, hand-based techniques (traditionally practiced by women), craft-based practices such as Fiber Art were commonly thought to be the realm of the amateur, while the “fine arts,” such as sculpture, were considered the realm of the professional—no matter that most fiber artists were professionally trained art school graduates. By way of

Nina Yankowitz during her MacDowell Colony residency, Peterborough, NH, 1972. Courtesy of Nina Yankowitz

example, Auther notes that when Morris exhibited his Felt Pieces in the late 1960s, they were lauded as a crucial turn in the evolution of avant-garde sculpture. The fiber work shown in Wall Hangings, Forms in Fiber, and Deliberate Entanglements, however, was commonly deemed “decorative,” which was (highly gendered) code for being attractive but not serious (in the manner of what Nemser identifies as Mellow’s sexist confusion of the artist for the art). In many ways it was logical that Allen and Guthrie chose to group Yankowitz’s work with that in Deliberate Entanglements and New Concepts in Tapestries from Poland ; the Draped, Pleated, and Stitched Paintings were, after all, fiber-based and sewn by hand (just not by Yankowitz’s). But it is equally logical that, as an ambitious young undergraduate at SVA, Yankowitz never deliberately associated herself with Fiber Art and the so-called Craft Renaissance that it heralded: more prestige, and more lucrative sales, could be found in the art world. As she has since explained, “I

made my works to expand and redefine perceptions about painting and sculpture. Later in retrospect, I thought about the connections with Fiber Art when looking back at some of my bodies of work.” 15

As the title Visual Clothing Gestalt suggests, another key aspect of the Draped, Pleated, and Stitched Paintings concerned Yankowitz’s interest in gestalt psychology. Developed in Germany in the 1920s, this branch of psychology explores cognitive processes in relation to behaviorism, the term “gestalt” being German for “shape” or “form.” Yankowitz explains, “I was in gestalt therapy at the time. A young gal on the road trying to discover the meaning of life.” 16 She was one of many artists of that period who applied gestalt theory to their art; most famously, Robert Morris cited it extensively in his writings on sculpture.17 Related to the theory of gestalt, especially in Morris’s writings, was the concept of phenomenology, as articulated by the French philosopher Maurice MerleauPonty in his 1945 treatise The Phenomenology of

center and above : Installation views of Draped, Stitched, and Pleated Paintings, Nina Yankowitz’s second solo exhibition at Kormnble Gallery, New York, 1971. Courtesy of Nina Yankowitz

Perception. The book’s first English translation was published in 1962 and made a splash among American artists and intellectuals. In it, Merleau-Ponty asserted that the body, in addition to the eyes and mind, is involved in perception. Morris used this theory to discuss how large-scale sculpture relates to the body in motion, linking sculpture to dance. At the time, he and other visual artists, including Robert Rauschenberg and Carolee Schneemann, were performing regularly with the Judson Dance Theater in Greenwich Village, which was instrumental in the development of interactive, participatory, and Performance Art. Yankowitz was involved in street and underground subway protest events that Judson co-founder Yvonne Rainer organized, such as War  (1970), a performance at Douglass College in New Jersey that protested the Vietnam War. Yankowitz associates this experience with specific antiwar works such as Sagging Spiro (1969)—a Draped Painting that evokes Spiro Agnew’s sagging face—as well as the collaborative nature of her Draped, Pleated, and Stitched Paintings at large: “I had this idea about collaborating with the public in that they could change these pieces over time and install them in ways that they felt were meaningful to them, because culture changes, life changes, the way you perceive things changes.” 18 With her desire for the installers of these works to have a role in determining their form—and, in an apparent nod to gestalt theory, to alter those forms in accordance with their own shifts in perception—she conceived of the Draped, Pleated, and Stitched Paintings as, to use today’s parlance, participatory.

Yankowitz became increasingly interested in the relationship between the visual and performing arts. In 1973 she embarked upon two new series, Dilated Grain Readings and Painted Thread Readings , which connected painting and sound. At the inaugural Whitney Biennial that same year, she exhibited an untitled Painted Thread Reading work, made of glued cotton duck strings with paint rolled on the surface; she explains that this process created a surface to “scan as visual scripts for people to read, perform, personalize, or re-arrange the abstract language

Before the Fall (1970). Attempting to capture the moment before diminution, Nina Yankowitz dropped a canvas and photographed it in sequence as it fell to the floor. Using the photographs as a reference, Yankowitz manipulated the physical canvas into mirroring the form of its counterpart captured at the highest point of its descent. Courtesy of Nina Yankowitz

composition.” 19 She later created her own languagebased sound piece to accompany the Dilated Grain Reading paintings, which feature horizontal rows of staccato marks, evoking musical scores. To create the audio work, Yankowitz made field recordings of people speaking different languages from various ethnic groups in New York City and stretched the voices to sound like musical instruments playing her color notation scores. The artist has spoken about synesthesia, a neurological condition in which information meant to stimulate one of the senses stimulates several senses; she once explained, “When I hear sound, I see color, and when I see color, I hear sound.” 20 The Dilated Grain Readings might be interpreted as her attempt to replicate the experience of synesthesia through her art.

Over the ensuing years, Yankowitz’s practice shifted away from painting almost entirely, and toward performance, video, and eventually new media. As an active participant in the 1970s Women’s Movement and an original member of the Heresies Collective (founded in 1976), a group of feminist artists who produced a well-known journal, she also increasingly focused on feminism as a central theme in her work. Though they represented a relatively brief moment in a lifetime of creativity, Yankowitz’s Draped, Pleated, and Stitched Paintings marked a crucial if underrecognized crossroads at the intersection of painting and sculpture, and art and craft.

them was the British painter Howard Hodgkin, whose first solo exhibition in this country sold out at the gallery in 1973. Others included Dan Flavin, Malcolm Morley, Rosalyn Drexler, Al Hansen, Janet Fish, Nina Yankowitz, Alex Hay, Richard Smith, Robert Graham, Rackstraw Downes, Mon Levinson, and Michael Mazur. ( https://www.davidnolangallery.com/ exhibitions/mad-women.)

2. Oral history interview with Nina Yankowitz, May 1–8, 2018. Archives of American Art, Smithsonian Institution.

3. Nina Yankowitz, Joyce Kozloff, and Meg Lipke, “Reinventing Abstract Painting: A Panel Discussion,” moderated by Alexandra Schwartz, Eric Firestone Gallery, New York, September 29, 2022, https://www.ericfirestonegallery.com/exhibitions/can-womenhave-one-man-shows-nina-yankowitz-paintings-1960s-70s2/ videos?view=slider.

4. “Reinventing Abstract Painting: A Panel Discussion.”

5. “Reinventing Abstract Painting: A Panel Discussion.”

6. James R. Mellow, “Cheops Would Approve,” The New York Times, December 5, 1971.

7. Cindy Nemser, “Art Mailbag: Can Women Have ‘One-Man’ Shows?” The New York Times, January 9, 1972.

8. “Reinventing Abstract Painting: A Panel Discussion.”

9. Jane Allen and Derek Guthrie, “Roots of the Past, Woven into a Place of Pride,” Chicago Tribune, December 10, 1972.

10. Deliberate Entanglements originated at the UCLA Art Galleries in 1971 and traveled to the Museum of Contemporary Art, Chicago, in 1972. See Emily Zaiden, “Deliberate Entanglements: The Impact of a Visionary Exhibition” (2014), Textile Society of America Symposium Proceedings (Sept. 2014): https://digitalcommons.unl.edu/cgi/viewcontent. cgi?article=1930&context=tsaconf.

11. Jane Allen, “Soft Sculpture: Unraveling the Weavers,” Chicago Tribune, October 25, 1972.

12. Allen and Guthrie, “Roots of the Past, Woven into a Place of Pride.”

13. Most of these artists were female; most prominent among them were Abakanowicz (Poland), Olga de Amaral (Colombia), Jagoda Burc (Yugoslavia), and Sheila Hicks, Lenore Tawney, and Claire Zeisler (United States).

Notes

1. Kornblee’s contributions, along with those of a handful of other women gallerists on the Upper East Side in the 1960s, were recently chronicled in the exhibition MAD WOMEN: Kornblee, Jackson, Saidenberg, and Ward, Art Dealers on Madison Avenue in the 1960s, curated by Damon Brandt and Valentina Branchini at David Nolan Gallery in New York (September 8–October 22, 2022).

The curators write:

Jill Kornblee, a reserved and intense graduate of Bryn Mawr College, opened her first gallery in 1961, moving soon after to 58 East 79th Street, where she quickly earned a reputation for being a dealer of astute intellectual and aesthetic vision . . . . Kornblee gave shows throughout the 1960s and 1970s to a number of artists whose work is now well known. Among

14. Elissa Auther, String, Felt, Thread: The Hierarchy of Art and Craft in American Art (Minneapolis: University of Minnesota Press, 2010).

15. Nina Yankowitz, December 2022.

16. Nina Yankowitz, email to the author, October 27, 2022.

17. See Morris’s “Notes on Sculpture, Parts I and II,” originally published in Artforum, February and October 1966.

18. “Reinventing Abstract Painting: A Panel Discussion.”

19. Nina Yankowitz, quoted in Ellen Levy, “Can Women Have One-Man Shows?: Nina Yankowitz Paintings 1960s–1970s,” Leonardo: The International Society for Arts + Sciences + Technology November 2022): https://leonardo.info/ review/2022/11/can-women-have-one-man-shows-nina-yankowitzpaintings-1960s-1970s.

20. Oral history interview with Nina Yankowitz.

PLEATED DIPTYCH 1972

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS

RUN THROUGH PLEATING MACHINE

120 X 76 INCHES (DIMENSIONS VARIABLE)

GOLDIE LOX 1968

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 62 X 76 INCHES (DIMENSIONS VARIABLE)

SAGGING SPIRO 1969

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 125 X 61 INCHES (DIMENSIONS VARIABLE)

OPENED FLAT 1971

SIX WEBBING STRAPS, ACRYLIC SPRAY WITH COMPRESSOR, AND STITCHING ON CANVAS

115 X 88 INCHES (DIMENSIONS VARIABLE)

DRAPED DRIPS 1970

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 92 X 47 INCHES (DIMENSIONS VARIABLE)

BREAKING BARS 1969

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 108 X 51 INCHES (DIMENSIONS VARIABLE)

DRAPED PAINTING 1968

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 92 X 47 INCHES (DIMENSIONS VARIABLE)

DRAPED XTRACT 1970

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS

66 X 64 INCHES (DIMENSIONS VARIABLE)

CRUNCHED 1968

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 38 X 60 INCHES (DIMENSIONS VARIABLE)

QUEEN OF STARS 1969

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 90 X 68 INCHES (DIMENSIONS VARIABLE)

PUCKERED PAINTING 1970–71

ACRYLIC SPRAY WITH COMPRESSOR AND STITCHING ON CANVAS 86 X 62 INCHES (DIMENSIONS VARIABLE)

HIDDEN EDGES 1971

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 85 X 66 INCHES (DIMENSIONS VARIABLE)

CHEVRON 1970

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 42 X 52 INCHES (DIMENSIONS VARIABLE)

DRAPED IMPOTENT SQUARES 1969

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS 104 X 66 INCHES(DIMENSIONS VARIABLE)

ACRYLIC SPRAY WITH COMPRESSOR ON CANVAS RUN THROUGH PLEATING MACHINE 45 X 121 ½ INCHES (DIMENSIONS VARIABLE)

MS. MAGESTY 1970–71

DILATED GRAIN READING: SCANNING REDS AND BLUES 1973

EXTRUDED ACRYLIC AND FLASH PAINT ON LINEN

DILATED RED PAINTING (RED) 1973

EXTRUDED ACRYLIC AND FLASH PAINT ON LINEN

INCHES

DILATED GRAIN READING/OCHRE, BROWN, REDS 1973

EXTRUDED ACRYLIC/FLASH PAINT ON LINEN

DILATED GRAIN READING/BLUE PITCHES 1974

EXTRUDED ACRYLIC/FLASH PAINT ON LINEN

INCHES

SELECT SOLO EXHIBITIONS AND INSTALLATIONS

2015 Movies-In-Movie Global Warming Lottery (3D Projection), Venice Biennale, Via Garibaldi, Venice, Italy

2014 Criss~Crossing the Divine , Guild Hall Art Museum, East Hampton, NY

2012 Global Warming Bursting Seams , MuseumsQuartier, Vienna, Austria

2011 The Third Woman: Interactive Performance and Film-Game , Galapagos Art Space, Brooklyn, NY

2010 5th European Conference on Innovation and Entrepreneurship, Athens, Greece Transliteracy Conference, Athens, Greece

2009 Buried Treasures , Mishkin Gallery, Baruch College, New York, NY

Second Joint International Conference on Interactive Digital Storytelling (ICIDS), Guimarães, Portugal

2005 Kiosk.Edu. , Guild Hall, The Garden, East Hampton, NY

1998 Scale Changes , Art in General, New York, NY Footfalls , Greenport, NY

1997 Vanishing Points Fracture series, TZ’Art & Company, New York, NY

1996 Les Yeux Du Monde, Charlottesville, VA

ZDF German Television, New York, NY

1988 Art et Industrie, New York, NY

1986 Art et Industrie, New York, NY

1984 After the Fall , Germans Van Eck Gallery, New York, NY

1982 Hell’s Breath/The Sounds of Falling , MoMA PS1, Queens, NY

1981 The Acoustics of Space , Stefanotti Gallery, New York, NY Leah Levy Gallery, San Francisco, CA

1979 Paragraph Painting Panels , Stefanotti Gallery, New York, NY Drawings , Kathryn Markel Fine Arts, New York, NY

1978 Draped Paintings , Deson-Zaks Gallery, Chicago, IL

1977 Paint Readings, Paintings, and Drawings , Wright State University Gallery, Dayton, OH

1976 Scanning Paint Readings , Rosa Esman Gallery, New York, NY

1971 Draped, Stitched, and Pleated Paintings , Kornblee Gallery, New York, NY

1969–70 Draped Paintings, Kornblee Gallery, New York, NY

SELECT GROUP EXHIBITIONS

2022 Hanging / Leaning: Women Artists on Long Island, 1960s–80s , Eric Firestone Gallery, East Hampton, NY

2016 Creative Tech Week , Clemente Soto Vélez Cultural & Educational Center, New York, NY

Siggraph Asia , Macau, China

2015 Venice Biennale , Via Garibaldi, Venice, Italy

ArtCOP 21 , Fuse Art Space, Bradford, UK

2014 BRIC, Brooklyn, NY

2013 Pop Rally, Museum of Modern Art, New York, NY

2012 Nature Incorporated , Art Sites, New York, NY

2011 Museum of Modern Art of Ukraine, Kyiv, Ukraine

2010 185th Annual Invitational , National Academy Museum, New York, NY

2009 The Third Woman Video Tease with Lucjan Gorczynski, Karlsplatz U-Bahn, Project Space, Vienna, Austria

2008 Buried Treasures/Secrets/Independent Visions , Mishkin Gallery, New York, NY

Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, NY

2007 From the Inside Out: Feminist Art Then and Now, Dr. M. T.

Geoffrey Yeh Art Gallery, St. John’s University, Queens, NY

2006 Saatchi & Saatchi, New York, NY

Women Artists Overview, Lower Manhattan Cultural Council

Gallery, New York, NY

2005 Chicago Art Fair, IL

Bologna Art Fair, Flash Art Show, Bologna, Italy

2004 Outside/In , Wooster Arts Space, New York, NY

2003 Going Public , American Institute of Architects, New York, NY

Women Artists 1970s , National Arts Club, New York, NY

2002 Unforgettable , 9/11 memorial show, Chelsea Studio Gallery, New York, NY

Lombard Fried Gallery, New York, NY

Reactions: A Global Response to the 9/11 Attacks , EXIT ART, New York, NY

2001 CowParade, Central Park, New York, NY

2000 The World Festival of Art on Paper, Kranj, Slovenia

Anywhere But Here , Artists Space, New York, NY

Snapshot , The Contemporary, Baltimore, MD

Drawings , Sharjah Arts Museum, United Arab Emirates

1999 Size Matters , GAle GAtes et al., New York, NY

1998–99 Guild Hall, East Hampton, NY

1998 Centennial Exhibition, Parrish Art Museum, Water Mill, NY

SCALE Relatively Speaking , Art in General, New York, NY

Surroundings , Doris Freedman Gallery, Reading, PA

1996 Boxes , Rene Fatioui Gallery, New York, NY

The Bass, Miami, FL

Sub Rosa , Joyce Goldstein Gallery, New York, NY

1993–96 Monumental Propaganda , with Komar & Melamid, World Financial Center, New York; Smithsonian Institution, Washington, D.C.; Dunlap Art Gallery, Regina, Canada; Bass Museum of Art, Miami, FL; Muckenthaler Art Center, Fullerton, CA; ICA Gallery, Moscow, Russia; Helsinki City Art Museum, Helinski, Finland; Central House of Art and Design, Artists, Moscow, Russia; Ali Gallery, Tallinn, Estonia; Moderna Galerija, Slovenia; Kemper Museum of Contemporary Art, Kansas City, MO; Uppsala Konstmuseum, Uppsala, Sweden; Kennesaw State University, Kennesaw, GA

1995 Chairmania , Cooper Hewitt, New York, NY; The Chicago Athenaeum, Chicago, IL; MOCA, Los Angeles, CA; The National Building Museum, Washington, D.C.; FIT Gallery, New York, NY

University of Virginia Gallery, Charlottesville, VA

Universe of Meaning , Brattleboro Museum & Art Center, Brattleboro, VT

1994 Ceramic Art , Tokoname Tou no Mori Museum, Tokoname, Japan

Paine Webber Gallery, Princeton, NJ

1993–94 Ciphers of Identity, University of Maryland, Baltimore County Gallery; USF

Contemporary Art Museum, Tampa, FL; University Art Gallery, UC Irvine, Irvine, CA; Contemporary Arts Center, New Orleans, LA; Woodruff Arts Center, Atlanta, GA; Kemper

Museum of Contemporary Art, Kansas City, MO

1992–98 Putt Modernism , Artists Space, New York, NY; Southeastern Center for Contemporary Art, Winston-Salem, NC; Cleveland Museum of Contemporary Art, OH; Allentown Art Museum, Allentown, PA; Albright-Knox Art Gallery, Buffalo, NY; The Bass Museum of Art, Miami, FL

1992 Philadelphia Sculpture Conference, Gershman Gallery, Philadelphia, PA

Fayerweather Gallery, Charlottesville, VA

1989 Gallery of Functional Art, Santa Monica, CA

1988 Art et Industrie, New York, NY

Private Works for Public Spaces , R. C. Erpf Gallery, New York, NY

Nina Yankowitz b. Newark, NJ, 1946

1987 112 Greene St. Gallery, NY, NY

1985 Berkshire Museum, Pittsfield, MA

Nexus Gallery, Philadelphia, PA

1983 Ornamentalism: The New Decorativeness in Architecture and Design , Hudson River Museum, Yonkers, NY; University of Texas, Austin, TX; Berkshire Museum, Pittsfield, MA; Jamaica Arts Center, Queens, NY

Spare Parts , Department of Cultural Affairs, Huntington Hartford Building, New York, NY

1982 Window, Room Furniture , The Cooper Union, New York, NY; Axis Gallery, Tokyo, Japan; Haifa Museum of Art, Haifa, Israel

1981 Paul Robeson Galleries, Rutgers University, Newark, NJ

Washington County Museum of Fine Arts, Hagerstown, MD

1980 Avant Garde Festival, “Sound Tapes,” New York, NY

Drawings , Weatherspoon Art Museum, Greensboro, NC

1979 Faculty Show, University of Massachusetts, Amherst, MA Elmira College, NY

1977 Drawing Today in New York , Patricia Hamilton Gallery, New York, NY

1976 Thinking Drawings , Womencenter, Boulder, CO

1975 Modern Masters , Rosa Esman Gallery, New York, NY

15 Contemporary Artists , Michael Walls Gallery, New York, NY

1974 Fischbach Women Artists , Fischbach Gallery, New York, NY.

1973 Whitney Biennial , Whitney Museum of American Art, New York, NY; Soft as Art , The New York Cultural Center, New York, NY

Contemporary Painting and Sculpture Today, Indianapolis

Museum of Art, Indianapolis, IN

Women Choose Women , New York Cultural Center, New York, NY

Brockton Art Center-Fuller Memorial, Brockton, MA

1972 Larry Aldrich Museum, Ridgefield, CT

American Women Artists , Kunsthaus Hamburg, Hamburg, Germany

Indianapolis Museum of Contemporary Art, Indianapolis, IN

Greenwich Art Center, Greenwich, CT

American Artists Today, The Art Institute of Chicago, Chicago, IL

Deliberate Entaglements, Museum of Contemporary Art, Chicago, IL

Suffolk Museum at Stony Brook, Stony Brook, NY

Paintings on Paper, Bard College, Annandale-on-Hudson, NY

Drawings , Hans Neuendorf Gallery, Cologne, Germany

1971 Akron Art Museum, Akron, OH

Drawings , Janie C. Lee Gallery, Houston, TX

1970–71 Kornblee Gallery, New York, NY

1970 Drawings , Museum of Modern Art, New York, NY

Highlights , Larry Aldrich Museum, Ridgefield, CT

Trinity College Museum, Hartford, CT

Paperworks , Everyman Gallery, New York, NY

Hanging / Leaning , Emily Lowe Gallery, Hofstra University, Hempstead, NY

1969 Kornblee Gallery, New York, NY

1967–68 Draped Paintings , Kornblee Gallery, New York, NY

PUBLIC ART INSTALLATIONS

2009 East Cleveland Interactive Poetry Walk, Euclid corridor, Yankowitz & Holden, Cleveland, OH

Global Team, Tile project, Kanoria Centre for Arts, Ahmedabad, India

2008 Global Team, Chiang Hai International, Beijing, China

Idanha Canopy Facade, Percent for Art Program, Boise, ID

2002 Bergen County Light Rail Project, NJ

1999 Aruba Project, three “Boat Smears”

1998 Jersey Light Rail Projects, Jersey City, NJ

1997 American Myths, Stone façade, Albright College, Reading, PA Garden of Games & Garden of Scientific Ideas, 3000- and 2500-sq. ft. roof plazas, four bronze interactive sculptures, mosaic game tables with seating, neon-lit clock on tower, Alum/steel floral gates, Queens, NY

Vanishing Point , fiberglass plane through building, Doris Freedman Center for Art, Albright College, Reading, PA

1991 Bench Buildings, public seating, Santa Monica, CA

1988–2016 Tunnel Vision , 51 Street and Lexington Avenue Underpass, 115-ft. mosaic ceramic reliefs and handmade tile mural, New York, NY

1986 Ceramic and granite, floor and wall frieze, DOT Motor Vehicles Lobby, Freehold, NJ

1985 Port Orchard Myth, cast relief facade frieze, Port Orchard, WA

1980 Ceramic Relief Wall, School for the Handicapped, New Jersey State Council on the Arts, Newark, NJ

1979 Ceramic Relief Wall, School for the Blind, New Jersey State Council on the Arts, Jersey City, NJ

1969 Sculpture, commissioned by Thomas Hoving, Central Park, New York

VIDEOS & PERFORMANCES

2010 The Third Woman (Short Documentary), Lucjan Gorczynski

2009 CROSSINGS (video), produced with Lucjan Gorczynski

The Third Woman Video Tease, produced with Lucjan Gorczynski, Karlsplatz U-Bahn, Vienna, Austria

The Heretics , directed by Joan Braderman, film screening, Museum of Modern Art, New York, NY, October 9–15

2001–02 Projections (CD), Nina Yankowitz and Barry Holden, Dia Center for Book Arts, New York, NY

1982 Sound Tapes , Avant Garde Festival, New York, NY

1981 Personae Mimickings , performed at CalArts, Valencia, CA

Personae Mimickings , Washington Square Church, Sound Poetry Festival, New York, NY

NEW MEDIA EDUCATIONAL GAME PRESENTATIONS

2015 “Truth & Consequences/Know Yourself to Act,” ArtCOP21 Festival, SciArt Center, November 13, 2015

2014 Criss-Crossing the Divine (projections, interactive games), Guild Hall, East Hampton, NY

2012 Truth Or Consequences (interactive video projection), ISEA Symposium, Albuquerque, NM

2012 Interactive Global Warming Game, MuseumsQuartier, Vienna, Austria

2011 Here There Everywhere, conference, Boston, MA

The Third Woman (interactive film, game), Galapagos

ArtSpace, Brooklyn, NY

2010 Mz* Baltazar’s Laboratory Collective, facilitated by Stefanie Wuschitz and Lesley Flanagan, Vienna, Austria

2010 The Third Woman (interactive film, game), School of Visual Arts, New York, NY

The Third Woman (interactive film, game), Xian, China

2009 The Third Woman (Interactive Film, Game), Kunsthalle Wien, Vienna, Austria

The Third Woman (interactive film, game), Thessaloniki Biennale, Thessaloniki, Greece

Crossings, Thessaloniki Biennale, Thessaloniki, Greece

The Third Woman (interactive film, game), University of Bath, Bath, England

The Third Woman (interactive film, game), Vienna

Underground Karlsplatz, Vienna, Austria

SELECT PUBLIC COLLECTIONS

Achenbach Foundation for Graphic Arts, Fine Arts

Museums of San Francisco, San Francisco, CA

Arthur Young & Co., Chicago, IL

Bank of America, San Francisco, CA

Bank of Boston International, Boston, MA

Becton, Dickinson and Company, Paramus, NJ

Best Products, Richmond, VA

Bristol Myers Squibb, Princeton, NJ

Chase Manhattan Plaza, New York, NY

Davis Polk & Wardwell, Piscataway, NJ

Department of Social Services, Denver, CO

George Braziller, New York, NY

Itel Corporation, San Francisco, CA

Johnson & Johnson, Philadelphia, PA

Franklin Furnace Archives, Museum of Modern Art, New York, NY

Pearl Lang Dance Company, New York, NY

Prudential Insurance Co., Newark, NJ

Reuben and Proctor, Chicago, IL

Wright State University, Dayton, OH

ZDF German Television, Mainz, Germany

TEACHING POSITIONS

Faculty, Finch College, New York, NY

Russian Constructivist & Cubist Theories, Philadelphia College of Art, Philadelphia, PA

Integrative Studies Program, Pratt Institute, New York, NY

Faculty, Drawing, Painting, 2-Dimensional Design, School of Visual Arts, New York, NY

Instructor, College of New Rochelle, New Rochelle, NY

Graduate Department Faculty, University of Massachusetts

Amherst, Amherst, MA

AWARDS & RESIDENCIES

2001 Visiting Artist, American Academy in Rome, Italy

1997–98 Pollock-Krasner Foundation Grant, New York, NY

1981 Art in Public Places, National Endowment for the Arts

1979 Individual Artist Grant, National Endowment for the Arts

1976 CAPS Grant, New York State Council on the Arts

1972 Artist in Residence, MacDowell Colony, Peterborough, NH

1977 Fine Arts Center in Provincetown, Provincetown, MA

1969 5 Pieces for the Stage , New York City Center, New York, NY

School of Visual Arts, Public Art Residency Program, New York Wright State University, Dayton Ohio, Artist-in-Residence

Visiting Artist-in-Residence, University of Iowa, Iowa City, IA, Artist-in-Residence, University of Cincinnati, Cincinnati, OH

Visiting Artist Residency, The Art Institute of Chicago, Chicago, IL

Visiting Artist-in-Residence, University of Colorado, Boulder, CO

CURATORIAL PROJECTS

2013 Curatorial Global Team, ART GALLERY Siggraph Asia, Hong Kong

2005 Curator, Chicago Art Fair, Public Art Section, Chicago, IL

1997 Co-Chair, Lone Rangers, College Art Association Annual Conference, New York, NY

1996 Curator, Bare Bones: Painters/Sculptors/Architects from 1960s–1996, Frederieka Taylor, TZ’Art, New York, NY

1988 Curator, Private Works for Public Spaces , R. C. Erpf Gallery, New York

SELECTED BIBLIOGRAPHY

2014 Beckenstein, Joyce. “Playing Word Games With Sacred Texts,” The New York Times , July 11, 2014

“Events on Long Island for July 27–Aug. 2, 2014,” The New York Times , July 24, 2014

Baker, Lauren. “Guild Hall Presents Nina Yankowitz Criss-Crossing the Divine Exhibition,” Patch (East Hampton), June 5, 2014

Segal, Mark. “Nina Yankowitz: Searching Sacred Texts,” The East Hampton Star, July 8, 2014

2013 Wright, Ally. “Nina Yankowitz,” Art Acts Out/Art and Activism, February 25, 2013, p. 5–10

2012 Beckenstein, Joyce. “Nina Yankowitz: Re-Rights/Re-Writes,”

Woman’s Art Journal 33, no. 2

Beckenstein, Joyce. “Riverhead Exhibit: Art for Nature’s Sake,” The Suffolk Times , October 21, 2012

Kudryashov, Roman. “Imagined World,” Soho Life , September 2012

2011 “Critic’s Pick,” TimeOut New York

2010 Rosenberg, Karen. “Academy Gives Art Some Wiggle Room,” The New York Times , February 18, 2010

Perreault, John. “Not Just the Whitney Biennial,” Artopia: John Perreault’s Art Diary, March 10, 2010

Yankowitz, Nina. “The Third Woman,” Leonardo: With Arizona State University 43, no. 5, p. 500–501

Yankowitz, Nina. “Crossings,” Leonardo: With Arizona State University 43, no. 5, p. 494–95

2009 Halter, Ed. “Women’s Work: Ed Halter on the Heretics,” ArtForum , October, 2009

Iurgel, Ido A., Nelson Zagalo, and Paolo Petta. Interactive

Storytelling: Second Joint International Conference on Interactive Digital Storytelling, ICIDS, Guimarães, Portugal, p. 340

2008 Lambert-Beatty, Carrie. Being Watched: Yvonne Rainer & The 1960s (Cambridge, MA: The MIT Press, 2008), p. 283, 299, 340

2006 Lemardeley, Marie-Christine. Mémoires perdues, mémoires vives (Paris: Presses de la Sorbonne Nouvelle, 2006), p. 180

Bloodworth, Sandra, William Ayres, and Stanley Tucci. Along the Way: MTA Arts for Transit (New York: The Monacelli Press, 2006)

2005 Chicago Sun, April

Southampton Press , August

Heartney, Eleanor. City Art: New York Percent for Art Program, New York Department of Cultural Affairs, 2005, p. 32, 33, 164

Casado, Alberto, Holly Block, and Orlando Hernandez. Alberto Casado:

Todo Clandestino Todo Popular (Art In General), p. 66

2004 Wei, Lily. “Outside/In,” Art News , March 2004

Goldstein, Ann. A Minimal Future? Art as Object 1958–1968 , Exh. Cat., Museum of Contemporary Art, Los Angeles, CA, p. 392

2003 Fulton, Len. The Small Press Record of Books in Print: 2002–2003 (Paradise, CA: Dustbooks, 2003), p. 1044

2002 Long, Robert. “Nina Yankowitz: Art of the Moment,” The East Hampton Star

2000 “Letter/Bill Bollinger,” Art in America , June 2000

1999 The New York Times , December 12, 1999

“Recent Projects: The Garden of Games,” Public Art Review 21, no. 2, p. 40

1998 Harrison, Helen A. “ART REVIEWS; Fresh Looks at Prints and a Town,” New York Times , September 13, 1998

Dan’s Papers (East Hampton, NY), August 2, 1998

Locktov, Joann and Leslie Plummer Clagett. The Art of Mosaic Design: A Collection of Contemporary Artists (Beverly, MA: Quarry Books, 1998)

1997 The Herald , September 19, 1997

Cotter, Holland. “Art Guide,” The New York Times , October 31,1997

1996 Kansas City Star, August 30, 1996

The Daily Progress (Charlottesville, VA)

Yankowitz, Nina. Bare Bones (New York: TZ’Art and Co., 1996)

1995 Ostrow, Sol. “Peintures: Image Pop / Structure Abstraite,” Art Press 16

Davidson, Cathy N. The Oxford Companion to Women’s Writing in the United States (Oxford: Oxford University Press, 1995), p. 68

1994 The New York Times , September 4, 1994

The East Hampton Star, July 28, 1994

Dan’s Papers , July 22, 1994

Lipson, Karin. “Summer, Clowns and Flesh,” Newsday (Hempstead, NY), July 15, 1994

Cotter, Holland. “Review/Art; Gay Pride (And Anguish)

Around the Galleries,” The New York Times , June 24, 1994

Komar, Vitaly and Aleksandr Melamid. Monumental

Propaganda: A Traveling Exhibition, Exh. Cat., Independent Curators Incorporated, p. 95

1993 Baltimore Sun Berger, Maurice. Ciphers of Identity (Baltimore: University of Maryland Press, 1993)

1992 Moore, Frazier. “Little Links: Maximizing Minimal Golf,” The New York Times , September 11, 1992

Greco, Stephen. “Putt-Modernism,” Interview Magazine , August 1992

1990 Bibliographic Guide to Dance, New York Public Library, Dance Collection, p. 867

Fillin-Yeh, Susan. The Technological Muse , Exh. Cat., Katonah Museum of Art, Katonah, NY

1989 Art in America , December 1989

On View, Summer 1989

Design & Applied Arts Index (Design Documentation), 1989, p. 180

Frank, Peter. “Pick of the Week,” LA Weekly Metropolitan Home , February 1989

Contemporanea International , June 1989, p. 31

Shepard, Joan. Daily News , June 29, 1989

Ambiente Magazine , August 1989

Newsday, June 22, 1989

Taxi Magazine (New York), May 1989

1988 Taxi Magazine (Italy/New York), August 1989

Manhattan Catalogue , Spring/Summer 1989, p. 78, 79

Perreault, John. Village Voice , March 1989

Dixon, Jenny. “Public Domain,” American Craft , June/July 1988

Shepard, Joan. Daily News , March 13, 1988

Busch, Akiko. Wallworks: Creating Unique Environments with Surface Design and Decoration (New York: Bantam, 1988)

1987 Malarcher, Patricia. “Crafts: ‘Public Art’ Finding a Place in the State,” The New York Times , November 8, 1987

Star Ledger, November 12, 1987, p. 127–33

Molinaro, Frances. Asbury Park Press , November 22, 1987

Malarcher, Patricia. “Crafts; Exploring the Art-Crafts Connection,” The New York Times , February 22, 1987

1986 Slesin, Suzanne. The New York Times , Home Section

1985 Arts Magazine , p. 93

1984 Giovanni, Joseph. The New York Times , Home Section, November 8, 1984

1983 Cohen, Ronnie. Art News , September 1983

1982 Miller, Nory. Progressive Architecture Magazine , September 1982, p. 211

Masotti, Franco, Roberto Masotti, Veniero Rizzardi, and Roberto Taroni. Sonorità Prospettiche: Suono / Ambiente / Immagine, Exh. Cat. La Sala Comunale D’Arte

Contemporanea, Rimini, IT. March 15, 1982

1981 Art Week (San Francisco), March 1981

Stofflet, Mary. Issues and Images , April 1981

Ingberman, Jeanette. Artxpress Art , p. 64

Yankowitz, Nina. Scenario Sounds (New York: Printed Matter, 1981)

1980 Rickey, Carrie and Guy Trebay. “Art Investors’ Guide,”

Village Voice

1979 Arts Magazine , December 1979, p. 4

Yankowitz, Nina. Voices of the Eye (New York: Stefanotti Gallery, 1979)

Kostelanetz, Richard. Scenarios: Scripts to Perform (Brooklyn, NY: Assembling Press, 1979)

1978 Schjeldahl, Peter. Since 1964: New and Selected Poems (New York: Sun Press,1978)

Rothenberg, Jerome. “Notes from the Ground,” edited by Nina Yankowitz, New Wilderness Letter 1, no. 5

1976 Perreault, John. Soho Weekly News , January 22, 1976

57th Street Review, January 1976

Frank, P. Art News , March 1976

1975 Nemser, Cindy. “The Women Artists’ Movement,” Art Education 28, no. 7

1974 ArtForum , June 1974

1973 Amaya, Mario. Soft as Art , Exh. Cat., The New York Cultural Center, New York, NY

Chicago Sun , December 1973

Ms. Magazine , May 1973, p. 32

Schjeldahl, Peter. “Let’s Be Flexible, But Let’s Not Be Flabby,” The New York Times, April 1, 1973

Perreault, John. Village Voice, March 29, 1973

Perreault, John. Village Voice, February 1, 1973

Vogue Magazine , February 1973

Perreault, John. Village Voice , January 25, 1973

1972 “An American Woman Artist Show,” Avalanche 4 (Spring 1972), p. 7

Pincus-Witten, Robert. “ROSENQUIST AND SAMARAS,” ArtForum , September 1972: p. 63–69

Allen, Jane and Derek Guthrie. “Roots of the Past, Woven into a Place of Pride,” Chicago Tribune, December 10, 1972

Nemser, Cindy. “Can Women Have One Man Shows?,” The New York Times , January 9, 1972

Pincus-Witten, Robert. ArtForum , September 1972: p. 80–81

ArtNews , February 1972

Die Zeit , Hamburg, Germany

Der Spiegel Magazine , Germany

Margrille, Anita. Landscape Architecture Magazine , Spring 1972

1971 The New York Times , February 3, 1971

Mellow, James R. “Cheops Would Approve,” The New York Times , December 5, 1971

Arts Magazine , December/January 1970–71

1970 ArtNews , January 1970: p. 71

Pincus-Witten, Robert. ArtForum , March 1970: p. 82

Littman, Robert. Hanging and Leaning (Long Island, NY: Emily Lowe Gallery), p. 6

Wall Street Journal , June 1970

“Letter to the Editor,” ArtForum , May 1970

Painting and Sculpture Today, Exh. Cat., Indianapolis Museum of Art, Indianapolis, IN, p. 48

Highlights of The 1969–1970 Art Season, Exh. Cat., The Aldrich Museum of Contemporary Art, Ridgefield, CT, p. 53–54

1969 The New York Times , May 22, 1969

Rothenberg, Jerome. Technicians of the Sacred: A Range of Poetries from Africa, America, Asia & Oceania (New York: Anchor Books, 1969)

Acknowledgments

I would like to thank Nina Yankowitz for entrusting us with organizing this significant presentation of her early work. This exhibition would not have been possible without her collaboration. We also deeply appreciate the support of her husband, Barry Holden.

Thank you to Alexandra Schwartz for her scholarly catalog essay which illustrates just how innovative Yankowitz’ unstretched paintings were for the time and for moderating the exhibition’s accompanying panel discussion, “Reinventing Abstract Painting.”

Thank you to the artists Joyce Kozloff and Meg Lipke, who also participated in the panel and shared their respective approaches to handicraft techniques or alternative materials.

In addition, we would like to thank those institutions and individuals who shared important information and images related to Nina Yankowitz. Thank you in particular to the Smithsonian Archives of American Art for maintaining the artist’s archival materials from 1950–2017. We also want to acknowledge the late Jill Kornblee, the legendary gallerist who offered Nina Yankowitz her first New York solo exhibition in 1969–70.

Thank you to Glenn Adamson for taking the time to interview Nina Yankowitz and for writing a thoughtful and comprehensive article, “Woman Up: Nina Yankowitz Defies the Patriarchy,” published in Art in America in January 2023.

Finally, I would like to thank my dedicated staff for helping mount this historic exhibition. The gallery remains committed to the reexamination of the practices and legacies of important yet underrecognized American artists like Nina Yankowitz.

Eric Firestone

Published on the occasion of the exhibition

CAN WOMEN HAVE ONE-MAN SHOWS?”

NINA YANKOWITZ PAINTINGS, 1960S–70S

September 9–October 22, 2022

on view at Eric Firestone Gallery

40 Great Jones Street, New York, NY

ISBN: 979-8-218-15243-7

Library of Congress Control Number: 2023902895

Cover: Ms. Magesty, detail, 1970–71, see page 48

Frontispiece: Nina Yankowitz at a 1970 march for equal rights and anti-war protest in Central Park, New York. Courtesy of Nina Yankowitz

Publication copyright © 2023 Eric Firestone Press

Essay copyright © 2023 Alexandra Schwartz

All artwork © Nina Yankowitz

Reproduction of contents prohibited

All rights reserved

Published by Eric Firestone Press

4 Newtown Lane East Hampton, NY 11937

Eric Firestone Gallery

40 Great Jones Street, 4th floor New York, NY 10012 646-998-3727

4 Newtown Lane East Hampton, NY 11937 631-604-2386

ericfirestonegallery.com

Principal: Eric Firestone

Director of Research: Julie Reiter Greene

Managing Director: Kara Winters

Principal Photography: Jenny Gorman

Copyeditor: Natalie Haddad

Design: Russell Hassell, New York

Printing: Puritan Press, New Hampshire