21,791 research outputs found
Dorothy Gillespie papers, box 11 folder 33 (Sculpture, 1980s)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.4 Dolls (1 image) -- Guide To The Hand (1 image) -- Rain Dance Red Bank Blue 1 (1 image) -- Rain Dance Red Bank Blue 2 (1 image) -- 6 Dolls (1971) (1 image) -- Untitled 1 (4 images) -- Untitled 2 (4 images) -- Untitled 3 (1 image) -- Untitled 4 (3 images) -- Untitled 5 (4 images)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 11 folder 32 (Sculpture, 1970s)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Dance for The Court (1988) (1 image) -- Untitled 01 (14 images) -- Untitled 02 (1 image) -- Untitled 03 (1 image) -- Untitled 04 (1 image) -- Untitled 05 (1 image) -- Untitled 06 (1 image) -- Untitled 07 (1 image) -- Untitled 08 (1 image)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 13 folder 06 (Sculpture, Site Specific, 8 x 10", circa 1978)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Gambol Series 1 (1978) (5 images) -- Untitled 01 (1978) (2 images) -- Untitled 02 (1978) (2 images) -- Untitled 03 (1978) (1 image)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 13 folder 04 (Sculpture, 8 x 10", 1990, 1995)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Spacescape VIII (1994) (2 images) -- Untitled 01 (1 image) -- Untitled 02 (1 image) -- Wings of Song (1995) (2 images).This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 13 folder 12 (Site Specific, City Wall, Roanoke, 8 x 10", 1979)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Mural On Court House Square (1975) (5 images)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of photographs have been scanned
Dorothy Gillespie papers, box 13 folder 13 (Site Specific, Venetian Gardens, Miami, 8 x 10", 1979)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Untitled 01 (1 image)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation
Dorothy Gillespie papers, box 13 folder 05 (Sculpture, United States Culinary Team, 8 x 10", 1984)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Untitled 01 (1984) (1 image) -- Untitled 02 (1984) (1 image) -- Untitled 03 (1984) (1 image) -- Untitled 04 (1984) (1 image) -- Untitled 05 (1984) (1 image) -- Untitled 06 (1984) (1 image) -- Untitled 07 (1984) (1 image)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 11 folder 38 (Sculpture, 1980s-1990s)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Celebrating Sentinel (1 image) (1986) -- City Wall (1 image) -- Autumn's Noble Crest (1 image) (2000) -- Encounter With a Memory (1 image) (2000) -- Spirits of the Galaxy (1 image) -- Once Upon a Moonbeam (1 image) -- Phantom's Rain Dance (1 image) -- Primitive Theme (1 image) (1988) -- Encounter Series: Santa Fe (1 image) -- Sky Castles (1 image) (1999) -- Sky Garden (1 image) (2000) -- Tiered Arrangement (1 image) (1992) -- Earth Series - Time Zones I, II, III (1 image) (1981) -- Untitled 01 (1 image) -- Untitled 02 (1 image) -- Untitled 03 (1 image) -- Untitled 04 (1 image) -- Untitled 05 (1 image) -- Untitled 06 (1 image) -- Untitled 07 (1 image) -- Untitled 08 (1 image) -- Untitled 09 (1 image) -- Untitled 10 (1 image) -- Untitled 11 (1 image) -- Untitled 12 (1 image) -- Untitled 13 (1 image) (1993) -- Untitled 14 (1 image) -- Untitled 15 (1 image) -- Untitled 16 (1 image) -- Untitled 17 (1 image) -- Untitled 18 (1 image) -- Untitled 19 (1 image) -- Untitled 20 (1 image) -- Untitled 21 (1 image) -- Untitled 22 (1 image) -- Untitled 23 (1 image) -- Untitled 24 (1 image) -- Untitled 25 (1 image) -- Untitled 26 (1 image) -- Untitled 27 (1 image) -- Untitled 28 (1 image) -- Untitled 29 (1 image) -- Untitled 30 (1 image) (1993) -- Untitled 31 (1 image) -- Untitled 32 (3 images) -- Untitled 33 (1 image) -- Untitled 34 (2 images) -- Untitled 35 (1 image) -- Untitled 36 (1 image) -- Untitled 37 (1 image) (1994) -- Untitled 38 (1 image)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 11 folder 37 (Sculpture, 1980s)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Coil II (1 image) (1978) -- Conjured Image of a Past Presence (1 image) (1981) -- Dragons Breath (2 images) -- Encounter with the Forgotten Past (Detail) (1 image) (1980) -- Encounter with Forgotten Past (1 image) -- Festival of Sound (1 image) -- Love Token (1 image) (1987) -- Quaver XI (1 image) (1978) -- Rain in Spain (1 image) -- Sudden Encounters (1 image) -- Sun Dance (1 image) (1987) -- Tiered Arrangement (1 image) -- Untitled 01 (1 image) -- Untitled 02 (1 image) -- Untitled 03 (2 images) -- Untitled 04 (1 image) -- Untitled 05 (1 image) -- Untitled 06 (1 image) -- Untitled 07 (1 image) -- Untitled 08 (1 image) -- Untitled 09 (1 image) -- Untitled 10 (1 image) -- Untitled 11 (1 image) -- Untitled 12 (1 image) (1983) -- Untitled 13 (1 image) (1983) -- Untitled 14 (1 image) (1983) -- Untitled 15 (1 image) (1983) -- Untitled 16 (15 images) -- Untitled 17 (1 image) -- Untitled 18 (1 image) -- Untitled 19 (1 image) -- Untitled 20 (1 image) -- Untitled 21 (1 image) -- Untitled 22 (1 image) -- Untitled 23 (1 image) -- Untitled 24 (1 image) -- Untitled 25 (1 image) -- Untitled 26 (1 image) -- Untitled 27 (1 image) -- Untitled 28 (1 image) -- Venture Series: Visit (1 image) (1982).This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
Dorothy Gillespie papers, box 13 folder 10 (Site Specific, Cleveland Ballet, 8 x 10", circa 1997)
No full textDorothy Gillespie was an artist, a feminist activist, and a philanthropist. Her artwork, except for a few early paintings and several happenings in the 1960s, was entirely abstract. Gillespie was influenced by Abstract Expressionism, Happenings, Pop Art, and Feminism. In the 1970s, she became involved in the Women’s Interart Center, New York Professional Women Artists, and the feminist art movement. She organized exhibitions, created a collection of women’s art, compiled statistics, and took part in protests against galleries. The bright and fun style of her sculptural abstractions was a hallmark and created various public art opportunities for her in the 1980s. In the 1980s and 1990s, she donated many pieces from her own art collection, as well as her own artwork, to various universities in order to create university art collections. In the 1990s, Gillespie created smaller sculptures that were more accessible for beginning collectors. The collection documents her art production from roughly the early 1940s through 2010, her involvement in New York artists associations and galleries, her pioneer course at the New School for Social Research “Functioning in the Art World,” correspondence between her and art institutions, and her public and commercial artworks.Summerscape Ballet (1982) (11 images)This digital project has been made possible by a generous gift from the Dorothy M. Gillespie Foundation.The front and back sides of some photographs have been scanned
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