By Marcia Tucker
This engrossing memoir brings to shiny existence the behind-the-scenes struggles of Marcia Tucker, the 1st lady to be employed as a curator on the Whitney Museum of yankee paintings and the founding father of the recent Museum of latest paintings in big apple urban. Tucker got here of age within the Nineteen Sixties, and this lively account of her existence attracts the reader without delay into the burgeoning feminist stream and the buzz of the recent York paintings global in the course of that point. Her personal new methods of pondering led her to take principled stands that experience replaced the best way paintings museums examine modern paintings. As curator of portray and sculpture on the Whitney, she geared up significant exhibitions of the paintings of Lee Krasner, Joan Mitchell, Robert Morris, Bruce Nauman, and Richard Tuttle, between others. As founding father of the recent Museum of up to date paintings, she geared up and curated groundbreaking exhibitions that frequently desirous about the nexus of paintings and politics. The publication highlights Tucker's dedication to forging a brand new process while the present one proved too slender for her expansive imaginative and prescient.
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Extra resources for A Short Life of Trouble: Forty Years in the New York Art World
This is my goddamned wedding. ” And for the first and last time in his life, he took orders from his own child. Within fifteen minutes, he was breathing normally, and the ceremony went ahead as planned. I had three swift martinis upon entering the reception and then felt much better. Once Michael and I were married, it seemed I never had enough hours or enough room to paint. There was time, though, to go to museums, to pore over reproductions in glossy art books in the library, to read and talk about art.
I hung the coat carefully in the closet, wondered briefly who he was, and got back to work. a short life of trouble 41 Several hours later, the studio door opened and I heard René’s voice bid the visitor goodbye. It was my job to get his coat and show him back out. Smiling politely, I held the coat open for him to put on. He turned his back to me, put one arm into the sleeve, then followed with the other. He got the second arm into the armhole all right, but it refused to go through, and he pulled it out.
The funeral parlor had pinky beige walls, muted lighting, and gray carpets. I walked down a long hallway, into the open doorway of Viewing Room 3, and slowly approached the open casket. Inside, my mother was lying in a bed of white organza, with a silly lace cap tied over her head to hide her few remaining strands of rust-colored hair. Her nose was stuck up at an unnatural angle and her face was bloated, tinged grayish green, with two bright pink rouge spots on her cheeks, deep red lipstick, and lavender eye shadow.