Women's Interart Center

Last updated
Women's Interart Center
Formation1969–71 (1969–71)
Dissolved2016 (2016)
Type Nonprofit corporation
Headquarters549 W. 52nd Street
Location
  • New York, New York
Fields Visual arts, performing arts, arts education

The Women's Interart Center was a New York City-based multidisciplinary arts organization conceived as an artists' collective in 1969 and formally delineated in 1970 under the auspices of Women Artists in Revolution (WAR) and Feminists in the Arts. In 1971, it found a permanent home on Manhattan's far West Side.

Contents

A trailblazing women's alternative space, the Center provided exhibition and performance venues, workshops, and training courses for artists in a wide range of media for over four decades, with a focus on developing women's skills, bringing their work to the public, and fostering innovation. Prominent visual artists exhibited at the Interart Gallery, which in 1976 mounted the first ever festival of black women's film. The Interart Theatre—the Center's off-off-Broadway stage—and its productions won numerous honors. The Center hosted the Women's Video Festival for several years and ran a video program responsible for a variety of notable works.

History

The idea for the Women's Interart Center emerged in 1969 from the meetings of a group of women from various creative disciplines who gathered regularly in Lower Manhattan artist's lofts and other repurposed spaces to present their work to each other. [1] [2] In the summer of 1970, an overlapping group of artists affiliated with Women Artists in Revolution (WAR) and Feminists in the Arts requested a grant of $55,000 from the New York State Council on the Arts (NYSCA) to acquire a five-story building with space for administrative offices, galleries, and photography and graphics workshops. [3] After the group's proposal was turned down, artists including Muriel Castanis, Nancy Edelstein, Jan McDevitt, and Jacqueline Skiles staged a protest on October 27, 1970. [4] They ultimately received a grant of $5,000. [3]

With this modest funding, the Women's Interart Center (WIC, Interart, or, most commonly, the Center) was established in July 1971 on the 9th and 10th floors of 549 W. 52nd Street, a largely abandoned property near the western edge of Manhattan's Hell's Kitchen neighborhood that had been taken over by the city. [2] [4] [5] [6] As later described by both critic Lucy R. Lippard and scholar Julie Ault, it was the "first women's alternative space" in New York. [7] [8] Co-founder and co-director Jacqueline Skiles oversaw the graphics workshops, and sculptor Dorothy Gillespie was an artist-in-residence. [4] [9] Among the other founding members were filmmaker and photographer Susan Kleckner and actor Margot Lewitin, former stage manager of La MaMa Experimental Theatre Club. [1] [9] [10] In October 1971, the Center was registered with the state as a nonprofit corporation with a mission to "encourage and advance the development and expression of women's skills and creativity in all areas of the arts." [11] A more substantial NYSCA grant the following year helped the group, encompassing over a hundred artist-members, to expand operations. [12]

In early 1972, the Center held a massive "open show" with works by celebrated painters such as Louise Nevelson, Faith Ringgold, and Mimi Schapiro, along with other well-known figures including Yoko Ono, Judy Chicago, and Kate Millett. [5] [13] Later that year, the Center presented its first stage play: Random Violence by Jane Chambers, a key initiator of the group's theater program; first-time director Margot Lewitin would go on to direct and produce dozens of plays in the space. [1] [14] By 1973, Lewitin was leading the Women's Interart Center as a whole; Susan Milano, co-founder of the first Women's Video Festival at The Kitchen, joined to head up a new video program. [11] [15] That same year saw Louise Bourgeois design the sets, costumes, and poster for a Center stage production. [16]

The multimedia organization by 1976 comprised an art gallery, off-off-Broadway theater, artist-in-residence studios, and workshops for silkscreen, ceramics, painting, film, and video, occupying five floors of the original site and another floor in a nearby building. [2] Among the prominent visual artists who exhibited at the Interart Gallery, directed during this era by Francyne de St.-Amand, [6] were Ida Applebroog, [6] [17] Gillian Ayres, [6] [18] Martha Edelheit, [19] Howardena Pindell, [20] a young Sophie Rivera, [21] and Alice Neel, who participated in six shows in the mid-1970s. [22] In 1975, Faith Ringgold curated an exhibition of black women artists. [23] The following year at the Center, Ringgold, filmmaker Monica Freeman, poet Patricia Spears Jones, and critics Margo Jefferson and Michele Wallace organized the Sojourner Truth Festival of the Arts, recognized as the "first ever Black women's film festival". [23] [24] In 1978 and 1979, the Center held festivals of women's music, with concerts at other Manhattan venues as well as the Interart Gallery. [25] [26]

With Lewitin serving as artistic director for more than four decades, the Center presented many hundreds of performance, media, and visual arts events. [11] The Interart Theatre and its productions won ten Obie Awards, along with an array of other honors. [11] In the 1980s, JoAnne Akalaitis directed two acclaimed productions of the work of German playwright Franz Xaver Kroetz at the theater: Request Concert and, with her Mabou Mines group, Through the Leaves, which won four Obies. [27] [28] Other award-winning Interart productions were directed by Glenda Dickerson and Estelle Parsons. [1] [29] In 1985, Joseph Chaikin directed a new adaptation of work by Adrienne Kennedy. [30] Wendy Kesselman, Myrna Lamb, and Susan Yankowitz were among the many women playwrights to have works premiere at the theater. [1] [6] [31] [32] In the middle of the decade, Interart received a Drama Desk Special Award "for nurturing women theater artists" and Lewitin was similarly honored by the Dramatists Guild of America. [33] [1] In the late 1980s, the stage hosted an extended run of Split Britches' Dress Suits to Hire. [34] [35] [36] The Interart Annex at 53rd Street and 11th Avenue, one block from the Center's main location, presented plays in development as well as dance and experimental works. [37] [38] The Center's stages together provided a reliable "home base" for the Women's Experimental Theatre, led by Roberta Sklar and Sondra Segal. [1] [39]

The Center also vigorously promoted new and transdisciplinary media as exhibitor, producer, and educational institution. [1] [40] The annual Women's Video Festival relocated to the Center from 1975 through 1980, launching a catalogue and traveling show. [41] In 1978, Susan Milano produced a major video installation exhibit, Back Seat. [42] [43] As an Interart artist-in-residence a few years later, Shirley Clarke created two innovative video pieces, Savage/Love and Tongues, in collaboration with Joseph Chaikin and Sam Shepard. [44] [45] PBS's Alive from Off Center aired Tongues in 1985 and, the following year, the Center's award-winning video production of Lee Breuer's "doo-wop opera" Sister Suzie Cinema. [46] [47] Interdisciplinary works by Meredith Monk and Lee Nagrin were produced by the Center at venues such as the Brooklyn Academy of Music, St. Mark's Church, and La MaMa. [6] [48] [49]

In the 1980s, the Center became increasingly involved in community efforts to resist attempts by the city and major developers to transform the Hell's Kitchen neighborhood—specifically, the six-square-block Clinton Urban Renewal Area (CURA)—through the construction of luxury highrises and eviction of arts groups. In 1986, after four years of struggle, a community coalition with the Center at its heart defeated such a plan put forward by Ed Koch, New York's nominally "liberal" mayor. [2] In retaliation, Koch threatened to put a swath of the CURA up for auction. "Not only would [an auction] cut out the community," Lewitin observed to the press. "It will cut out anyone who wants to do low-income housing." [50] The local coalition sponsored a community-conceived development plan for the CURA intended to preserve its mix of working-class residents, small businesses, and nonprofit cultural organizations. [2] [51] The Clinton Community Master Plan, designed by Peterson Littenberg Architects, won urban design awards from Progressive Architecture and the American Institute of Architects. [52] [53]

In 1993, the Interart Theatre premiered a fully staged production of an opera by Sorrel Hays. [54] [55] With the city allowing the Center's main building, its elevators in particular, to fall into disrepair, it became increasingly infeasible to bring audiences to the 10th-floor theater. [2] In late 1996 the Annex, now at 500 W. 52nd Street, became the organization's sole stage and the Interart Theatre Development Series, supporting diverse new work, was inaugurated. [2] [56] In 2002, a water tower collapse at 549 destroyed the gallery and left the Center with only one usable floor in its home building. [2] From 2005 to 2015, Blessed Unrest staged ten world premieres and many other events at the Annex as Interart’s Resident Experimental Theater Company. [57] In 2016, to make way for a development project, the Center was evicted from both of its city-owned locations and shut down. [2] [57]

Archives

In 1981, Gillespie and Skiles donated a collection of the Center's records to the Archives of American Art. [9] Additional records were donated to the Barnard College Archives at the Milstein Center for Teaching and Learning. [58] Following the organization's 2016 closure, Lewitin and painter Ronnie Geist, the Center's director of special projects, donated WIC's nearly half-century archive to the New York Public Library for the Performing Arts. [2] [11]

Related Research Articles

Madeline Charlotte Moorman was an American cellist, performance artist, and advocate for avant-garde music. Referred to as the "Jeanne d'Arc of new music", she was the founder of the Annual Avant Garde Festival of New York and a frequent collaborator with Korean American artist Nam June Paik.

<span class="mw-page-title-main">Squat Theatre</span> Hungarian theatre company

Squat Theatre (1977–1991) was a Hungarian theatre company from Budapest which left Hungary for Paris and then New York City, where they performed experimental theatre.

<span class="mw-page-title-main">Carolee Schneemann</span> American visual experimental artist (1939–2019)

Carolee Schneemann was an American visual experimental artist, known for her multi-media works on the body, narrative, sexuality and gender. She received a B.A. in poetry and philosophy from Bard College and a Master of Fine Arts from the University of Illinois. Originally a painter in the Abstract Expressionist tradition, Schneeman was uninterested in the masculine heroism of New York painters of the time and turned to performance-based work, primarily characterized by research into visual traditions, taboos, and the body of the individual in relation to social bodies. Although renowned for her work in performance and other media, Schneemann began her career as a painter, saying: "I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas." Her works have been shown at the Los Angeles Museum of Contemporary Art, the Museum of Modern Art in New York, the London National Film Theatre, and many other venues.

<span class="mw-page-title-main">Valie Export</span> Austrian media artist

Valie Export is an avant-garde Austrian artist. She is best known for provocative public performances and expanded cinema work. Her artistic work also includes video installations, computer animations, photography, sculpture and publications covering contemporary art.

<span class="mw-page-title-main">Joan Jonas</span> American visual artist (born 1936)

Joan Jonas is an American visual artist and a pioneer of video and performance art, and one of the most important artists to emerge in the late 1960s and early 1970s. Jonas' projects and experiments were influential in the creation of video performance art as a medium. Her influences also extended to conceptual art, theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.

Rachel Rosenthal was a French-born interdisciplinary and performance artist, teacher, actress, and animal rights activist based in Los Angeles.

<span class="mw-page-title-main">Feminist art movement in the United States</span> Promoting the study, creation, understanding, and promotion of womens art, began in 1970s

The feminist art movement in the United States began in the early 1970s and sought to promote the study, creation, understanding and promotion of women's art. First-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women. They were part of the Feminist art movement in the United States in the early 1970s to develop feminist writing and art. The movement spread quickly through museum protests in both New York and Los Angeles, via an early network called W.E.B. that disseminated news of feminist art activities from 1971 to 1973 in a nationally circulated newsletter, and at conferences such as the West Coast Women's Artists Conference held at California Institute of the Arts and the Conference of Women in the Visual Arts, at the Corcoran School of Art in Washington, D.C..

<span class="mw-page-title-main">Lynda Benglis</span> American sculptor (born 1941)

Lynda Benglis is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India.

Peggy Ahwesh is an American experimental filmmaker and video artist. She received her B.F.A. at Antioch College. A bricoleur who has created both narrative works and documentaries, some projects are scripted and others incorporate improvised performance. She makes use of sync sound, found footage, digital animation, and Pixelvision video. Her work is primarily an investigation of cultural identity and the role of the subject in various genres. Her interests include genre; women, sexuality and feminism; reenactment; and artists' books. Her works have been shown worldwide, including in San Francisco, New York, Barcelona, London, Toronto, Rotterdam, and Créteil, France. Starting in 1990, she has taught at Bard College as a Professor of Film and Electronic Arts. Her teaching interests include: experimental media, history of the non-fiction film, and women in film.

Myrna Lila Lamb was an American playwright.

<span class="mw-page-title-main">Westbeth Playwrights Feminist Collective</span> Group of professional women playwrights

The Westbeth Playwrights Feminist Collective was a group of professional women playwrights in New York active from 1971 to 1975. They wrote and produced feminist plays and were one of the first feminist theatre groups in the United States to do so. The members' individual works had been produced at the Public Theater, La Mama, Joe Chaikin’s Open Theater, Caffe Cino, Circle Repertory Company, Mark Taper Forum, Lincoln Center, and New York Theater Ensemble.

Phyllis Baldino is an American visual artist whose art engages in a conceptual practice that merges performance art, video art, sculpture, and installation in an exploration of human perception. Her single-channel videos are distributed by Electronic Arts Intermix in New York, NY. She currently lives and works in Brooklyn, New York.

Marianne Weems is the artistic director of the New York-based Obie Award-winning performance and media company, The Builders Association, https://thebuildersassociation.org/ founded in 1994. She is a director of theater and opera and a professor at UC Santa Cruz.

WOW Café Theater is a feminist theater space and collective in East Village in New York City. In the mid-1980s, WOW Cafe Theater was central to the avant garde theatre and performance art scene in the East Village, New York City. Among the artists who have presented at the space are Peggy Shaw, Lois Weaver, Patricia Ione LLoyd, Lisa Kron, Holly Hughes, Deb Margolin, Dancenoise, Carmelita Tropicana, Eileen Myles, Split Britches, Seren Divine, Johnny Science, and The Five Lesbian Brothers.

Women Artists in Revolution (WAR) was a New York City-based collective of American women artists and activists that formed in 1969. They seceded from the male-dominated Art Workers' Coalition (AWC), prompted by the Whitney Museum of American Art's 1969 Annual (later the Whitney Biennial), which included only eight women out of the 143 featured artists shown.

Rock My Religion is a (1984) no wave experimental art film by Dan Graham. It's also the title of a collection of essays written by Dan himself from 1965 to 1990.

<span class="mw-page-title-main">Stephan Balint</span>

Stephan Balint was a writer, actor, theatre director, and playwright. Balint was co-founder of New York's Squat Theatre where he wrote, acted, and directed L-Train to Eldorado and Full Moon Killer.

Shridhar Bapat (born 1948) was an Indian video artist and key figure in the New York City's downtown video art scene in the 1970s. Bapat's artworks were screened at the MoMA PS1, Whitney Museum of American Art, The Kitchen, and the Mudd Club. He a was an early organizer of video programs at The Kitchen and the Avant-Garde Festivals of New York. He took over as the Director of The Kitchen, an influential experimental artist center in Manhattan, in 1973.

Jacqueline Skiles is an American artist. She was a member of Women Artists in Revolution (WAR) and participated in the group's demand that the Whitney Museum include more women in its annual exhibitions. She also directed a graphics and silk-screen workshop at the Women's Interart Center.

Susan Kleckner was a feminist filmmaker, photographer, performance artist, and writer active from the late 1960s until 2010 and based in New York City.

References

  1. 1 2 3 4 5 6 7 8 Chinoy, Helen Krich (2006). "Women's Interart Theatre". In Chinoy, Helen Krich; Jenkins, Linda Walsh (eds.). Women in American Theatre (revised and expanded 3rd ed.). New Haven, CT, and London: Theatre Communications Group. pp. 282–83.
  2. 1 2 3 4 5 6 7 8 9 10 Tempey, Nathan (2016-09-20). "Urban Removal: How a Utopian Vision for Hell's Kitchen Burned Out". Gothamist. Retrieved 15 October 2022.
  3. 1 2 Broude, Norma; Garrard, Mary D.; Brodsky, Judith K. (1994). The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: H.N. Abrams. p. 106. ISBN   978-0810937321.
  4. 1 2 3 Skiles, Jacqueline Dean; Women Artists in Revolution; Women's Interart Center (1973). A Documentary Herstory of Women Artists in Revolution. Pittsburgh, PA: Know, Inc. pp. 76–79.
  5. 1 2 Glueck, Grace (1972-02-13). "No More Raw Eggs at the Whitney?". New York Times. Retrieved 19 October 2022.
  6. 1 2 3 4 5 6 Crossette, Barbara (1976-11-19). "Women Take the Stage in 'Crab Quadrille'". New York Times. Retrieved 17 October 2022.
  7. ↑ Lippard, Lucy R. (2002). "Biting the Hand: Artists and Museums in New York since 1969". In Ault, Julie (ed.). Alternative Art New York, 1965–1985. New York and Minneapolis: Drawing Center/University of Minnesota Press. p. 96.
  8. ↑ Ault, Julie (2002). "A Chronology of Selected Alternative Structures, Spaces, Artists' Groups, and Organizations in New York City, 1965–85". In Ault, Julie (ed.). Alternative Art New York, 1965–1985. New York and Minneapolis: Drawing Center/University of Minnesota Press. p. 28.
  9. 1 2 3 "Women's Interart Center Records, 1970-1981". Archives of American Art. Smithsonian Institution. Retrieved 28 June 2021.
  10. ↑ "Susan Kleckner Papers". Robert S. Cox Special Collections & University Archives Research Center. UMass Amherst Libraries. Retrieved 15 October 2022.
  11. 1 2 3 4 5 Maxin, Tyler (2020). "Oral History: Susan Milano". Electronic Arts Intermix. Retrieved 15 October 2022.
  12. ↑ Johnston, Laurie (1973-03-21). "Women Activism Turns to Alternatives in Arts". New York Times. Retrieved 28 June 2021.
  13. ↑ Gilbert, Ruth (1972-01-31). "In and Around Town: Art". New York. p. 21.
  14. ↑ Kattelman, Beth A. (2002). "Chambers, Jane (1937–1983)". In Summers, Claude J. (ed.). The Gay and Lesbian Literary Heritage. New York: Routledge.
  15. ↑ "Women's Video Festivals 1972-74". Electronic Arts Intermix. Retrieved 15 October 2022.
  16. ↑ Wye, Deborah (1982). Louise Bourgeois. New York: Museum of Modern Art. p. 108.
  17. ↑ Love, Barbara J. (2006). Feminists Who Changed America, 1963–1975. Urbana and Chicago: University of Illinois Press. p. 17.
  18. ↑ Gaze, Delia (1997). Dictionary of Women Artists. Vol. I. London and Chicago: Fitzroy Dearborn Publishers. p. 204.
  19. ↑ Love, Barbara J. (2006). Feminists Who Changed America, 1963–1975. Urbana and Chicago: University of Illinois Press. p. 130.
  20. ↑ "Artists: Howardena Pindell". Garth Greenan Gallery. Retrieved 16 October 2022.
  21. ↑ Love, Barbara J. (2006). Feminists Who Changed America, 1963–1975. Urbana and Chicago: University of Illinois Press. p. 385.
  22. ↑ Baum, Kelly; Griffey, Randall (2021). Alice Neel: People Come First. New Haven, CT, and London: Metropolitan Museum of Art/Yale University Press. p. 46.
  23. 1 2 Love, Barbara J. (2006). Feminists Who Changed America, 1963–1975. Urbana and Chicago: University of Illinois Press. pp. 384, 476.
  24. ↑ O'Malley, Hayley (Summer 2022). "The 1976 Sojourner Truth Festival of the Arts: A Speculative History of the First Black Women's Film Festival". Feminist Media Histories. 8 (3): 127–154. doi:10.1525/fmh.2022.8.3.127. S2CID   251450670 . Retrieved 16 October 2022.
  25. ↑ Rockwell, John (1978-03-01). "Song: Miss Schonbrun". New York Times. Retrieved 19 October 2022.
  26. ↑ Ericson, Raymond (1979-03-15). "Music: 2d Women's Festival Begins". New York Times. Retrieved 19 October 2022.
  27. ↑ Fliotsos, Anne; Vierow, Wendy (2008). American Women Stage Directors of the Twentieth Century. Champaign: University of Illinois Press. pp. 40–41.
  28. ↑ Jenner, C. Lee (1996). "Interart Theatre". In Wilmeth, Don B.; Miller, Tice L. (eds.). The Cambridge Guide to American Theatre. Cambridge: Cambridge University Press. p. 205.
  29. ↑ Fliotsos, Anne; Vierow, Wendy (2008). American Women Stage Directors of the Twentieth Century. Champaign: University of Illinois Press. pp. 156–57.
  30. ↑ Gussow, Mel (1985-09-20). "Stage: 'Solo Voyages,' Play Excerpts". New York Times. Retrieved 17 October 2022.
  31. ↑ Love, Barbara J. (2006). Feminists Who Changed America, 1963–1975. Urbana and Chicago: University of Illinois Press. p. 268.
  32. ↑ Yankowitz, Susan (January 1977). "ABCs" (PDF). Heresies. 1 (1): 57. Retrieved 17 October 2022.
  33. ↑ "InterArt Theater: Drama Desk Award". Internet Broadway Database. The Broadway League. Retrieved 19 October 2022.
  34. ↑ Holden, Stephen (1988-02-03). "Theater: 'Dress Suits'". New York Times. Retrieved 17 October 2022.
  35. ↑ Davy, Kate (2002). "Reading Past the Heterosexual Imperative: Dress Suits for [sic] Hire". In Martin, Carol (ed.). A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage. London and New York: Routledge. p. 153.
  36. ↑ Schneider, Rebecca (2002). "Holly Hughes: Polymorphous Perversity and the Lesbian Scientist". In Martin, Carol (ed.). A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage. London and New York: Routledge. pp. 240, 245.
  37. ↑ Sisley, Emily L. (2002). "Notes on Lesbian Theatre". In Martin, Carol (ed.). A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage. London and New York: Routledge. pp. 53–54.
  38. ↑ "Handke Theater Piece". New York Times. 1987-01-09. Retrieved 16 October 2022.
  39. ↑ Segal, Sondra; Sklar, Roberta (2006). "The Women's Experimental Theatre". In Chinoy, Helen Krich; Jenkins, Linda Walsh (eds.). Women in American Theatre (revised and expanded 3rd ed.). New Haven, CT, and London: Theatre Communications Group. p. 295.
  40. ↑ "New York Classified: Adult Education". New York. 1979-04-30. p. 115.
  41. ↑ Barlow, Melinda (December 2003). "Feminism 101: The New York Women's Video Festival, 1972–80". Camera Obscura. 18 (54): 12–14. doi:10.1215/02705346-18-3_54-3. S2CID   145802363 . Retrieved 16 October 2022.
  42. ↑ Stern, Ellen (1978-11-13). "Best Bets: In a Taxi, Honey". New York. p. 126.
  43. ↑ "Susan Milano's Document of Back Seat (1978)". Electronic Arts Intermix. Retrieved 16 October 2022.
  44. ↑ Furlong, Lucinda (1987). "Shirley Clarke". New American Filmmakers Series 39 (PDF). New York: Whitney Museum of American Art.
  45. ↑ Cohen, Thomas F. (2012). "After the New American Cinema: Shirley Clarke's Video Work as Performance and Document". Journal of Film and Video. 64 (1–2): 57–64. doi:10.5406/jfilmvideo.64.1-2.0057. JSTOR   10.5406/jfilmvideo.64.1-2.0057. S2CID   191635595 . Retrieved 18 October 2022.
  46. ↑ Krafft, Rebecca, ed. (1991). "Media Art". The Arts on Television, 1976–1990: Fifteen Years of Cultural Programming. Washington, DC: National Endowment for the Arts. pp. 159–60, 205.
  47. ↑ "Sister Suzie Cinema". Electronic Arts Intermix. Retrieved 18 October 2022.
  48. ↑ BWW News Desk (2007-06-07). "Performance and Multimedia Artist Lee Nagrin Dies at 78". Broadway World. Retrieved 17 October 2022.
  49. ↑ Dunning, Jennifer (2007-06-12). "Lee Nagrin, 78, Innovator in Performance Art, Dies". New York Times. Retrieved 17 October 2022.
  50. ↑ Dunlap, David W. (1986-04-18). "Koch, Under Stiff Pressure, Kills Clinton Housing Plan". New York Times. Retrieved 14 November 2022.
  51. ↑ Landman, Beth; Horsley, Carter B. (1988-09-08). "Chelsea Takes Charge of Its Own Changes". New York Post.
  52. ↑ "Urban Design Award: Mid-Manhattan Urban Renewal" (PDF). Progressive Architecture. January 1990. pp. 110–12. Retrieved 14 November 2022.
  53. ↑ "Firm Profiles: Peterson Littenberg Architects" (PDF). Progressive Architecture. January 1995. p. 112. Retrieved 14 November 2022.
  54. ↑ Griffel, Margaret Ross (2008). Operas in English: A Dictionary (revised ed.). Lanham, MD: Scarecrow Press. p. 197.
  55. ↑ "Our History—Year by Year since 1975". Encompass New Opera Theatre. Retrieved 17 October 2022.
  56. ↑ BWW News Desk (2008-05-02). "Interart Theatre Presents 'Bridge Over Land' Through 5/10". Broadway World. Retrieved 17 October 2022.
  57. 1 2 "Celebrating the End of an Era". Blessed Unrest. 2015-12-10. Retrieved 17 October 2022.
  58. ↑ "Women Artists in Revolution (WAR), Women's Interart Center, and Related Activism, 1969-1976 | Finding Aids". Barnard College Archives. Retrieved 28 June 2021.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.