Viewing page 29 of 89

This transcription has been completed. Contact us with corrections.

MARCIA MARCUS, 80 NORTH MOORE STREET, 32B, NEW YORK, NY 10013
In 1947 I graduated from N.Y.U. and for the next few years worked on my own, at one point studying privately with a sculptor. In 1950 I was enrolled at Cooper Union evening school and stayed there for two years. In 1954 I began looking at the Abstract Expressionists, especially deKooning, and also was aware that I needed drawing instruction and took an intensive course at The Art Students' League with Edwin Dickinson. This was a real turning point and while, at the time, it seemed aimless, in retrospect there was an underlying instinct that carried my development towards a personal style in a pretty straight line.
From 1951 I exhibited in group shows including a few Stable Annuals from 1953 and coop galleries like the Tanager. In 1957 I had my first solo show at the March Gallery, of which I was a charter member. During this period I earned money as a secretary, working part time or on a temporary basis. It was difficult financially but interfered less with painting. Both time and money were in short supply.
In 1960 I was in the Young Americans, 1960 at the Whitney Museum and started my two minutes of fame. I showed the following year at the Alan Gallery and sold quite well. I travelled and worked in Florence, Italy in 1961 and the following year received a Fullbright to France, and travelled fairly extensively. My work was influenced for some time by my trip to Greece, before the commencement of the Fullbright. I was also deeply involved in looking at Courbet and all trips were designed around museums in various countries.
In 1964 I received the Hinda Rosenthal Award, given through the American Academy of Arts and Letters (ironically for 'distinguished but unrecognized' for which I still qualify) and the first of three Ingram-Merrill Awards(1977, '82).
By 1967 the flurry was essentially over and sales have been sparse since. What did happen was a series of Visiting Artists jobs which supported me. Cutbacks have made those increasingly rare. In 1983 I received a Gottlieb which lasted for almost a year. In 1988, in desperation, I became a substitute teacher. This is hard physically but my only source of income except one semester replacement at the College of Staten Island. In 1991 I received an NEA, a great source of relief, but since I was in debt it did not last as long as I would have hoped. I also did not feel I could totally give up substituting and did a little of that.
Needless to say I have made constant efforts to get a gallery, with no success, though I have continued to exhibit sporadically. Sense would probably dictate a going out of business sale but I am in this for the long haul and committed to continuing as long as I am physically able.
I have applied for a Guggenheim but since this is about the 20th time I am not overly hopeful.