Agnes Gund, a New York art patron, collector, and former chairman of MoMA, said of Gluck over the phone: In a way, she definitely shaped the art world as we know it today in New York. ”
The art world at that time was changing rapidly. The Loft Movement pioneered SoHo, expanded the scale of the paintings themselves, and increased real estate values in the once-industrial district of Manhattan. Record prices at auction houses raised questions about artists’ royalties for resold art. Pop Art, like Andy Warhol’s Campbell Soup cans and his Brillo boxes, as well as his Happenings of Op Art and performances of his art, have claimed his inches in newspaper columns. Corporate funding has transformed the formerly intimate museum. The National Endowment for the Arts, established by Congress in 1965, had a large amount of money spread across the country.
Sleek in tailored jackets, short no-nonsense haircuts, and pedaling to schedule, Glueck has become a frequent sight in galleries and artist studios. Drawing on her literary education, she wrote “naturalistically”, setting artists in her gallery and studio habitats with oral portraits.
Along with flashes of what Eisenberg calls a “wicked sense of humor,” the apparent effortlessness of her work was deceptive. In The Girls in the Balcony, published in 1992, Times reporter Nan Robertson wrote, “She writes, rewrites, and bleeds every time she rewrites.”
Reflecting on an interview with Marcel Duchamp in 1965, Mr. Glueck remarked that he “had his hand over his long hair” and that he “was wearing corduroy and suede shoes, supple, lively and light.” ” writes. history. “She caught his ironic humor and quoted him: In my time we wanted to be outcasts, outcasts. A country house, two cars, three divorces, I have five children, and an artist has to do a lot of painting to pay for it all, right?”