TED STAMM NEWSISSUE 5 | SEPT 2026UPCOMING EXHIBITIONTED STAMM: SOLO EXHIBITION AT MUSEUM WIESBADENMuseum Wiesbaden will present a major solo exhibition of Ted Stamm’s work opening in October 2028. It brings together paintings and works on paper from private collections and museums in Europe and the United States. Further details on dates, programming, and the accompanying publication will follow in future issues. ONGOING EXHIBITIONSKUNSTMUSEUM BASEL PLACES DODGER ON PERMANENT DISPLAYKunstmuseum Basel now shows DGR-37 (Dodger), 1977, on permanent display. The work entered the collection in 2025. Visitors can now see Stamm’s shaped painting in the museum’s galleries. HARD EDGE(D) AT KUNSTMUSEUM SCHLOSS DERNEBURGTed Stamm’s LMX-2 (Low Wooster), 1979–1980, is now on long-term view at Kunstmuseum Schloss Derneburg, Hall Art Foundation, Germany. The painting appears in HARD EDGE(D), a group exhibition that opened on 13 June 2026. The exhibition traces six decades of hard-edge abstraction, a term the critic Jules Langsner coined in 1959. It fills the castle’s historic entrance hall and Rittersaal. LMX-2 (Low Wooster) draws on the low rider cars that filled downtown Manhattan in the 1970s. The two-part painting suggests a car moving forward. It hangs low to the ground and echoes the street life where Stamm made it. Stamm appears alongside Daniel Buren, Carmen Herrera, Peter Halley, Robert Indiana, KAWS, Imi Knoebel, Dóra Maurer, Kenneth Noland, and others. MUSEUM ACQUISITIONDENVER ART MUSEUM ACQUIRES TED STAMM WORKS ON PAPERThe Denver Art Museum has acquired a group of Ted Stamm works on paper for its permanent collection. These works show the drawing practice behind Stamm’s shaped paintings and reveal how he tested space, form, line, material and scale. PUBLICATION & RESEARCHNEW JOURNAL ARTICLE: STAMM’S SLIDES AND FEMINIST ART HISTORYA new study in the Art Libraries Journal examines Ted Stamm’s teaching slide collection at the Archives of American Art, Smithsonian Institution. Stamm photographed New York’s art scene from 1968 to 1984. His 6,450 slides record around 500 artists. Roughly 20% are women and 10% are non-Western artists. This was a progressive balance for the period. The slides document A.I.R. Gallery, SOHO20 Gallery, and artists including Rosemarie Castoro, Lynda Benglis, Nancy Holt, and Alice Aycock. The article shows how digital access turns Stamm's teaching materials into a resource for recovering feminist and marginalized art histories. It is open access. Elizabeth Ashley Fox-Jensen, “Digital archives and feminist art history: recovering marginalized documentation from 1970s New York,” Art Libraries Journal 51, no. 1 (2026): 28–37, Cambridge University Press. Read the article: https://doi.org/10.1017/alj.2026.10086 TED STAMM: PARTICIPATORY-BASED WORKSThe Tags publication has grown into a larger project. Its new title is Ted Stamm: Participatory-Based Works. The book now covers three bodies of work: the Tags, Designator, and Chance series. The Tags series (1973–1981) invited approximately 675 artists, curators, art historians, writers, and passersby to make marks on garment tags. Stamm responded to each mark and created a dialogue. The Designator and Chance series extend this story of participation, authorship, and the street. The book brings together University of Chicago research fellows with Professor Graham Bader (Rice University), Philip Kelleher (University of Houston–Clear Lake), Isa Rosario-Blake (Yale University), Elizabeth Ashley Fox-Jensen (UCLA) and Per Haubro Jensen (Ted Stamm Estate). Publication is expected in 2028. DIGITAL CATALOGUES RAISONNÉS: A NEW ROUTLEDGE MONOGRAPHDigital Catalogues Raisonnés: Design, Access, and Sustainability in Art Historical Scholarship is under contract with Routledge. The book belongs to the Digital Research in the Arts and Humanities series. It uses the Ted Stamm Catalogue Raisonné as one of twelve case studies. Publication is expected in 2028. UNIVERSITY OF CHICAGO INTERNSHIP FELLOWSHIPSOur fifth year with the University of Chicago has come to a close. The 2026 cohort spent the summer in New York. The Jeff Metcalf Internship Program funded their fellowships. 2026 Fellows: Amelia Chiarelli (Art History and English) Jasmine Li (Anthropology and Linguistics) Ava Lucarelli (Law, Letters & Society and Art History) Samuel Shaver (Religious Studies and Anthropology)
The fellows contributed to Ted Stamm: Participatory-Based Works. They organized archives, created metadata, transcribed texts, and carried out art historical research. Soft Network (AFELL) hosted the cohort all summer. We visited the Milton Resnick and Pat Passlof Foundation, the UBS Art Collection, Carter Ledyard & Milburn, MoMA and Guggenheim archives, the Jewish Museum, Atelier FAS, a private collection, and the Brooklyn Museum. At the Brooklyn Museum, the fellows viewed Ted Stamm’s ZYR-7 (Zephyr), 1979, in the permanent collection. Research project details RESEARCH FIND8 WOOSTERS AND THE HISTORY OF ARTISTS’ BOOKSTony White's article “artists books and After” traces how a 1973 exhibition gave a new art form its name. The curator Dianne Perry Vanderlip organized artists books at Moore College of Art in Philadelphia. Her title became the term artists still use today. White follows the genre through the 1970s to Art-Rite issue 14 (winter 1976/77), the landmark special issue on artists' books. Ted Stamm appears among the artists who contributed statements to its idea poll. Stamm's 1977 artist’s book 8 Woosters belongs to this history of 1970s SoHo publishing. One collage from 8 Woosters is in the collection of the Smart Museum of Art, University of Chicago. Tony White, “artists books and After,” Art Documentation: Journal of the Art Libraries Society of North America 42, no. 2 (Fall 2023): 213–230, University of Chicago Press. Read the article: https://doi.org/10.1086/731092 Header image: Ted Stamm, DGR-37 (Dodger), 1977, oil on canvas, 83.8 x 325.1 cm (33 x 128 in), installation view, Kunstmuseum Basel. Thanks to von Bartha, Basel, Switzerland.
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