“She was not afraid to speak her mind or to report the truth,” Agnes Gund, a New York art curator and art collector and former president of the Museum of Modern Art, said of Ms. Gluck in a phone interview in 2021: “She was not afraid to speak her mind or report the truth. In a way, she has largely shaped the art world as We know him today, certainly in New York.”
The art world at that time was rapidly changing. The loft movement opened up SoHo, amplifying the scale of the drawing itself—as well as real estate values in that industrial neighborhood in Manhattan. Record prices at auction houses have raised questions about artists’ royalties on resold art. Pop art demanded, like Campbell’s soup cans and Andy Warhol’s Brillo boxes, several inches in the papers, as did the new waves of Op Art and Event. Corporate funding was transforming previously intimate museums. The National Endowment for the Arts, established by Congress in 1965, was distributing large sums across the country.
Wearing tailored jackets, a short, no-nonsense haircut and pedaling on appointments on her bike, Ms. Gluck was a frequent presence in showrooms and artist studios. Drawing on her literary education, she said, she wrote “naturally,” placing an artist in the home of a gallery or studio in verbal portraits that were tangible in their detail and friendly in intimacy.
The apparent ease in cutting them, combined with flashes of what Ms. Eisenberg called her “evil sense of humour,” was deceiving. “She bleeds when she writes and rewrites and rewrites,” Times reporter Nan Robertson She wrote in The Girls on the Balcony, her 1992 book that chronicled the newspaper’s women’s struggle for equality in the workplace.
Speaking to Marcel Duchamp in 1965, Ms. Gluck wrote that he “combed his hand through his long hair” and that “thin, lively and lively, in corduroy and suede boots, he did not look at all like a figure of art history.” Captured by his sarcastic sense of humor, he was quoted as saying, “This is the problem of artists now. In my day we wanted to be pariahs and outcasts. They have cottages, two cars, three divorces, five children. An artist has to take out a lot of paintings to pay for all that, okay?”
“Social media enthusiast. Beer nerd. Evil communicator. Pop culture lover. Prone to fits of apathy.”