In 1953 Jackson opened the
Martha Jackson Gallery in a brownstone on East 66th street in Manhattan. Among those in her stable were
Henry Moore,
Louise Nevelson,
Lynn Chadwick,
Norman Carton,
Philip Pavia,
Zoltán Kemény, The gallery also exhibited works by
Francis Bacon and
Marino Marini,
New York School painters like
Willem de Kooning,
Hans Hofmann, and
Adolph Gottlieb, deceased Americans
Milton Avery,
Alexander Calder,
Arshile Gorky, and
Marsden Hartley, and emerging artists
Lawrence Calcagno,
John Hultberg,
Lee Krasner, and
Norman Bluhm Lee Krasner,
Marisol (Escobar),
Barbara Hepworth, and
Grace Hartigan.
New Forms — New Media exhibition, a subversive of art in the Dadaist tradition. In the fall of 1960, the gallery launched a second installment of the exhibit,
New Forms New Media II, which ran from September 22- October 22. In 1961 Jackson opened
Environments, Situations, Spaces, a follow-up to the
New Forms — New Media shows. This exhibition consisted of site-specific and interactive works including
Spring Cabinet, room of drippy paint buckets by
Jim Dine;
Yard, a courtyard full of salvaged tires by
Allan Kaprow; as well as a recreation of
Claes Oldenburg's
Store. Jackson worked with
Julian Stanczak, and the gallery's 1964 exhibition of his paintings led to the coining of the term "
Op Art" by
Time Magazine. Around the same time, Jackson established
Red Parrot Films, a production company that made documentaries on art and artists. Their film "The Ivory Knife," on
Paul Jenkins, was awarded a prize at the Venice Biennale in the mid 1960s. The gallery was also a leader in the publishing and marketing of artist prints, and ephemera. Jackson and Anderson worked with
Jim Dine,
Sam Francis,
Julian Stanczak,
John Hultberg, and
Karel Appel on limited editions. Martha Jackson remained connected to her home town of Buffalo, NY and worked with
Seymour Knox Jr., to enter works by
Sam Francis,
Louise Nevelson, and
Antoni Tàpies into the
Albright Knox collection. == Collection and legacy ==