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[Identification of item], Judy Malloy Papers, David M. Rubenstein Rare Book & Manuscript Library
The Judy Malloy Papers were received by the David M. Rubenstein Rare Book & Manuscript Library as a gift in 2010 and 2011.
Processed by Meghan Lyon, November 2010
Encoded by Meghan Lyon, November 2010
Last updated by Meghan Lyon, August 2012
This collection is minimally processed: materials may not have been ordered and described beyond their original condition.
Descriptive sources and standards used to create this inventory:
This finding aid is NCEAD compliant.
Accessions included in this finding aid: 2010-0208, 2010-0229
Judy Malloy is an artist, poet, and early creator of online interactive and collaborative fiction. She is a founder of the Arts Conference on the WELL, and wrote
The Judy Malloy Papers includes the personal and professional papers and materials from Judy Malloy, a groundbreaking artist, author, and poet working in electronic literature and online interactive formats.
The collection is still being acquired, with new additions being regularly added to this finding aid. Please consult Research Services with questions about this material.
Malloy's
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These are searchable subject entries for this collection. Performing a search on these subjects in the Duke University Libraries online catalog will bring up other related research materials.
Printed materials including books and journals with articles or poetry by Malloy. Also includes her computer programming books and manuals, reference materials for various projects, and some items that reference her and her work, along with a subseries on
Malloy's work discussed, pages 93-98.
Includes Malloy,
Includes Malloy's work,
Limited edition fine press book. Includes video. Malloy's work is discussed and illustrated in Text 4: Linnea Dayton,
His work was influential on Malloy's card catalogs.
Includes Malloy's
Includes Malloy's
Includes Malloy and Cathy Marshall's
Also includes some correspondence with Richard.
Judy Graham's work is signed, page 132.
Includes inscription for Judy Malloy.
Includes second folder with information on the
Includes part of an inscription from Christine Maxwell. Malloy was a primary paid consultant on this book.
Wilson and Malloy met at CADRE in San Jose in the 1980s and were colleagues in the Xerox PARC Program. Malloy's work is discussed on pages 487, 525, 563, 594, 688-689, and 828.
Includes Malloy, Approaches to Creative New Media, pages 151-157, and a mention of the chapter by the editors on pages 10 and 263.
The prologue explains the role of Woodside in Silicon Valley culture; see Uncle Roger, File I, A Party in Woodside.
Books on California Bay Area figurative painting were used for background research for Dorothy Abrona McCrae and more directly in Paths of Memory and Painting.
Interview with Terry Fox by Robin White.
Includes Spalding Gray: Traveling Through New England, Swimming to Cambodia, pages 28-32 and 87-88.
Silver Anniversary Issue. Inscribed to Judy Malloy by cover artist Byron Hunt.
Includes Malloy's
Includes Malloy's
Includes Malloy,
Corresponding KAOS disc included in Software.
Articles by Malloy include:
Issues edited by Malloy; copyright free before it became
Printout of special issue on Women, Art, and Technology, guest edited by Judy Malloy.
Includes Malloy's
Arts Wire was founded in 1992 as an online computer network intended to facilitate discussion and collaboration among artists. Malloy began working for Arts Wire in 1993 and was editor of its ezine
Spiral notebooks with Malloy's notes from planning art installations, as well as separate notebooks with character development, plot structures, and programming notes for Malloy's works
Includes small photographs of the card catalogs and other artists books in the installation, as well as installation notes, floor plans, and instructions on creating the installation.
Includes art notes, as well as a photograph of Malloy photographing an art work.
5 notebooks with notes from the writing and programming of
3 notebooks and 1 notebook cover with drafts and programming notes from the development of
Undated notebook for the work created in LambdaMoo while working for the Xerox PARC as an artist-in-residence. Unfolding insert is a plot of how the food served keyed the narrative. Second notebook, dated 1993-1994, mainly includes the manuals used by Malloy to learn the programming language.
Slides, photocopies, and supporting material from some of Malloy's artists books. Includes a small amount of original art.
Color slides with photographs of Malloy's art and artists books. Descriptions below include the format of each piece, the title, and the date. Some slides cover materials from the Exhibitions and Writings and Programming series.
Original is pen and ink on a large sheet of ricepaper, which was then folded like a map, with a folder made for it.
Original piece that is a
Photo and drawings artists book; an example of the work that inspired the work done by the narrator of its name was Penelope. Two editions were made, the first of which was given to the friends who were in the book.
Includes 1984 statement about Malloy's work with a price list of works; "Photographic Artist's Books" statement from July 10, 1987; undated handwritten early notes about computer-mediated books.
Includes a small amount of material on Malloy's paper-based written works, but the majority of this series relates to Malloy's electronic works, hyperfiction, and computer programming.
The disks containing Malloy's works have been removed from the collection to be individually transferred to Duke's Electronic Records Server. This includes early versions of
Essay by Malloy and resources used by her in the essay. Originally published on CDD website.
Draft of article and related email correspondence.
Book reviews, material from a Cyberfem Panel that Malloy hosted in 1999, and material about the exhibit
Includes early children's book manuscript, poems, and songs.
Card catalog poem made from 50 3x5 photos, drawings, and text and filed in a plexiglass box; it can be read sequentially or hypertextually. The work was shown in
This information art project looked at the social implications of genetic engineering.
Sequential photo-poem meant to be used in Radio Shack's battery-operated address books that electro-mechanically moved a roll of paper on which you could write addresses. Malloy made several artist books by replacing this paper with a roll of sequential photos; this project consisted of photos taken of people in the bleachers at Oakland A's games.
For this project, one of the first pieces of online collaborative information art, Malloy invited participants to help create a satirical database. The searchable database that this produced concerned the impact of computers on society and the tendency not to question computer-produced information. It is available at
For this project, an offline database was created with excerpts from computer magazines and documentation. Cards were physically sent to various participants, who were invited to return the card labeled with a keyword they had selected from a provided list. Malloy then printed out the results of the search for that keyword and sent it to the requester. The notebook contains the search requests Malloy received.
The work consists of three parts: File 1, A Party in Woodside; File 2, The Blue Notebook; and File 3, Terminals.
A working hypertextual version was published online (programmed with UNIX Shell Scripts) on ACEN from 1987-1988 with each part appearing separately. The publication of File 2 was partially funded by the California Arts Council and Art Matters. At the same time, 1987-1988, disk versions of this work were self-published and distributed by Art Com -- first Apple II and then IBM PC. The disk version was also included in the traveling exhibition, Art Com Software, as well as in other exhibitions.
Uncle Roger was first adapted for the World Wide Web in 1995 and revised in 2003. It is available at
This is the version used for the Richmond Art Center Exhibition.
Malloy was invited to create this work in the offices of
Created in LambdaMoo while working for XEROX PARC. The creation is documented in Malloy's article
A narrative data structure published in
Other disks removed from this subseries include Stuart Moulthrop's
From
Articles, speech notecards, and other materials from Malloy's time as an Artist-in-Residence.
Draft of a speech given at XEROX PARC as part of a Computer Science Laboratory called Dealer.
Work of information art that was one of the first art works available on the World Wide Web. Originally hosted by CSIR's Anima website. A version is now on the Walker Art Center website.
Handwritten texts on fragments of watercolor paper and enclosed in a box labeled with information about the installation; written as a draft notebook for
According to Malloy,
File includes printouts of Unix directory that includes all the files that comprise The Roar. Also contains articles about the piece, dating 1998-1999, and early versions. The authorized edition is available at
This work is a hyper-epic about an 81-year-old Bay Area Figurative painter. Malloy wrote it in 2000 and revised it in 2008. It is available at
Includes a statement about the work, a list of the approximately 800 files that comprise the work, a coding chart for the beginning of the work, and notes for part 4 of the work.
Includes postcards, pamphlets, brochures, file key charts, and photos.
This work of electronic fiction takes place at a party. It follows
In parternship with the California Studies Association, Malloy produces and hosts this web portal intended to provide greater online access to California artists and art organizations.
This work of hyperpoetry, which could also be performed, has six artist and writer narrators, including Dorothy and Sid from the Dorothy stories, and concerns covert surveillance. It was published in the
This is a magical realist text opera which was featured in featured in
This trilogy is part of the Dorothy stories. Part I,
Printouts and correspondence with curators
Printouts and drafts
Text and documentation
This work of hyperfiction, which premiered at Malloy's retrospective at the 2012 Electronic Literature Organization Conference at West Virginia University, concerns Irish people who were sold as slaves in America in the 17th century. It is available at
Includes exhibitions, installations, and performances of Malloy's artists books, cartoon narratives, and new media.
With Doyle Saylor; sponsored by La Mamelle, Inc. As part of the LOCATION project; partially funded by the National Endowment for the Arts.
Partially funded by National Endowment for the Arts.
Curated by Franklin Furnace. Show also traveled to University of Arizona Museum of Art, University of New Mexico Museum of Art, the Walker Museum, and others.
Ideas in this work were later used in Malloy's new media literature, such as
Many annual exhibitions and events.
Show traveled to the Institute for Contemporary Art (New Orleans), the Washington Center for Photography, the Houston Center for Photography, CameraWork (San Francisco), and others.
Show also exhibited at U.C. Santa Barbara, Hayward State University, Calif., and others.
These pop conceptual works began in the 1970s and continued with mail art and performances/installations.
Originals of two mail art cartoons.
Calendars for the Mail Art Network.
An early Lucy story.
Part of the
This cartoon narrative was handed out serially at La Mamelle in San Francisco. The final installment (Ch. 11) was a live performance at La Mamelle in December 1981. Folder includes slides used in the performance, photographs of the performance, and original performance set drawings.
Series of pop conceptual cartoon handouts and performances. Handouts were distributed via handpainted boxes located at Public Image in New York City and The University Art Museum bookstore in Berkeley, among other places. Includes chapters 1-15 with distribution information (performances, radio broadcasts, and publication) as well as slides, photos, and documentation.
The final installment of the Lucy narratives took place at a party at Malloy's studio on April 20, 1986. Includes story originals, 2 copies of the book distributed at the party, invitations, and maps to the event, as well as information related to an undated and unrealized performance/installation.
Malloy would distribute these texts at art events. Folder includes originals and a slide of the handout box.
A computer program that combined in one list all the cities and towns of both West and East Germany and was displayed alongside a handpainted bucket full of painted and labeled objects and rocks, each representing a German city or town. Folder includes flyers for the show, the exhibition version, the computer program and printouts from the software, slides of the bucket, correspondence with Carl Loeffler and Anna Couey, and material used for research and information.
Includes Artur Matuck's catalog for the
Authorized edition available at
Includes Best of Breed Award, a note to curator Helen Holt explaining Malloy's sculpture, and an audio tape that was part of the sculpture.
Includes general public speaking engagements as well as a folder from Malloy's participation in the Telluride Ideas Festival at Deep Creek Camp, Summer 1993.
Audio tape.
Includes materials from
Malloy gave a guest lecture titled "Looking Out the Windows on the Telematic Bus."
Includes notes and 3x5 cards from Malloy's panel presentation on
Malloy was an invited speaker; she spoke about electronic publishing. Includes a press release, notes from her session, flyers for a Deep Creek open house, lists of participants, and other materials.
Malloy presented a paper titled "Artist on the Net" on the Imagining Cyberspace panel. Includes invitation and correspondence from Anna Couey about the panel as well as the card index for the talk.
Includes index cards from Malloy's talk, which consisted of extracts from emails between Malloy and Cathy Marshall concerning their paper about Forward Anywhere for the book Wired Woman.
GENID/NEME (Gender and Identity in New Media), a website that Malloy created, was a semi-finalist. The website was a public interactively created document that was structured as a digital conference. Folder includes memorabilia from the GII Awards and printouts from GENID/NEME.
Includes personal correspondence from Malloy's childhood, as well as correspondence between Malloy and her contacts throughout the art world, with both traditional and new media artists.
Includes some clippings and ephemera.
Close friends from Winchester, MA. Folder includes letters, cards, and clippings.
Malloy's father's second cousin, an art and architecture historian affiliated with the National Trust for Historic Preservation and the Smithsonian.
Consists of an archive of mailings, clippings, postcards, letters, prints, and original artwork from various book artists, performance artists, and other friends of Malloy, dating largely from the 1970s-1980s. Organized alphabetically by last name.
Includes collaborations with Ann Rosenthal.
Software and other media created by other artists. All electronic media has been removed to be transferred to Duke's electronic records server.
Based on Randy Shilts' eponymous 1994 book on gays in the military.
Personal photographs and slides, as well as information about Malloy's family and personal documents.
Photographs, slides, and some related material on Malloy and her family. Detailed descriptions available in boxes.
Family and friends. Permission is granted to use any of the photos with the exception of the official wedding photos. Most of the photos in this album were taken either by Malloy or by her mother, Barbara Powers.
Sailing toyboats in Cohasset and Berkeley with Malloy, her brother Steve, her grandfather, and her mother. Part of the inspiration for
Malloy lived with her mother and Lillard grandparents on Cedar Lane during the final years of WWII; their house is described in
Malloy's father was stationed here after Pearl Harbor; Malloy and her mother also lived there. Folder includes photos of taken in Crockett and near Camp Hulen, TX as well as a pamphlet about Crockett.
Malloy lived with her parents and her brothers Steve and Andy in Winchester ca. 1946-1960. Photos taken by Barbara Powers. Folder includes high school photos of Malloy.
As a child, Malloy visited Wellfleet, Cape Cod every summer with her family. Photo book taken by Barbara Powers; some are scenes from
Malloy lived in Germany twice during the 1960s. Photos taken by Malloy or by Jim Malloy while she lived in Numberg and worked for Special Services libraries. Includes Special Services ID card for North Bavaria district. Malloy used the setting as a part of
Malloy lived in Colorado twice: in the late 1960s in Boulder and Pinecliffe, where she worked as a librarian, and in the summers of 1993 and 1994 near Telluride.
Photos of "Camp," the place Malloy's grandfather Lillard built on Newfound Lake.
Photos of Malloy's brother Steve's wedding to Fran Noonan.
Malloy spent 1992 living at her mother's house in Temple, NH. While there she wrote part of
Includes photos of Albequerque, NM, where Malloy and her then-husband Jim lived in 1971-1972; Los Alamos, NM; San Antonio, TX, where Malloy's Aunt Jane lived; and the area near Phoenix, AZ, where Malloy spent time in 1993 and 1994 while working on
The Malloys lived in Ipswich ca. 1972-1974. Landscape painting in Ipswich is part of the background in
The Malloys lived in Sunnyvale in 1974-1975. Includes a photograph of an exhibition by Malloy at the Upstairs Gallery in Sunnyvale; Malloy used the experience of painting and exhibiting art in
The Malloys lived in Oakland in 1976.
Malloy lived in Berkeley ca. 1977-1985. Her experiences in the art community during this period are a large part of
Slides from when Malloy and her son lived in Kensington ca. 1986-1990. During this time Malloy first began writing online (for Art Com Electronic Network, at Carl Loeffler's invitation, in 1986) and wrote
Malloy has lived in El Sobrante since 1996; most of her work, beginning with
Photos of Malloy's parents' wedding; folder includes press clippings.
Photos of Crockett, CA, Camp Hulen, TX, and possibly Wilmington, NC (places where Malloy's father was deployed in World War II before being sent overseas).
Photos of Malloy as a child, mostly taken by her mother.
Malloy and her mother lived in Cohasset with Malloy's maternal grandparents while her father was overseas during WWII; pictures mostly taken by her mother.
Slides of "Camp," the family house built by Malloy's maternal grandfather on a lake in NH; slides were used to create the installation
Malloy's brother, born June 6, 1944. Includes photos of Steve; photos and an article about his first wife, Fran, who died of and was active as an advocate about early onset Alzheimers; and photos of their children Jess and Phil. Except for the wedding photos, most of these were taken by Malloy's mother.
Malloy's autistic brother, born May 17, 1949; most photos taken by Malloy's mother.
Photos of the children and wife of Malloy's Uncle Walter Powers and a printout of Internet pages about the Velvet Underground when Walter Powers III was in the group.
Assorted photos of Malloy's mother, starting in her childhood and ranging throughout her life, and including a photo of her in Peterborough, NH where she lived until her death.
Assorted photos of Malloy's father.
Includes photos of Malloy with her family; as a child; and with Sean in Albequerque.
Photos of family "Camp" in New Hampshire.
Materials relating to Malloy's mother. Folder ncludes two copies of birth record; 1936 passport; engagement and wedding notices; correspondence, documents, clippings, and photos from her journalism career (she served as Editor of the
"Principles of Unity in Contemporary Art, Design, and Building," submitted 1937.
Cover story: "Harvard's Womanless History: It's time to revise." Malloy's mother is featured on the cover, the fourth woman up on the right edge.
Materials relating to Malloy's father. Folder includes birth record, documentation from his military career, and a biography page from a Dartmouth reunion.
Photos and mementos of Malloy's maternal grandparents. Ethel was a graduate of Smith College; Walter ("Cappy") studied at Dartmouth and Oxford, was headmaster of Tabor Academy for many yars, and served in Vienna under the United Nations as Chief of the Resettlement Division of the International Refugee Organization in 1946 and 1947.
Most of the material is drawn from
Materials relating to Malloy's son, including photos, mementos from his wedding, educational and professional documents (he earned a BA from UC Berkeley and a PhD in history from Stanford), a photocopy of one of his academic articles, and documents from his time as Assistant Editor of
Materials relating to Malloy's uncle and aunt, with whom she lived while working at the Library of Congress. Includes photos with various other relatives and biographical materials/obituaries for Frederic.
Materials relating to Malloy's uncle and aunt, including photos and an obituary for Evan.
Walter Powers, second from left on cover, was a member of the Boston-based group.
Winchester High School, 1960; Middlebury College, 1964
Includes yearbook pictures and cards/letters from Middlebury friends.
1976, 1977, 1981, 1984, 1990
Materials relating to Malloy's various library positions, including contractor work for the Goddard Space Center's automated catalog, Special Services Libraries in Germany, and the Library of Congress, among others.
Includes horsemanship certificate from the Chimney Corners Camp; National Rifle Association Junior Diploma; and certificate of completion from the University of Denver Graduate School of Librarianship Library Systems Analysis and Design Institute.
This unit was with Malloy's father's unit at Camp Hulen, TX; the book is inscribed to her father.
Includes Cohasset, where Malloy's maternal grandparents lived and Malloy and her mother lived while her father was overseas, and Wellfleet, where the family spent some summers.