Guide to the Judy Malloy Papers, 1956-2010
Judy Malloy is a poet and an early creator of online interactive and collaborative fiction. She is a founder of the Arts Conference on the WELL, and wrote Uncle Roger, the first online hyperfiction.
Collection includes documentation and materials from Malloy's publications and programs, including Uncle Roger and its name was Penelope, as well as materials from her nonfiction research, including her 2003 book, Women, Technology, and Art. Also includes exhibition files and correspondence files from Malloy's career as an artist, both from creating artists books and from her work in new media and hypertext. Correspondence files include letters, postcards, original artwork and clippings from other artists as well as electronic literature (e-lit) artists and writers.
- David M. Rubenstein Rare Book & Manuscript Library, Duke University
- Malloy, Judy.
- Judy Malloy papers, 1956-2010
- Language of Material
- 15.6 Linear Feet, 13200 Items
- For current information on the location of these materials, please consult the Library's online catalog.
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 Printed Materials series includes both books and journal publications, with content both by and about Malloy, as well as some of her own reference material. Many books feature a chapter or contribution by Malloy, discussing or explaining her experimentation with online narratives and electronic fiction. Other articles discuss and reference her early contributions, including Uncle Roger and its name was Penelope. Some material relates to computer programming and early Internet research material. Finally, this series contains a cluster of books used by Malloy in her research for various publications. These are grouped at the end of the series.
The Notebooks series includes Malloy's notes and drafts for her various writing projects, including Uncle Roger, its name was Penelope, and Brown House Kitchen. These notebooks reveal the changes each work underwent as it was edited and outlined.
The Early Artists Books series consists largely of notes and photocopies of some of Malloy's early books, as well as a folder with color slides of a selection of her art.
Malloy's Writings and Programming series is largely focused on her new media work, with large amounts of material from her creation and publication of Uncle Roger, the first electronic hyperfiction. These files include her original work, as told on the Art Com Electronic Network (ACEN), as well as later versions and program printouts. Similar documentation is available for its name was Penelope, originally exhibited by Malloy in 1988-1989 and eventually published by Narrabase Press in 1990 and Eastgate in 1993. This subseries also includes an artist book for Penelope. Smaller amounts of materials exist for Malloy's other e-literature and programs, including You!, Brown House Kitchen, Molasses, Forward Anywhere, Wasting Time, Thirty Minutes in the Late Afternoon, Dorothy Abrona McCrae, and Paths of Memory and Painting, among others. There is also a small amount of material relating to Malloy's printed works, including Women, Art & Technology, as well as early children's literature.
The Exhibitions series includes documentation and materials from Malloy's installations and exhibitions of her artists books as well as exhibitions of her new media and electronic fiction. These have been divided thusly in the Detailed Description, and subsequently arranged chronologically. Materials include postcards, plans, correspondence, news clippings and press coverage, contracts, and other materials relating to the exhibit.
Talks and Readings is a small series with materials from various speaking engagements. The most significant was Malloy's participation in the Telluride Ideas Festival in 1993.
The Correspondence series includes much more than correspondence, and is in fact more of a name file of Malloy's relationships throughout the artist and e-lit communities. Her general correspondence includes letters from her childhood and college travels, as well as some miscellaneous files of correspondence with various curators and others regarding her exhibitions. The bulk of the series, however, consists of Malloy's artist correspondence and Art Com Electronic Network correspondence. These files include letters, postcards, prints, news clippings and press coverage, and occasional pieces of original art sent to Malloy throughout the 1970s and 1980s. The ACEN artist files include email and letters, some exhibition documentation, and some software-related documentation that overlaps with the Media by Other Artists series. The Correspondence series is grouped by General, Artists, and ACEN Artists, and subsequently sorted alphabetically.
The Media by Other Artists series includes software and accompanying documentation by several ACEN artists, many of whom included inscriptions or autographs for Malloy, as well as other new media. Finally, the Personal Materials series includes a subseries of personal photographs and slides, information on Malloy's family, and memorabilia including calendars and documents.
RESTRICTIONS: It should be noted that while this collection includes electronic media, these disks have been separated from the manuscript material in order to be migrated to Duke's Electronic Server for preservation. If you are interested in accessing this material, contact Research Services in advance.
Collection is open for research, but original electronic media is restricted. All disks have been removed from the collection for preservation.
However, collection may contain materials to which the Acknowledgment of Legal Responsibilities and Privacy Rights form applies. Patrons must sign this form before using this collection.
All or portions of this collection may be housed off-site in Duke University's Library Service Center. There may be a 24-hour delay in obtaining these materials.
Please contact Research Services staff before visiting the David M. Rubenstein Rare Book & Manuscript Library to use this collection.
The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book & Manuscript Library.
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 Arts Wire Current/NYFA Current, a magazine that Malloy edited from 1996-2004.
Malloy's work discussed, pages 93-98.
Includes Malloy, Writing Public Literature in an Evolving Internet Environment, pages 181-189.
Includes Malloy's work, The Roar of Destiny, pages 44-45.
Limited edition fine press book. Includes video. Malloy's work is discussed and illustrated in Text 4: Linnea Dayton, Interactive Fiction: Past, Present, and Future.
His work was influential on Malloy's card catalogs.
Includes Malloy's Anyway you look at it, ADM has your antenna..., pages 76-79. Article is documentation of Technical Information, Malloy's 1981 installation. Folder includes review of the book.
Includes Malloy's Electronic Fiction in the 21st Century, pages 137-144. Folder also includes edited draft with notes from Cliff.
Includes Malloy and Cathy Marshall's Closure was Never a Goal in this Piece, pages 56-70.
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 Cultures in Cyberspace virtual panel.
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.
Includes Malloy's "Writing and Interface on the Contemporary Internet: A Public Literature."
Includes Malloy and Anna Couey's "A Conversation with Sonya Rapoport (on the Interactive Conference on Arts Wire)."
Malloy's grandfather's self-published account of his work as Chief of Resettlement of the International Refugee Organization, 1946-1947.
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 Information as an Artists Material, pages 48-49
Includes Malloy's OK Research/OK Genetic Engineering/Bad Information, Information Art Defines Society, pages 371-375.
Includes Malloy, Uncle Roger, An Online Narrabase, pages 195-202. Also contains thanks from Carl on page 113.
Corresponding KAOS disc included in Software.
Articles by Malloy include: Artware-Intelligent, Responsive Works of Art are Changing our Ideas about Art, February 1993. Art Online, A Look at Artists, The Arts Community, and Collaborative Artwork in a New Medium-Electronic Networks, March 1993. Manipulating Words with Computers, November 1993.
Issues edited by Malloy; copyright free before it became NYFA Current in 2003.
Printout of special issue on Women, Art, and Technology, guest edited by Judy Malloy.
Includes Malloy's "Streaming Media Trail."
Includes Malloy's Travels with Contemporary New Media Art.
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 Arts Wire Current (which became New York Foundation for the Arts [NYFA] Current in 2002) from 1996-2004.
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 Uncle Roger and its name was Penelope.
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 Uncle Roger. Includes preliminary notes on the characters for Uncle Roger; notes on The Blue Notebook file structure and plot; notes to Fred Truck about setting up the ACEN datanet version as well as the UNIX shell version; and drafts of the original text for Terminals (File 3). Also includes some notes from an unfinished story, and draft emails regarding an article for the Whole Earth Review.
3 notebooks and 1 notebook cover with drafts and programming notes from the development of Penelope. Includes changes made following the Richmond Art Center Show in 1989, as well as programming notes for Song, the last file of the piece.
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 "quilt" made from Xeroxes of drawings.
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 Uncle Roger, the Apple II versions of Uncle Roger, drafts of its name was Penelope, IBM disks of Yellow Bowl and Molasses, a final version of Wasting Time, the software version and Eastgate releases of its name was Penelope, the Eastgate version of Forward Anywhere, Thirty Minutes in the Late Afternoon and You!. Please contact a reference archivist for this material.
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 The Tipping Point: Health Narratives from the South End, by artists Jen Hall and Blyth Hazen.
Related materials from Malloy's work on Pairing of Polarities: The Life and Art of Sonya Rapoport, 2012 Includes interviews, notebooks, brochure, and essay.
Includes early children's book manuscript, poems, and songs.
Bad Thad is a children's book by Judy Malloy, published in 1980 by E.P. Dutton with illustrations by Martha Alexander.
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 Technical Information, SITE, San Francisco, CA, March 3-28, 1981 (partially funded by the NEA), and Hearst Strip, Location/Dislocation, Berkeley Art Center, Berkeley, CA, April 25-May 23, 1980.
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 http://www.well.com/user/jmalloy/badinfo/bad.html.
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.
Uncle Roger was begun online on Art Com Electronic Network (ACEN) on the WELL on December 1, 1986. It was first told as an online serial with the keywords provided in each lexia-based installment, so that the readers could create their own version of the work using their own database software.
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 http://www.well.com/user/jmalloy/uncleroger/unclerog.html. The best overall reference for Uncle Roger is Judy Malloy, Uncle Roger, An Online Narrabase, in the journal issue Connectivity: Art and Interactive Telecommunications, Leonardo 24:2, 1991 (which is included in the Printed Materials series).
Its name was Penelope was created by Malloy in three different versions, with additional variations in the first two versions. The Exhibition version dates from 1988-1989. The Artists Software version was published by Malloy's Narrabase Press in 1990, and was distributed by Art Com. Finally, the Eastgate version began publishing in 1993.
This is the version used for the Richmond Art Center Exhibition.
Malloy was invited to create this work in the offices of The Whole Earth Review using a Mac, HyperCard, and an Apple computer. She used the cards (drawings, photographs, and texts) from one of her card catalogs (HOME) and also created the audio for the work. It was exhibited at the Art Com Software Show along with Uncle Roger. She published it via Bad Information (Berkeley, CA) in 1988.
Thirty Minutes in the Late Afternoon was a collaborative work created on ACEN on The WELL in 1990. It was conceived and produced by Judy Malloy and written by Malloy in conjunction with Anna Couey, Abbe Don, J. Matisse Enzer, Carole Gould, ISAST, Eleanor Kent, Carl Loeffler, Tom Mandel, Gil MinaMora, Harold Poskanzer, Howard Rheingold, The Normals, Fred Truck, and Kathleen Watkins. The actions and words of three characters were written on a conferencing system, divided into four topics which were then formatted into three columns by Malloy. The work takes place October 17, 1989, the date of the Loma Prieta earthquake; most of the writers would have been in the Bay Area at that time.
You! was a collaborative narrative data structure, created in 1991. Exhibitions include Reflux, at the Sao Paulo Biennial in Brazil (1991), as well as INTERNET, in New York City (1995). It was also included on the CD that accompanied The New Media Reader, edited by Noah Wardrip-Fruin and Nick Montfort (2003). It is available on the web at http://www.well.com/user/jmalloy/you/index.html
Created in LambdaMoo while working for XEROX PARC. The creation is documented in Malloy's article Narrative Structures in LambdaMOO, in In Search of Innovation: the XEROX PARC PAIR Experiment, edited by Craig Harris, 2000.
A narrative data structure published in After the Book: Writing Literature Writing Technology, Perforations 1:3, Spring-Summer, 1992, guest edited by Richard Gess.
Other disks removed from this subseries include Stuart Moulthrop's Dreamtimeand Shawn Fitzgerald's Yet Still More. These floppy disks were originally from Perforations' After the Book.
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.
2002 Disk from Fine Art Forum's 15th anniversary has been removed for preservation.
The Yellow Bowl was exhibited at Interactive Art, FISEA, in Minneapolis, Minn., November 1993, and also at Digital Identities, Sheppard Gallery, at the University of Nevada in 1995. Although the work was under contract to Eastgate in 1994, it was never published, largely due to Malloy's accident.
Handwritten texts on fragments of watercolor paper and enclosed in a box labeled with information about the installation; written as a draft notebook for The Yellow Bowl and then used in an installation at DIGITAL IDENTITIES: Technologies of Meaning, Sheppard Gallery, University of Nevada, Reno, February 3-March 3, 1995.
According to Malloy, l0ve0ne is one of the fist officially published new media literature on the web.
Forward Anywhere was cowritten by Malloy and Cathy Marshall. After installations at The ADA Show, Artemesia Gallery, Chicago, March 1996 and the Xerox PARC 25th Anniversary, Xerox PARC Corporate Lobby, Palo Alto, CA, September 1995, it was published in Wired Women, ed. Cherny and Weise, 1996, p. 56-70. The installations featured a laptop with the actual work that was placed on an informal garden table to simulate Malloy and Cathy Marshall's meetings to plan this work; the table also held notebooks, containing emails exchanged by Malloy and Marshall.
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 http://www.well.com/user/jmalloy/roarofdestiny/control.html.
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 http://www.well.com/user/jmalloy/dorothy_abrona_mccrae/.
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 Dorothy Abrona McCrae, precedes Afterwards, and is narrated by Jenny Clark, the narrator of Uncle Roger. It is available at http://www.well.com/user/jmalloy/weddingparty/begin.html.
Afterwards chronicles the relationships of three couples, one of which is Dorothy and Sid (from the Dorothy stories). It immediately follows A Party at Silver Beach. It was published by the Iowa Review Web, from which it is available at http://iowareview.uiowa.edu/TIRW/TIRW_Archive/tirweb/feature/malloy/index.html, and is mirrored at http://www.well.com/user/jmalloy/dorothyandsid/begin.html.
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 Iowa Review Web in 2008 and was featured in the Centenary of Carmen Conde in Spain in 2007); the 2006 FLEFF Film Festival in Ithaca, NY; and The Rose Goldsen Archive of New Media Art at Cornell. It is available at http://iowareview.uiowa.edu/TIRW/vol9n2/artworks/concerto/begin.html.
This is a magical realist text opera which was featured in featured in Visionary Landscapes, the 2008 Electronic Literature Organization International Conference Exhibition. It is available at http://www.well.com/user/jmalloy/celebration/begin_celebration.html.
This trilogy is part of the Dorothy stories. Part I, where every luminous landscape, is a work of new media poetry which was shortlisted for the Prix poesie-media 2009 (Biennale Internationale des poetes en Val de Marne) and featured at The Future of Writing (UC Irvine, 2008), Cover to Cover (KPFA Radio, Berkeley, 2008), and the E-Poetry Festival (Barcelona, 2009); Part II, when the foreground and the background merged, is an interlude of three recollected scenes; and Part III, paths of memory and painting, is a closing text-based trio sonata. All are available at http://www.well.com/user/jmalloy/luminous_landscape/paths.html.
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 http://www.well.com/user/jmalloy/from_Ireland/begin_from_Ireland.html.
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 its name was Penelope.
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 Eat Your Art Out fundraiser for the University Art Museum in Berkeley. Folder includes bubblegum cards and part of the box that housed them.
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 Reflux Project.
Authorized edition available at http://www.judymalloy.net/richmond/srapoport.html.
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.
Performance documentation of "Free Values," including brochures and notes.
Email and printout from Pulp to Pixels exhibit, Amherst, 2012, and the Istanbul Contemporary Art Museum Web Bienniel, 2005.
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.
Includes materials from Radical Humor, at the New York University student center, 1982; Hypertext, a reading by Malloy, Christine Tamblyn, and Maria Hernandez, San Francisco Public Library, Park Branch, 1994; and The Impact of Technology on Art, U.C. Davis, where Malloy was a panelist, 1995. Also includes materials from The Women's Leadership Institution, 2001; UC Santa Cruz Hypertext 2004; Wired Women readings; and the State of the Arts Conference at Arizona State from 1994.
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 Hypertext, Hypermedia, Defining a Fictional Form.
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.
Re: From Ireland with Letters.
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.
You! was included in this project.
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 its name was Penelope.
Malloy lived with her mother and Lillard grandparents on Cedar Lane during the final years of WWII; their house is described in its name was Penelope. After the war, the Lillards moved to Red Gate Lane in Cohasset.
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 its name was Penelope.
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 L0ve0ne..
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. Tom Barley and the Battle of Dogtown was written in Pinecliffe and The Roar of Destiny includes scenes that are composites of places she lived in Colorado.
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 The Yellow Bowl, produced Leonardo Electronic News, indexed for the Annual Reviews, and worked on the publication of its name was Penelope. Includes photos and slides of her mother's house.
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 Leonardo Electronic News and then for Arts Wire. Malloy wrote name is scibe and part of Forward Anywhere and worked on The Yellow Bowl while in Arizona.
The Malloys lived in Ipswich ca. 1972-1974. Landscape painting in Ipswich is part of the background in where every luminous landscape.
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 Dorothy Abrona McCrae.
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 its name was Penelope. Folder includes slides of Malloy working on the Wiggly Bush Meadow project; slides and photos from Malloy's house on Grove Street; a photo of Tahoe; and photos from the Plant Pathology Library at UC Berkeley, where Malloy worked.
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 Uncle Roger, Molasses, and its name was Penelope.
Malloy has lived in El Sobrante since 1996; most of her work, beginning with The Roar of Destiny, was written here. Folder includes photos of El Sobrante and of nearby camping and hiking trips, which contributed to Dorothy Abrona McCrae.
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 Recollection, Heller Gallery, UC Berkeley, March 1-27, 1982.
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 Winchester Star and the Somerville Journal as well as Managing Editor of the Somerville Journal, the Cambridge Chronicle, and the Watertown Press, all in Massachusetts); and obituaries.
"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 Memorable Men of My Time (whose trails I have crossed), the original manuscript of which is available at Dartmouth's Rauner Special Collections Library. Selections cover Theodore Roosevelt, Franklin Delano Roosevelt, King Leopold II of Belgium, and Sir Winston Churchill, among many others, as well as various other narratives and an article on the Dartmouth football team. Folder includes Lillard's business card from the United Nations.
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 HotWired.
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.
Belonged to Malloy's grandmother. Malloy writes, "the odds and ends in the box are from different sources. The fan and pieces of cloth were given to me by Toshiba because they used my image in an early laptop commercial."
Kept by Malloy since her father was a Normandy veteran.
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 Uncle Roger, the first online hyperfiction.
|1942 January 9||Born Judith Ann Powers, Boston, Mass.|
|1977-1993||Created and exhibited numerous artists books|
|1986||Began writing and programming Uncle Roger|
|1989||its name was Penelope exhibited at Richmond Art Center|
|1990||its name was Penelope published by Narrabase Press|
|1991||Programmed and produced You!|
|1991-1993||Editor, Leonardo Electronic News|
|1993||its name was Penelope published by Eastgate|
|1993||Began working for Arts Wire|
|1993||Became Xerox PARC artist-in-residence|
|1994||Created Making Art Online website|
|1995||Created Forward Anywhere with Cathy Marshall|
|2003||Editor, Women, Art & Technology, published by MIT Press|
[Identification of item], Judy Malloy Papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University
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: DACS, EAD, NCEAD guidelines, and local Style Guide.
This finding aid is NCEAD compliant.
Accessions included in this finding aid: 2010-0205, 2010-0229