“Seth material” search engine (Jane Roberts)

(Before the session I had asked Jane if Seth could give me some more data on the art and gallery material begun in the last session. I was going to try to put it to practical use, I told Jane not to try too hard, though, to get more data. She said that the impetus would be strong to help me on these subjects. I was a little surprised to hear Seth start right in on the gallery data.)

The man has been himself an artist, therefore. He may be the uncle of the man who runs the gallery, per se, but he has a strong voice in the gallery. At one time connected with the school of ashcan art. Do you follow me?

Jerry A. Fox. The gallery is commercial. From the outside it does not look like a gallery, but is well-enough known. It has foreign outlets as well.

In the area of 6th Avenue and 61st Street, Carter (spelled). You had better include N A N. (Pause.) Now I do not know if this is Nan Carter, but I do know the two are connected. And with a group show of some note in 1935, in which I believe this person participated, who now owns, or runs, or is connected with this gallery in this neighborhood.

[...] He has had his work exhibited in many galleries in Buffalo, including A.M.A.’s Gallery, J.N.’s Gallery, Encores Gallery, and Carl Briedmier’s Gallery. [...]

[...] Walter Buhr has had his work shown in numerous galleries in New York State as well as in Pennsylvania. [...] Harold Spaulding has exhibited at the Roberson Gallery in Binghamton, and has participated in a two-man show at Two Rivers Gallery in that city. [...] His art has also been exhibited at Arnot Art Gallery in Elmira in group shows, and in Scranton, Pennsylvania.

(The purpose of the gallery is to provide an outlet for painters, sculptors, and ceramacists to bring their work before the community. [...] Interested area artists can contact Mr. Macdonnel between 1:00 and 3:00PM on Saturdays and Sundays at the gallery.

[...] You should move into your gallery as soon as possible. [...]

[...] The errors in introduction made by Jane at the gallery reception were humorous, but also so obvious that their significance could be hardly missed. One involved a cousin of mine whom we hardly see; the other involved the director of the other gallery in town, the Arnot, for whom Jane had worked until a couple of months before the reception at Bill’s gallery, which we now believe did take place in February.

(For the envelope test I used a pair of name cards made by our friend Bill Macdonnel for his art studio, the Cameron Gallery. Bill gave us these cards perhaps a year or so ago, shortly after he opened his gallery. [...]

[...] Any painting in Bill’s gallery could be “A representation.” [...] “Yourself a year ago” I regarded as valid, since I had paintings of my own on exhibit at Bill’s gallery on the occasion for which he made these cards; and the event took place around a year ago, although I do not know the exact date offhand.

[...] At the time of the exhibition I participated in at Bill’s gallery last winter, he had not had the gallery open very long. [...]

[...] In July 1964 Jane worked at the Arnot Art Gallery, and Caroline Keck and her husband Sheldon spent some time there then, putting the gallery’s collection in shape. [...] The drawing of the pigeon was among a group I had exhibited at the gallery at the time the Kecks were present; they saw it and admired it. [...]

[...] Jane said the Kecks worked with frames and pictures while at the gallery in July 1964. [...] Could also be a generalization, referring to either the Arnot Gallery here in Elmira, or the Brooklyn Museum mentioned on the object, or both.

[...] Jane’s present working situation is much like that she worked in at the gallery in July-August 1964. [...] Both women had M initials also for the last name—Masters at the Gallery, Methinitus now at the nursery school at the Jewish Community Center.

[...] Remember that the Kecks were called long distance in Brooklyn, NY, from Elmira, by the Arnot Gallery before they made the trip to Elmira to do conservation work, for instance.

(I also asked if Seth would comment upon the postponement by Gallery magazine, this month, of their interview with Jane, scheduled for January 23, a class night. [...]

(As it developed, Seth gave a partial explanation of the Fell affair, and the Gallery material was not mentioned.)

(Seth did not discuss the Gallery affair after book work.

(In mid-February, Richard Kearns finally called Jane, to tell her he’d been fired from Gallery. [...]

In the first scene in the gallery he is explaining with some eloquence the mental and physical benefits of art, and its action as providing “a natural high.” [...] By a kind of shorthand, the art gallery suggests the church, then, and his dedication to art, that is, to his art quickly replaced his dedication to the church. [...]

[...] The art dream (of June 3), as I call it, has its opening scene in an art gallery, which represents a conventionalized view of art. [...]

[...] Ruburt knew he could gain sufficient-enough prestige by using his abilities in other directions; by being, say, a director of a gallery, or by accepting any of a number of positions, such as teaching, that had been offered him in the past.

[...] The dream gave him three scenes representing various areas of his life in terms of time—the institution of the gallery and his early ideas, the office representing the world, and his hiding place, which was a kind of storage barn. [...]

(This we take as a reference to Jane’s decision to leave the gallery and concentrate upon a writing career. This is the last week she is to spend at the gallery.)

(Jane expressed a desire to see the work in place, so when I picked her up at the gallery we stopped off at the club to see it, where Jane made the impromptu remark that she wanted Seth to call off the session, so we could attend the opening of the club this evening.

[...] Bill is in the process, incidentally, of moving out of his parents’ home and into a studio and apartment in downtown Elmira, where he is going to live and at the same time maintain an art gallery. [...]

[...] Ruburt was jealous for his own authority at the gallery. He did not want to accept full responsibility for the gallery, and yet he wanted definite responsibility along definite, limited lines.

I mention this particularly because of his panic reactions last week at the gallery. [...]

[...] The fact that Ruburt considers the man an ass, helped, because Ruburt could then justify his own conditioned reflex toward authority; and keep in mind other material I have given you concerning Ruburt and the gallery.

[...] The brooding, resentful inner mulling over of gallery problems is a tip-off that the panic bomb has been set off. [...]

[...] Jane and I had been talking about trying to check out some of this material, since presumably records concerning Frank Watts would exist locally; and possibly people who knew him, other than Miss Callahan, and a co-worker of Jane’s at the gallery when the sessions began, Mrs. Borst, might be found who would help us verify any data Seth gave. [...]

[...] I am also pleased to see the mark of personal confidence, as far as Ruburt is concerned, and your joint decision that he leave the gallery. [...]

[...] Jane’s co-worker at the gallery, Mrs. Borst, who is now retired, had stated definitely that she had known a Frank Watts who had died in the 1940’s, and had also known his sister Treva.)

The material partially was picked up or initiated by Ruburt on a subconscious level from Mrs. Borst, who was I believe at the gallery during that time. [...]

(It will be remembered that Seth stated an art gallery experience was in the cards for Jane many sessions ago—back somewhere in the beginning sessions. At the time Seth also said that had we settled in Miami, Florida, as we considered doing a few years ago, Jane would have worked in a gallery there. [...]

An art gallery did not have to be the answer, of course. [...] Ruburt did have a larger measure of independence at the gallery until very recently, and it is this more than anything which causes the difficulty.

[...] Ruburt does block me on gallery material. [...]

[...] During break we discussed the situation at the gallery where she works part time. [...]

(“A connection with a schedule,” Bill Macdonnel’s gallery referred to in the article is a converted store with an inset door. [...] In the window opposite it Bill has a large hand-lettered sign dealing with the hours when his gallery is open to visitors and for painting classes. [...]

[...] The time he can spend at his gallery in Elmira is thus quite limited—another reason for the schedule of hours posted in one of the windows, as mentioned on page 109.

[...] When the police asked Bill to remove the painting from his gallery window, he asked advice from three people in particular. [...]

[...] The first paragraph of the envelope object contains Bill Macdonnel’s intention not to remove the painting from the gallery window even though requested to do so by the police. [...]

[...] There are two men in particular in New York who would be more than willing to show and handle your work—both connected with galleries.

(“Does his gallery advertise in The New York Times?”)

There are 3 other galleries who would handle your work. [...]

[...] At the moment however they will center chiefly about New York City galleries, names, etc.)

[...] How you spend your time, the galleries that want your work; and divest yourself of negative ideas regarding galleries. [...]

Do not, from your experience with one gallery, project a negative attitude toward all galleries, any more than Ruburt should do this with publishers. [...]

[...] Galleries are a way of selling paintings. [...]

[...] It had been a busy day for Jane at the gallery, so busy in fact that she had not had time to go down to the restaurant for the usual order of coffee the gallery personnel are used to enjoying every afternoon. While sitting on the couch, she had thought again about missing coffee break; the thought had come with some vehemence because the gallery is in a state of flux, and Jane finds this quite upsetting.)

[...] I am glad I do not work at his art gallery. [...]

I would give you some more information on Ruburt’s position at the gallery. [...]

We’re going to have the most spectacular art gallery

[...] And he was right as far as the gallery is concerned. [...]

[...] If he is not allowed to teach the children’s classes, or to expand his abilities at the gallery, then he should look for outside work where he can use these abilities; for such experience is necessary for him, and will be used in his own work.

If he is paid more for using them at the gallery, or otherwise, well and good. [...]

[...] The time is past for him to shrink from contacts with the outside world, as far as the gallery or any other endeavor is concerned. [...]

Again, also I have said nothing about Ruburt’s change in status at the gallery, for my own reasons. [...]

I would add–not to this–that of late Ruburt is learning to let his subconscious mind work for him, rather than against him; having to do with the gallery. [...]

[...] The assistant to the director of the Arnot Art Gallery is not to be tampered with indeed!

[...] And it was to prevent his being given such a title that I suggested that he leave the gallery. [...]

Scene 1—At an art gallery supposed to be the Arnot. [...]

[...] Frank was doing construction on the porches then, too, and I was worried about the Gallery-of-Silence people bugging Prentice and me. [...]

A PHOTO GALLERY

Within Seth’s concept of simultaneous time, the treasured images in this gallery are fine examples of how the “past” lives in the “present” and in the “future.”