Myers, John Bernard.

During his youth in Buffalo, New York, John Bernard Myers developed life-long interests in poetry, puppets, and painting. As a teenager, he wrote poetry and established his own marionette theater. He first learned about modern art and became especially interested in Surrealism through reading European magazines and exhibition catalogs in the library of the Albright-Knox Art Gallery. Through helping to edit Upstate, an avant garde literary magazine, he met many like-minded friends. Myers was deemed unqualified for military service due to ruptured eardrums, so instead went to work in an airplane factory. But his membership in the Young Communist League and participation in efforts led by a Socialist Workers party colleague to upgrade job assignments and pay for qualified minorities created problems and Myers soon departed. His final two years in Buffalo were spent working in a bookstore.

In 1944, Myers sent issues of Upstate to Parker Tyler, editor of View, whom he had met a few years earlier through mutual friends involved with the Communist party. A few months later Tyler offered him the position of managing editor of View, a magazine devoted to the Neo-Romantics and Surrealists in exile. Myers moved to New York City and remained with the magazine until it ceased publication in 1947. A large portion of his time at View was spent selling advertising space. Since this involved calling on gallery owners each month, he came to know many dealers, had the opportunity to study the exhibitions and meet many of the artists. During this period he began attending art history courses taught by Meyer Schapiro at the New School. His responsibilities at View also included assisting with editing and layout, and he became well-acquainted with Marcel Duchamp and André Breton when special issues devoted to them were published. His association with the magazine resulted in many invitations; Myers enthusiastically attended parties practically every night of the week, enlarging his already impressive circle of friends and acquaintance in the art and literary worlds.

Puppets were another of Myers' special interests. After View ceased publication in1947, he edited poetry and art publications, but to earn his living he resumed puppeteering. Around 1948 Myers met Tibor de Nagy, a cultured Hungarian immigrant with a background in banking and finance, who, for immigration purposes, needed a business that bore his name. The Tibor de Nagy Marionette Company gave performances at schools in and around New York City and staged elaborate productions for both children and adults at fine hotels. After several years of physically exhausting work with the marionette company and falling profits, the two decided to try another business venture.

Over the years, several of Myers' friends and acquaintances had suggested he open an art gallery. Myers was interested and had many appropriate contacts, but lacked sufficient capital and had no business experience. An old friend, Dwight Ripley, offered to back a gallery and in 1951 the Tibor de Nagy Gallery opened at 219 East 53rd Street with John Bernard Myers as the gallery director. Tibor de Nagy was the gallery's business manager, and at the same time pursued a full-time career in banking. Following the good advice of his friends Jackson Pollock,Lee Krasner, and Clement Greenberg, Myers decided to seek out and promote the artists of his own generation. Artists affiliated with the Tibor de Nagy Gallery included Helen Frankenthaler, Robert Goodnough, Red Grooms, Grace Hartigan, Alfred Leslie, Barnett Newman, Kenneth Noland, Fairfield Porter, and Larry Rivers.

Myers and de Nagy remained partners in the Tibor de Nagy Gallery for 19 years. In 1970 Myers left in to open a gallery which he ran for about five years under his own name. After retiring from the gallery, he was a private dealer and lecturer; he also served as a consultant to the Kouros Gallery. He continued to organize exhibitions including a Joseph Cornell exhibiton at A.C.A. Gallery in 1977, and "Tracking the Marvelous" at the Grey Gallery, New York University in 1981.

For more than thirty years after View ceased publication, a number of art and poetry publications benefitted from Myers' editorial skills. Among them were Prospero Pamphlets, a series of chapbooks produced between 1946 and 1948, featuring contemporary poets Wallace Stevens, Charles Henri Ford, Parker Tyler, and Paul Goodman. Brunidor Editions, a portfolio of graphics by Yves Tanguy, Joan Miró, Kurt Seligmann, Max Ernst, Wilfredo Lam, Matta, and William Stanley Hayter was issued in 1948. From 1953 until 1956, Tibor de Nagy Gallery published Semi-Colon, a poets' newsletter edited by Myers. Gallery Editions, a series of pamphlets paired the work of a poet and painter, among them: John Ashbury and Jane Freilicher, Frank O'Hara and Larry Rivers, Kenneth Koch and Nell Blaine, and Barbara Guest and Robert Goodnough. Myers devoted a great deal of time to Parenthése, a magazine of words and pictures, that was published between 1975 and 1979. In addition, he compiled and edited Poets of the New York School, an anthology with photographs by Francesco Scuvullo published by the University of Pennsylvania Art Department in 1968.

For much of his life, John Bernard Myers kept a diary recording daily activities and his reactions to an reflections on his experiences. His autobiography, Tracking the Marvelous: A Life in the New York Art World, published in 1984, quotes extensively from diaries written as early as 1939. He wrote many book reviews, exhibition reviews, and articles about art and art criticism that were published in Art in America, Arts, Artforum, Art and Literature, Art International, Art News, Art/World, Craft Horizons, and Smithsonian . Knowing What I Like, a selection of his own essays and articles that Myers compiled and edited in 1983, remains unpublished. He also wrote poetry and song lyrics.

John Bernard Myers died July 26, 1987.