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ABOUT THE ARCHIVE

SUMMARY:

"Very few artists have retained as thorough archives as Matuschka." 

– John Henley, Art Appraiser

Matuschka is a New York City artist and activist who made headline news in 1993 when her controversial self-portrait Beauty out of Damage appeared on the cover of The Sunday New York Times Magazine barring her mastectomy scar. This historical image was instrumental in launching the breast cancer movement while helping women and men worldwide deal with a subject that was once taboo. By the mid-nineties, Beauty Out of Damage became one of the most published pictures in the world appearing on hundreds of international news programs, newspapers, books, TV shows and documentaries. In 2003 and again in 2011 LIFE books’ included Beauty Out of Damage in a special book edition entitled "100 Photographs That Changed the World.” 

​One half  of Matuschka’s extensive archive focuses on a central theme: art, activism and mobilization in the early 90s and how one woman turned anger, frustration, rejection, objection and grief into action. Matuschka’s modus operandi could be summed up this way: the artist lost a breast and the world gained an activist.

Most of Matuschka's archives are stored in archival boxes and museum portfolio cases located in Bergen County, New Jersey in a climate-controlled storage facility. This room has electricity, and the collection may be viewed easily on tables there. An abbreviated--- but significant part of the collection---- remains at the artist’s studio in New York City. The inventory is categorized but not indexed.

Matuschka's archive can be split in two : A Visual Chronicle (1968-2025) and The Breast Cancer Action Archive (1991-2013) or be obtained in it's entirety. Individual pieces may be acquired in some cases.

The Breast Cancer Action Archive (1991-2026)

 The Breast Cancer Action Archive, chronicles the artists’ history as it pertains to launching the breast cancer movement with W.H.A.M! in the early 90s and the success of Beauty out of Damage: an historical image which took 2 years to create (1991-1993) and has had a 35 year life span thus far. The inventory includes media in all formats: cassette and audio tapes, slides, drawings, photographs, letters, press, books, wardrobe, stickers, posters, digital media, cd’s, dvds, brochures, pamphlets, catalogues and  makes for an exciting exhibition and permanent installation. This extensive inventory not only showcases the success of the image, but also the failures, rejections and objections to The New York Times decision to publish this controversial self-portrait on their Sunday magazine cover.

This dynamic, engaging and interactive story reveals how one woman’s work, after being rejected by 53 publications became headline news worldwide while launching an important movement of awareness and empowerment in the early 90s. The multitude of different types of artifacts and the backdrop on which these items were made creates a conversation-inspiring experience only found when a significant contribution was made to society. This collection serves as an educational research laboratory for historians and academics as well as an historical documentation of a news worthy body of work that made an impact on the world.​​​​ ​The collection is a vital resource for historians, scholars, and students who are studying the interplay between art and socio-political movements Matuschka is renowned for works that have pushed the boundaries of conventional art and photography. Her archives contain pieces that were among the first to openly challenge societal norms and ignite conversations around topics that were previously considered taboo. This makes the archives a treasure trove for those looking to explore art that has not only mirrored but also molded public discourse.

 Artifacts Available in The Breast Cancer Action Archive:

  • The entire New York Times Sunday Magazine (1993) featuring Matuschka's artwork on the cover and inside pages with interview

  • Fine art limited edition prints, (20 x 24”) & (16 x 20") signed and printed by the artist (1993)

  • International and National magazines that reprinted The New York Times Cover on their cover (1993-1998)

  • 1500 Letters to The New York Times editor (1993)

  • Correspondence from The New York Times Editor to Matuschka (1993-2011)

  • Matuschka’s Pulitzer nomination presentation by The New York Times (1993)

  • Photographs of organizations using The New York Times cover in demonstrations

  • National and International Press: Hundreds of newspaper and magazine articles (1993-2018)​

Other Pertinent Items:​

  • Approximately 30 drawings by Matuschka that laid the foundation for the breast cancer series (1991-1993)

  • Vote for Yourself: 1991 iconic photographic and first image to illustrate the breast cancer epidemic

  • Vote for Yourself: 1992 iconic poster co-created with W.H.A.M

  • Plaster Casts (1990-1994)

  • The “White Dress” created specifically for Beauty Out of Damage (1992) used for the cover of The New York Times

  • Original drawings of the white dress as a blue print for the photograph that would ultimately be called Beauty Out of Damage.

  • Proof prints, contact sheets, and slides (1991-1993)

  • Two dozen printed posters

  • Photographs of Matuschka wearing her poster art at demonstrations (1991-1994)

  • Photographs of the activist group W.H.A.M! demonstrating in NYC with Matuschka’s breast cancer images (1991-1993)

  • Activism Stickers created by W.H.A.M!

  • Postcards and catalogues worldwide

  • Invitations to charity events and art exhibitions using Beauty Out of Damage worldwide

  • Dozens of framed and 3-Dimensional Awards

  • Merchandise using Matuschka's artwork including T-shirts

Written Matter

  • Interviews with the artist published (1991-2014)

  • Matuschka’s published articles and essays (1991-present)

  • Doctoral theses by women using Matuschka’s historic image as their subject (1992-present)

  • Fan Mail (1991-present)

  • Hate mail (1993-1995)

  • E-Mail from LIFE requesting Beauty out of Damage for tribute One Hundred Photographs that Changed the World (2003 & 2011)

  • Matuschka’s book proposals to publishers, agents, etc. (1991-2014)

  • Correspondence from agents and publishers (1991-2014)

  • Rejection letters from publishers (1991-1999)

  • Unpublished chapters from Beauty Out of Damage by Matuschka

  • Letters to and from Breast Cancer survivors (1991-2004)

  • E-Mails from breast cancer survivors and fans (1999-present)

  • Individuals’ Letters to the Editors of various national and international publications (1993-1999)

  • Hundreds of magazines and other printed matter using Matuschkas’ breast cancer imagery

Tapes: Audio and Visual

  • Approximately 100 Radio, News Stations, TV programs, documentaries, movies, and specials including B roll footage (1991-present)

  • Fox 5 footage of Matuschka and W.H.A.M.* Demonstrating in NYC (1991-1993)

  • Documentary footage from the Dutch movie Part Time God chronicling Matuschka’s operation (including the removal of her breast) her chemo treatments, and her activism over a two year period (1991-1992)

  • The final film: Part Time God (1992)

Matuschka’s Library: (1991-present)

There are about 75 books in the library collection pertaining to the artists’ breast cancer activism and involvement. This includes rare and out of print editions.​​​​​​​​​

A Visual Chronicle (1968-2025)

The second half of the Matuschka Archive, entitled A Visual Chronicle,  covers the artist's entire artistic career and contains artifacts dating back to the '60s. This collection  provides a time capsule for what it was like to live and work in NYC during the last half of the 20th century thru to the present. ​​​

A Visual Chronicle demonstrates Matuschka's technical innovation in photography, printmaking and painting. Matuschka’s experimental techniques with chemical toning, manipulation of prints, and her exploration in mixed media and digital photography is well-documented. The majority of the works and artifacts are vintage, capturing the essence and zeitgeist of the times in which they were created or acquired. For collectors and connoisseurs, these works not only have aesthetic appeal but also hold historical value, offering a glimpse into the artistic trends and cultural contexts of past decades.

For museums, these archives are not just exhibits but educational tools that can engage, inform, and inspire visitors. In a world that continues to grapple with issues of gender, identity, and body politics, Matuschka’s works remain profoundly relevant.​ â€‹

Artifacts Available in A Visual Chronicle:

Matsuchka’s personal effects and all her ephemera related to her photography and fine works are available and includes items pertaining to her unique and unprecedented biography, fine art and photography creations.

Documents, press, visual mock-ups, letters, photographic prints, drawings, paintings, wardrobe, letters and other pertinent items are contained in binders, archival boxes, 4 flat files, a dozen large portfolio cases, several filing cabinets and two oversized racks containing approx.100 canvasses. The collection is categorized but not indexed.

The archival boxes, usually ranging in length from 14 to 36 inches, and in some instances larger, museum hard cases, plus numerous storage tubs contain extraordinary artifacts that the artist kept since 1968. Approximately 10,000 letters, 5,000 documents, numerous art works on paper, all her photographic images, camera equipment, original music tapes and videos (in a variety of sizes and formats) ; thousands of slides, negatives & contact sheets, slides, newsletters, invites, and advertisements are available.

A simple division of the Fine Art/ Personal archives would generate at least five separate, and inclusive categories within their scope of work.

Fields include:

1. Photography (1963-2025)

Thousands of slides, negatives, polaroids, contact sheets and fiber-based photo prints pertaining to the following:

    Photographic Works by Matuschka

  • ​Photographic Project: “Nudes” (1971-2000)

  • Photographic Project: “The Ruins” (1987-1991)

  • Photographic Project: “Iris Prints” (1994, hand- painted photographs)

  • Photographic Project: “Don’t Globalize This” (1994-2003)

  • Photographic Project: Tattoo Designs (2000-2002)

  • Photographic Project: “Chemically Toned Works & Altered Prints” (1971-2025)

  • Abstract Photography (digital format) (2013-2015)

  • Suicide Series (2 people) One person who succeeded and one who didn’t. (digital format) (2015)

  • (8) large black portfolio cases containing matted photographs printed by Matuschka (1987- 1995)

  • Dozens of Binders containing items relating to photography shows, installations of past exhibits, records of sales,  art invitations, announcements, press and publishing contract

  • Camera equipment, hard drives, floppy discs, CDs, DVD’s etc.

  • Photography Books Featuring Matuschka’s work

2. Fine Art Works (1971-2025)

  • Dozens of Canvases, several over-sized portfolio cases and archival boxes containing works on paper created by Matuschka when she was a student of Jennifer Bartlett at SVA. (1974-1975) (View works here)

  • Art project: Shoes Scoops: Windows of Bergdorf Goodman (1982-1984)

  • Chess Sets: Along with Photographs of Anatoly Karpov and Matuschka (1984)

  • Art project: 3-dimensional furniture; found objects turned into furniture, mirrors, and wall pieces. (hundreds of slides) (1982-2013)

  • Works on Paper – approx. 2,000 Drawings, Illustrations, Caricatures and Cartoons by Matuschka (1971-2020) (View works: Works on paper , Cartoons, Portraits)

  • Art project: “Whores Galore.” (Collages on Paper) related to the “Red Light District in Amsterdam. (1982-1986) (View works: Vertical and Horizontal)

  • Art project: “BAGIT!” (Digital works) related to shopping bags. Approx. 40 pieces. (View project here)

  • "BAGIT!" Book Published in 2009. Introduction by Anthony Haden-Guest. (View project here)

  • "The Noisy Paintbrush" Book Online (View project here)

  • Thousands of slides and scans of artwork (created from 1970-2025)

Art Studio, New York City

Storage Facility, Bergen County, NJ

Please see Matuschka.net for more work examples

3. Correspondence

  • ​Approx. 5,000 professional, legal and personal letters dating back to 1968. ​Several tubs, filing cabinets, archival boxes, binders, etc. filled with thousands of Matuschka’s correspondence. A large body of the correspondence contains Letters From Men to Matuschka (1972-2009) (See Letters page)

  • Letters consist largely of fan mail, saved for artistic or literary merit – and in some cases, surreal or humorous content. There are also letters from Matuschka’s intimate friends and the time she spent in the Berkshires, California and Europe.

4. Personal Artifacts​ & Other Formats

  • A dozen photo albums of Matuschka, her family, and her friends.

  • ​Passports, mug shots, College ID Cards and drivers’ licenses including Matuschka's NYC Hack License

  • Dozens of back-up drives, hundreds of floppy discs, CDs, DVDs; all of Matuschka's Apple computers since 1984, and computer data that include Matuschka’s artwork, personal files, storyboards for her memoir in progress, her journals, dreams and other writing. (See Artifacts page)

5. Matuschka’s Performance Archive (1982-2009)

  • More than 300 audio/video recording tapes, which include computer archival files – including artwork, Musical Recordings and Matuschka’s rock performances as Jersey Jo.

  • Matuschka’s performance archive (1982-2009) including music and (MTV video tapes); wardrobe; performance photographs and videos  (See Vintage Videos page)

  • Box: “Rock and Roll.” Among other creative endeavors, Matuschka formed a rock band – the contents of this box relate to “Jersey Jo” (Matuschka), and her performances at renowned New York City venues including Traxx, Danceteria, Pyramid Club and the Bitter End.

  • There are tubs of video footage, in particular b-roll from the Film Part Time God (1992) which featured the artist. Other reels include TV programs and documentaries that portrayed Matuschka’s activism.

  • There are approximately 60 video tapes featuring Matuschka on International Television programs, documentaries, B Roll, 21 Beta tapes for her portrayal in the feature documentary "Part Time God" (1992) and dozens of DVDS containing her work on Public Access with Anton Perich.

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