The papers of curator and historian Anne Ayres measure 1.0 linear feet and date from 1972 to 2003. Focusing on her work as curator of the Ben Maltz Gallery at Otis College of Art and Design, the papers include artifacts, scattered correspondence, issues of the L.A. Artists' Publication, printed material, and writings.
Scope and Contents:
The papers of curator and historian Anne Ayres measure 1.0 linear feet and date from 1972 to 2003. Focusing on her work as curator of the Ben Maltz Gallery at Otis College of Art and Design, the papers include artifacts, scattered correspondence, issues of the L.A. Artists' Publication, printed material, and writings.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Anne Ayres (1936- ) was a curator and art historian in Los Angeles, California. Ayres earned her Ph.D. in Art History from the University of Southern California and was the Associate Curator of the Newport Harbor Art Museum (now the Orange County Museum of Art) from 1985-1988. She subsequently served as director of the Ben Maltz gallery at the Otis College of Art and Design from 1988-2003.
Ayres is retired and lives in Eugene, Oregon.
Provenance:
Donated 2003 by Anne Ayres.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- California -- Los Angeles Search this
Art historians -- California -- Los Angeles Search this
Papers related to Tuchman's co-authoring with Emile de Antonio the book Painters Painting: A History of American Modernism in the Words of Those Who Created It (Abbeville Press, 1984). The book was based on uncut transcripts and the film script from de Antonio's 1972 film Painters Painting, inspired by the Museum of Modern Art's exhibition, New York Painting and Sculpture: 1940-1970, curated by Henry Geldzahler. Included are correspondence; transcripts of interviews conducted by de Antonio of painters, critics, curators, and collectors; notes; drafts of the book; and a subject card file.
Interviewees include: Josef Albers, Leo Castelli, Willem de Kooning, Helen Frankenthaler, Henry Geldzahler, Clement Greenberg, Thomas Hess, Jasper Johns, Philip Johnson, Hilton Kramer, Philip Leider, Robert Motherwell, Louise Nevelson, Barnett Newman, Kenneth Noland, Jules Olitski, Philip Pavia, Larry Poons, Robert Rauschenberg, Larry Rivers, William Rubin, Ethel and Robert Scull, Frank Stella, and Andy Warhol.
Biographical / Historical:
Tuchman is an author and editor; Los Angeles, Calif.
Provenance:
Donated 1994 by Mitch Tuchman.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art critics -- United States -- Interviews Search this
2.5 cu. ft. (2 record storage boxes) (1 document box)
Type:
Collection descriptions
Archival materials
Brochures
Clippings
Manuscripts
Black-and-white photographs
Color photographs
Color transparencies
Date:
1986-2008
Descriptive Entry:
This accession consists of correspondence created and maintained by Massumeh Farhad, Associate Curator of Islamic Near Eastern Art, 1995-2004, and Chief Curator and
Curator of Islamic Art, 2004- , documenting interactions with professional colleagues, organizations, donors, collectors, and researchers regarding research, collections,
acquisitions, objects, professional activities, and related topics. Materials include incoming and outgoing correspondence as well as enclosures such as object images, clippings,
brochures, research papers, and related materials. Some materials were inherited by Farhad from previous curators including Glenn D. Lowry, Curator of Near Eastern Art, 1984-1991,
and Marianna Shreve Simpson, Curator of Islamic Near Eastern Art, 1992-1995.
Rights:
Restricted for 15 years, until Jan-01-2024; Transferring office; 9/15/2015 memorandum, Wright to Farhad/Stein/Amrod; Contact reference staff for details.
Smithsonian Institution Archives, Accession 15-345, Freer Gallery of Art and Arthur M. Sackler Gallery, Curatorial - Islamic Near Eastern Art, Curatorial Correspondence
An interview with Sunil Gupta conducted 2017 March 31 and April 1, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at the Visual AIDS office and the Archives of American Art office in New York, New York.
Gupta speaks of his childhood in Dehli, India; early same-sex sexual experiences; moving to Canada at age 15; adjusting to North American same-sex practices; discovering gay liberation ideology at Dawson College; working at a bathhouse and in the Canadian Army Reserves; his first photographic work for a gay newsletter in college; his first serious romantic relationships; dropping out of Columbia University's MBA program to take photography courses at the New School; moving to London and taking a master's in photography at the Royal College of Art; photography sessions with gay men in London and India; early political and artistic responses to HIV/AIDS in London; the stigma of HIV/AIDS in India; the genesis and significance of images from his book Queer; his development of race-consciousness and local political activity in London in the mid-1980s; being diagnosed with HIV; navigating London's gay and HIV-positive landscapes in the 1990s; living and working in India in the mid-2000s; HIV/AIDS care and activism in India; becoming a spokesperson for HIV/AIDS in the Indian media; India's cultures of same-sex desire and queerness; photographing for his exhibitions Sun City and Love Undetectable; marrying his current partner, Jaran Singh, in 2011; and Singh's and his own current academic research. Gupta also recalls Lisette Model, Philippe Halsman, George Tice, Bill Brandt, Jean Fraser, Kaucyila Brooke, John di Stefano, Jan Zita Grover, Hinda Schuman, Doug Ischar, Simon Watney, Cindy Patton, Sean Strub, and others.
Biographical / Historical:
Sunil Gupta (1953- ) is a photographer, educator, and curator based in London, England and New Delhi, India. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by artist Thiago Rocha Pitta, 2008.
Scope and Contents:
The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by Thiago Rocha Pitta, 2008.
Professional material consists of some identification cards and copies of passports, correspondence, notes and a notebook, and files related to exhibitions he curated. Some of the exhibitions include: "Light/Art: Mythic Crystal Revelation," "Where Do We Go From Here? Selections from La Coleccion Jumex," and "Now: Works From La Jumex Collection." Business records include some expense sheets for Jumex Foundation, price lists, receipts, and invoices. Printed material consists of articles, clippings, exhibition announcements and catalogs, and a series of spiral booklets for exhibitions done in collaboration with the Jumex Foundation. The booklets contain images of artwork, some exhibition text, and articles. Photographic material consists of photographs of Zamudio-Taylor and colleagues, photographs of artwork and exhibitions featuring the Jumex Foundation, and photographs and slides of artwork by other artists that Zamudio curated exhibitions for.
Arrangement:
The collection is arranged into four series.
Series 1: Professional Activity Files, 2001-2012 (0.6 linear feet: Box 1, OV 2)
Series 2: Personal Business Records, 2009-2013 (0.1 linear feet; Box 1)
Series 3: Printed Material, 2004-2012 (0.3 linear feet; Box 1)
Series 4: Photographic Material, circa 2000-2009 (0.1 linear feet; Box 1)
Biographical / Historical:
Victor Zamudio-Taylor (1956-2013) was an art historian and curator in San Francisco, California and Mexico City. Zamudio-Taylor worked as an advisor to the Jumex Foundation's president, Eugenio López-Alonso. He was also a Rockefeller Foundation senior associate researcher at the National Museum of American Art in Washington, D.C. He was responsible for shows including "Ultra Baroque: Aspects of Post Latin American Art," exhibited at the Museum of Contemporary Art in San Diego in 2001, and "Cities Scape" staged at ARCO in 2006.
Provenance:
Donated 2016 by Sophia Zamudio-Haas, Zamudio-Taylor's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- California -- San Francisco Search this
Art historians -- California -- San Francisco Search this
This accession consists of materials documenting the research and correspondence of Judith Zilczer. Zilczer was employed by the Hirshhorn Museum and Sculpture Garden
in various capacities from 1974-2003, ultimately serving as Curator of Paintings from 1992-2003. The research and correspondence primarily concerns modern art, artists, and
collectors. A significant amount of materials deal with Horace Pippin, John Quinn, Marcel Duchamp, Willem De Kooning, and Richard Lindner. Materials include correspondence,
articles, clippings, bibliographies, images of artwork, lecture scripts, and notes.
Rights:
Restricted for 25 years from the latest date of records. See deed of gift for additional information regarding restrictions, until Jan-01-2029; Transferring office; 12/1/2003 Deed of Gift; Contact reference staff for details.
This accession includes the curatorial records of Roy Sieber, Associate Director of Collections and Research, with related material produced by Rosyln A. Walker, Research
Curator; Bryna Freyer and Andrea Nicolls, Assistant Curators; and Philip L. Ravenhill, Chief Curator. The records primarily document the National Museum of African Art's (NMAfA)
inaugural exhibition African Art in the Cycle of Life, which Sieber organized with assistance from Walker, and the traveling exhibition African Reflections: Art
from Northeastern Zaire. The material consists of correspondence and memoranda pertaining to exhibition planning, catalogue work, installation, special events, object
loans, and publicity; an acoustiguide script to the exhibition African Art in the Cycle of Life; public inquiries and curatorial responses regarding the identification
and assessment of objects; and list of special events at NMAfA.
Smithsonian Institution Archives, Accession 02-077, National Museum of African Art, Associate Director for Collections and Research, Curatorial Records
This accession consists of black and white and color photographs, color transparencies, and black and white negatives maintained by Esin Atil, Associate Curator of
Near Eastern Art, documenting visits from dignitaries and exhibition openings. Also included are photographs of Atil.
Restricted for 15 years, until Jan-01-2037. Records may contain personally identifiable information (PII) that is permanently restricted; Transferring office; 12/18/2006 memorandum, Toda to Earle; Contact reference staff for details
Restricted for 15 years, until Jan-01-2037. Records may contain personally identifiable information (PII) that is permanently restricted; Transferring office; 11/18/2022 memorandum, Johnstone to File; Contact reference staff for details
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.
Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.
Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.
Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.
Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.
University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.
Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.
Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.
Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.
Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.
Missing Title
Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)
Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)
Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)
Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)
Series 5: Diaries, 1977-1989 (6 folders; Box 6)
Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)
Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)
Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)
Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)
Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.
After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.
Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.
Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.
In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.
Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.
Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California -- Los Angeles Search this
Restricted for 15 years, until Jan-01-2030. Box 1 contains materials restricted indefinitely; see finding aid. Materials must be removed before circulation; Transferring office; 01/08/2007 memorandum, Toda to Earle; Contact reference staff for details
An interview of Dorothy Canning Miller conducted 1981 May 14, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Miller talks about the first time she, with Alfred Barr, saw Mark Rothko's work in Federation of Modern Painters and Sculptors exhibitions. She remembers her first visit to Rothko's studio and frequent conversations at an Italian restaurant near the studio. Miller recounts incidents involving Rothko and Clyfford Still while she was organizing the show "15 Americans" and others at the Museum of Modern Art. She recalls the relationship between Rothko and Still, their split, her own split with Still, and the psychological changes she noted in Rothko. She recalls Holger Cahill, Alfred Barr, Barnett Newma, Robert Motherwell, Clyfford Still, Howard Putzel, Carla Panicali, de Kooning, and others.
Biographical / Historical:
Dorothy Miller (1904-2003) was an art museum curator and art consultant from New York, N.Y.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 24 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript is available on the Archives of American Art's website.
Interview with Bill Burgess conducted by Lynn Katzman for the Archives of American Art "Art World in Turmoil" oral history project.
Biographical / Historical:
Willim H. (Bill) Burgess is a museum administrator in New York, New York. Burgess was a founder of the Studio Musuem in Harlem, a privately run community museum.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Museum administrators -- New York (State) -- New York Search this
The papers of volunteer curatorial assistant Eliot Bartlett measure 0.4 linear feet and date from 1930 to 1981. The papers include correspondence, financial material, writings, photographic material, and printed material.
Scope and Contents:
The papers of volunteer curatorial assistant Eliot Bartlett measure 0.4 linear feet and date from 1930 to 1981. The papers include correspondence, financial material, writings, photographic material, and printed material.
Correspondence consists of letters concerning Bartlett's art-related activities and his interest in various artists including Mary Ogden Abbott, Amy Cross, George Dergalis, Lilian Westcott Hale, and Arthur J. Stone. Financial material includes four receipts and price lists. Writings includes a docent speech for an exhibition. Photographic matieral consists of a single slide of the painting Tulips by Amy Cross. Printed material includes clippings, exhibition and auction announcements, catalogs and programs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Eliot Fitch Bartlett (1918-1992) was a volunteer curatorial assistant at the DeCordova Museum in Lincoln, Massachusetts during the 1970s.
Provenance:
The papers were donated by Eliot Fitch Bartlett.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Material gathered by Berkson in preparation for exhibitions on sculptors Ronald Bladen and Les Levine.
The Bladen material, compiled for a retrospective at the San Francisco Museum of Modern Art, 1991, includes: biographical material; an unpublished artists' statement, 1946; interviews of Bladen; material from the California School of Fine Art's archives, and the Whitney Museum of American Art; Bladen correspondence, 1931-1956; Berkson correspondence, 1990-1991; a painting checklist; writings by and about Bladen; photographs of Bladen's paintings and sculptures; exhibition announcements 1941-1983; and clippings and reviews, 1941-1987.
Files on Les Levine include photographs, slides, correspondence, articles, announcements, and clippings. Included are information on his media projects Subway Project (1989) and Diamond Mind.
Biographical / Historical:
Berkson is an art historian, curator; San Francisco, Calif. Bladen, a painter and sculptor, worked in San Francisco in the mid-1950s, and later moved to New York. Levine, a conceptual and video artist, and a curator, works in New York.
Related Materials:
Papers of Bill Berkson, 1960-1988, are also located at the University of Connecticut's Archives & Special Collections.
Provenance:
Donated 1991 and 1995 by Bill Berkson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Sculptors -- California -- San Francisco Search this
