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A contemporary collection of painting and sculpture / selected from the collection of Eleanor Ward

Author:
Ashton, Dore  Search this
Lyman Allyn Museum  Search this
Subject:
Ward, Eleanor 1912-1984 Art collections  Search this
Physical description:
[38] p. : chiefly ill. ; 24 cm
Type:
Exhibitions
Date:
1965
20th century
Topic:
Art, Modern  Search this
Art, Primitive  Search this
Call number:
N5220.W24 C66 1965
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_791340

Reuben Kadish papers

Creator:
Kadish, Reuben, 1913-1992  Search this
Names:
Ashton, Dore  Search this
Cherry, Herman  Search this
Conant, Howard Somers, 1921-  Search this
De Kooning, Willem, 1904-  Search this
Guston, Philip, 1913-1980  Search this
Hiler, Hilaire, 1898-1966  Search this
Langsner, Jules, 1911-1967  Search this
Neininger, Urban  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956  Search this
Siqueiros, David Alfaro  Search this
Tully, Judd  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1851-1995
bulk 1913-1995
Summary:
This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Scope and Content Note:
The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.
Arrangement:
The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (box 5, sol 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)
Biographical Note:
Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.
Related Material:
Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.
Provenance:
The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.
Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
Rights:
The Reuben Kadish papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Muralists -- California  Search this
Sculptors -- California  Search this
Genre/Form:
Drawings
Photographs
Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kadireub
See more items in:
Reuben Kadish papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kadireub
Additional Online Media:

Ashton, Dore and Matti

Collection Creator:
Kadish, Reuben, 1913-1992  Search this
Container:
Box 1, Folder 19
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
Collection Rights:
The Reuben Kadish papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship.
Collection Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
See more items in:
Reuben Kadish papers
Reuben Kadish papers / Series 2: Letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-kadireub-ref30

Robert Richenburg papers

Creator:
Richenburg, Robert  Search this
Names:
Club (New York, N.Y.)  Search this
Ozenfant School of Fine Arts -- Students  Search this
Pratt Institute  Search this
Solomon R. Guggenheim Museum  Search this
Tibor de Nagy Gallery  Search this
United States. Veterans Administration  Search this
Amgott, Madeline  Search this
Ashton, Dore  Search this
Cavallon, Giorgio, 1904-1989  Search this
Cherry, Herman  Search this
Geist, Sidney  Search this
Grad, Bonnie Lee, 1949-  Search this
Hofmann, Hans, 1880-1966  Search this
Kline, Franz, 1910-1962  Search this
Lassaw, Ernestine  Search this
Lassaw, Ibram, 1913-2003  Search this
Matter, Mercedes  Search this
Moulton, Lynne  Search this
Ortiz, Rafael Montanez  Search this
Pavia, Philip, 1915-2005  Search this
Rebay, Hilla, 1890-1967  Search this
Slivka, David, 1913-  Search this
Extent:
5.3 Linear feet
4.32 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Sound recordings
Greeting cards
Video recordings
Photographs
Interviews
Date:
circa 1910s-2008
Summary:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, sound and video recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Scope and Content Note:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, audio/visual recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.

Biographical material includes educational records from high school through his studies at the Ozenfant School of Fine Arts using G.I. benefits. Birth, marriage,and death certificates are also found, along with Richenburg family memorabilia. There is a digital video recording of Robert Richenburg's memorial service.

Correspondence consists mostly of family letters, including some illustrated letters and many handmade cards featuring original artwork. Condolence letters addressed to Marggy Kerr are from friends, relatives, colleagues, neighbors, and acquaintances.

Subject files contain various combinations of correspondence, printed material, photographs, writings and notes relating to Richenburg's professional career and personal life. They document exhibitions, gallery representation, gifts of art work to museums and individuals, memberships, teaching activities, former students, friendships, and other aspects of his life. Files of significant interest are: The Club, Tina Dicky and Madeline Amgott, Former Students (particularly Raphael Montanez Ortiz), Bonnie L. Grad and Lynne Moulton, Hans Hofmann, Ibram Lassaw, Philip Pavia, Pratt Institute, Hilla Rebay and the Museum of Non-Objective Painting, Tibor De Nagy Gallery, and Veterans Administration.

Writings by Richenburg consist of notes, reviews, artist's statements, and the text of a speech. Also included are quotations compiled over the years by Marggy Kerr of Richenburg's comments on art and life. Among the writings by others are student papers, reviews, and poems.

Sound and visual recordings include interviews with Robert Richenburg, often conducted as research for exhibitions. Videocassettes document events such as panel discussions, and artist gatherings; a few were produced in conjunction with museum exhibitions. Also found are videotapes by video artist Raphael Montanez Ortiz, Richenburg's friend and former student.

Printed material includes items that are specifically about Robert Richenburg as well as items that incidentally mention him. The majority consist of exhibition catalogs and announcements.

Photographs show art work by Richenburg, exhibition openings and other events, and a variety of people and places. Among the events recorded is the "Artists Roundtable on Art of the '50s." Moderated by Dore Ashton, the panel included Herman Cherry, Sidney Geist, Ibram Lassaw, Mercedes Matter, and David Slivka. There are photographs of Richenburg's boyhood home in Roslindale, MA, and his house in Ithaca, NY. He is pictured with others including family members, dealers, and curators. Of particular interest are photographs of Richenburg in Provincetown, MA, 1952-1953, with friends, including: Giorgio Cavallon, Franz Kline, Ibram and Ernestine Lassaw, and Philip and Marcia Pavia. World War II photographs consist of images of art work (not by Richenburg), Richenburg and other individuals taken in France and England; a number include views of Shrivenham American University.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material, circa 1910s-2006 (Box 1; 0.1 linear ft., ER01; 1.66 GB)

Series 2: Correspondence, 1940-2007 (Box 1; 0.4 linear ft.)

Series 3: Subject Files, 1942-2008 (Boxes 1-3, OV 7; 2.25 linear ft.)

Series 4: Writings, circa 1950-2006 (Box 3; 0.1 linear ft.)

Series 5: Sound and Video Recordings, 1996-2006 (Boxes 3-4; 0.75 linear ft., ER02; 2.66 GB)

Series 6: Printed Material, 1947-2008 (Boxes 4-5; 1.25 linear ft.)

Series 7: Photographs, circa 1923-2006 (Boxes 5-6; 0.45 linear ft.)
Biographical Note:
Robert Bartlett Richenburg (1917-2006) was a painter and educator in New York City, Ithaca, New York, and East Hampton, New York.

At age 13, Bob Richenburg's artistic talent earned him a place in a daily class for Boston Public School students at the Museum of Fine Arts. Most classes focused on copying; of far greater benefit to the young art student was the opportunity to wander through the museum and look at art nearly every day of his high school career.

Richenburg's father was an architect who also ran a stained glass lampshade business; neither endeavor was profitable, so the family endured very hard times during the Depression. To help support the family, after school and on weekends, Bob delivered ice and coal with an older brother, a job he continued while attending night school courses in liberal arts at Boston University. He studied at George Washington University in Washington, DC, 1937-1939, often working as many as four part-time jobs to cover tuition and living expenses; during summers and school vacations, he returned to Boston to work with his brother. Due to his difficult financial situation, Richenburg's college career ended before he earned a degree.

After learning that the Corcoran School of Art charged no tuition, Richenburg returned to Washington in 1940 to study painting and sculpture. Although uninformed about the art world, he realized that New York was a better place for an aspiring artist. In 1941, he began studying with George Grosz and Reginald Marsh at the Art Students League. On his own, he studied materials and techniques and copied paintings at the Metropolitan Museum Art.

With war looming and the near certainty of being drafted, Robert Richenburg and Libby Chic Peltyn (always called Chic) married in November 1942; two weeks later, he entered the army. Richenburg spent three years in England and France as a combat engineer, transporting explosives and instructing troops in the demolition of mines and booby traps. In England, he managed a photo lab and taught drawing in the fine arts section of Shrivenham American University, a school run by the U. S. Army.

Once discharged, Richenburg returned to New York and took advantage of the G.I. Bill to continue studying painting (and for the subsistence allowance that provided modest support for his family - son Ronald was born in 1947). Richenburg studied at the Ozenfant School, 1947-1949, where he developed a life-long friendship with fellow student Ibram Lassaw.

He continued his art education with Hans Hofmann in New York and Provincetown, 1949-1951. During this period, Richenburg taught drawing, painting, and art history classes sponsored by the Extension Division of City College of New York and held at venues such as Brooklyn's Central YMCA, and branches of the New York Public Library. Richenburg quickly discovered that he liked teaching and enjoyed the students.

In 1951, Richenburg joined the Pratt Institute faculty and taught studio courses at night; soon, he was teaching full time during the day. Richenburg began to achieve recognition as the youngest of the Abstract Expressionists and by the early 1960s his career was well established. Tibor De Nagy Gallery in New York and Dwan Gallery in California represented Richenburg, and a number of paintings were sold to museums and private collectors. As Richenburg experimented with new ideas and materials, his work began changing. He was a popular instructor at Pratt with several promising students who also began experimenting. In 1964, when the unorthodox work of one student in particular caught the attention of Pratt administrators, Richenburg was asked to change his approach to teaching. This roused student protests, and press coverage focused on the specific situation and academic freedom in general. He chose to resign rather than alter his teaching philosophy.

Richenburg secured a position at Cornell University. The confluence of his absence from New York City and the ascendance of Pop Art were damaging, and his career was derailed when De Nagy and Dwan dropped him from their rosters a few years later. After it was clear that he would not secure tenure at Cornell, Richenburg returned to New York in 1967 and began teaching at Hunter College. Daily life in New York was harder than he remembered and, for him, the City had lost its allure.

When offered the chairmanship of the Ithaca College art department, the Richenburgs were delighted to return to tranquil Ithaca, New York. Chic died in 1977, and Bob remained at Ithaca College until retiring in 1983. In addition full-time teaching and handling administrative activities as department chairman, Richenburg made time to work in his studio practically every day. He created a large body of work in a wide variety of media and styles, moving on to new ideas and experiments after exhausting his possibilities or interest.

Beginning in 1949 with a loan exhibition organized by The Museum of Non-Objective Art, Richenburg participated in a wide range of group shows. His first solo exhibition was held in 1953 at the Hendler Gallery, Philadelphia. Over the years, he enjoyed other solo exhibitions at venues such as: David Findlay Jr. Fine Art, Dwan Gallery, Hansa Gallery, Ithaca College Museum of Art, McCormick Gallery, Rose Art Museum (Brandeis University), Santa Barbara Museum of Art, Sidney Mishkin Gallery (Baruch College), and Tibor De Nagy Gallery. In the 1960s and 1970s, Richenburg's work was seldom shown, but from the mid-1980s onward there has been renewed interest.

Richenburg's work is represented in the permanent collections of many museums including Hirshhorn Museum, Museum of Modern Art, Philadelphia Museum of Art, and Whitney Museum of American Art. In addition, his work was acquired by many highly regarded private collectors including Larry Aldrich, Walter P. Chrysler, Jr., Joseph H. Hirshhorn, J. Patrick Lannon, and James A. Michener.

Robert Richenburg and Margaret (Marggy) Kerr, a painter and sculptor living in Ithaca, were married in 1980. Ms. Kerr is known for "brick rugs" made from cut bricks forming designs for site specific sculpture and garden walks. Richenburg became close to his stepfamily of three children, Marggy's grandchildren and her mother. After he retired from Ithaca College, Bob and Marggy moved to Springs in East Hampton, New York.

Although Richenburg suffered from Parkinson's disease during the last six years of his life, he continued to work in his home studio until physically unable to produce art. He died on October 10, 2006.
Related Material:
An oral history interview of Robert Richenburg was conducted by Dorothy Seckler for the Archives of American Art, circa 1968.
Provenance:
Donated in 2008 by Margaret Kerr, widow of Robert Richenburg, on behalf of herself and his son Ronald Richenburg.
Restrictions:
Use of original material requires an appointment. Use of audiovisual material with no duplicate access copy requires advance notice.
Rights:
The Robert Richenburg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donors have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Educators -- New York (State) -- East Hampton  Search this
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Sculptors -- New York (State) -- East Hampton  Search this
New York school of art  Search this
Painters -- New York (State) -- East Hampton  Search this
Genre/Form:
Illustrated letters
Sound recordings
Greeting cards
Video recordings
Photographs
Interviews
Citation:
Robert Richenburg papers, circa 1910s-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richrobe
See more items in:
Robert Richenburg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-richrobe

Group of artists at the Pollock-Krasner house

Photographer:
Plume, John, 1940-  Search this
Subject:
Ashton, Dore  Search this
Cherry, Herman  Search this
Geist, Sidney  Search this
Hendler, Raymond  Search this
Lassaw, Ernestine  Search this
Lassaw, Ibram  Search this
Matter, Mercedes  Search this
Richenburg, Robert  Search this
Slivka, David  Search this
Type:
Photographs
Date:
1990 Aug. 30
Record number:
(DSI-AAA)14708
See more items in:
Robert Richenburg papers, circa 1910s-2008, bulk, 1950-2006
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14708
Additional Online Media:

Dore Ashton papers

Creator:
Ashton, Dore  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Faculty  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Yale University -- Faculty  Search this
Adams, Pat, 1928-  Search this
Adley, James, 1931-  Search this
Albee, Edward, 1928-  Search this
Albers, Josef  Search this
Arnheim, Rudolf  Search this
Avedon, Richard  Search this
Berthot, Jake, 1939-  Search this
Borges, Jacopo Luis  Search this
Congdon, Dennis  Search this
Cornell, Joseph  Search this
Diebenkorn, Richard, 1922-1993  Search this
Driskell, David C.  Search this
Giacometti, Alberto, 1901-1966  Search this
Guidieri, Remo  Search this
Guston, Philip, 1913-1980  Search this
Hellman, Lillian, 1905-1984  Search this
Herbert, George  Search this
Hiss, Alger  Search this
Howes, Barbara  Search this
Kaprow, Allan  Search this
Licht, Fred, 1928-  Search this
Lindner, Richard, 1901-  Search this
Malamud, Bernard  Search this
Miró, Joan, 1893-  Search this
Motherwell, Robert  Search this
Moy, Seong  Search this
Mumford, Lewis, 1895-1990  Search this
Oldenburg, Claes, 1929-  Search this
Reuterswärd, Carl Fredrik, 1934-  Search this
Sterne, Hedda, 1910-  Search this
Tinguely, Jean, 1925-  Search this
Tobey, Mark  Search this
Tworkov, Jack  Search this
Vasilikos, Vasilēs, 1934-  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
35.6 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Diaries
Transcripts
Date:
circa 1928-2014
1849
1931 - 1983
bulk 1952-2014
Summary:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.

The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.

Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.

The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Materials, 1962-1978

Series 2: Correspondence, 1945-2010, undated

Series 3: Writings, 1952-1976, undated

Series 4: Research files, 1849, 1950-1984, 2009, undated

Series 5: Printed Materials, 1931-1981, undated

Series 6: Artwork, 1949, 1952, 1983, undated

Series 7: Photographs of Artwork, circa 1950-2010

Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.

Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.

Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Women art critics  Search this
Historians  Search this
Educators  Search this
Topic:
Photographs  Search this
Dadaism  Search this
Art critics  Search this
Art criticism  Search this
Art, Modern -- 20th century  Search this
Artists -- United States  Search this
Art -- Study and teaching  Search this
Poetry  Search this
Genre/Form:
Sketchbooks
Diaries
Transcripts
Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ashtdore
Additional Online Media:

Max Kozloff papers

Creator:
Kozloff, Max  Search this
Names:
Antin, David  Search this
Ashton, Dore  Search this
Johns, Jasper, 1930-  Search this
Kaprow, Allan  Search this
Leider, Philip, 1929-  Search this
Motherwell, Robert  Search this
Nochlin, Linda  Search this
Schapiro, Miriam, 1923-2015  Search this
Sontag, Susan, 1933-2004  Search this
Extent:
1.4 Linear feet
Type:
Archival materials
Collection descriptions
Interviews
Date:
circa 1950-2015
Summary:
The papers of art critic and photographer Max Kozloff measure 1.4 linear feet and date from circa 1950-2015. The collection provides a glimpse into the work life of a prolific twentieth century American art critic through biographical material, correspondence with artists and critics, interviews, many unpublished writings, and printed material.
Scope and Contents:
The papers of art critic and photographer Max Kozloff measure 1.4 linear feet and date from circa 1950-2015. The collection provides a glimpse into the work life of a prolific twentieth century American art critic through biographical material, correspondence with artists and critics, interviews, many unpublished writings, and printed material.

Notable correspondents include David Antin, Allan Kaprow, Phil Leider, Dore Ashton, Jasper Johns, Robert Motherwell, Susan Sontag, Linda Nochlin, Miriam Schapiro, and others.
Arrangement:
The collection is arranged as five series

Series 1: Biographical Material, circa 1950-1970 (2 folders; Box 1)

Series 2: Correspondence, 1961-2014 (0.6 linear feet; Box 1)

Series 3: Interviews, 1993-2014 (4 folders; Box 1)

Series 4: Writings, circa 1950s-2015 (0.6 linear feet; Box 1-2)

Series 5: Printed Material, 1965-2015 (8 folders; Box 2)
Biographical / Historical:
Max Kozloff (1933- ) is an art critic and photographer in New York City. He received his BA in Art History from the University of Chicago in 1953 and studied at the Institute of Fine Arts, New York University, from 1959-1963. Kozloff wrote the art column for The Nation from 1961-1968, was associate and contributing editor to Artforum from 1963-1974 and executive editor from 1974-1976. Kozloff has published numerous essays and books, among them, Renderings (1969), Jasper Johns (1972), The Privileged Eye (1987), New York: Capital of Photography (2002), and The Theatre of the Face (2007). As a photographer, he has held exhibitions both in New York and internationally. Kozloff is the recipient of various awards and prizes including two NEA grants and a Guggenheim fellowship.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Max Kozloff conducted by Annette Leddy in 2014.
Provenance:
Max Kozloff donated his papers to the Archives of American Art in 2016.
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.
Rights:
The Max Kozloff papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art critics -- New York (State) -- New York  Search this
Art criticism -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Citation:
Max Kozloff papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kozlmax
See more items in:
Max Kozloff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kozlmax

Catherine Viviano Gallery records

Creator:
Catherine Viviano  Search this
Names:
American Academy of Arts and Letters  Search this
American Federation of Arts  Search this
Art Club of Chicago  Search this
Art Institute of Chicago  Search this
Barnes Foundation  Search this
Brooklyn Museum  Search this
Carnegie Institute  Search this
City Art Museum of St. Louis  Search this
Colorado Springs Fine Arts Center  Search this
Dallas Museum of Fine Arts  Search this
Des Moines Art Center  Search this
Detroit Institute of Arts  Search this
Fogg Art Museum  Search this
Harvard University  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Los Angeles County Museum  Search this
Mary Washington College  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Fine Arts, Boston  Search this
Museum of Fine Arts, Houston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Art Alliance  Search this
Santa Barbara Museum of Art  Search this
University of Virginia  Search this
Wadsworth Atheneum  Search this
Walker Art Center  Search this
William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts  Search this
World House Galleries  Search this
Yale University. Art & Architecture Library  Search this
Afro, 1912-1976  Search this
Ashton, Dore  Search this
Baker, Richard Brown  Search this
Bareiss, Walter  Search this
Barker, Walter  Search this
Birolli, Renato, 1905?-1959  Search this
Bishop, Elizabeth, 1911-1979  Search this
Broderson, Robert M, 1920-  Search this
Callery, Mary, 1903-1977  Search this
Chaet, Bernard  Search this
Cox, Jan, 1919-1980  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dubuffet, Jean, 1901-  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Eisendrath, William N., 1903-  Search this
Ernst, Dallas  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Fleischman, Barbara  Search this
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Genauer, Emily, 1910-2002  Search this
Giacometti, Alberto, 1901-1966  Search this
Glasco, Joseph, 1925-  Search this
Goodhue, Bertram Grosvenor, 1869-1924  Search this
Graves, Morris, 1910-  Search this
Guerrero, José, 1914-  Search this
Göpel, Barbara  Search this
Göpel, Erhard  Search this
Hirschhorn, Joseph  Search this
Lerner, Abe, 1908-  Search this
Ludgin, Earle, 1898-1981  Search this
Mabe, Manabu  Search this
Manrique, César, 1920-  Search this
McCray, Porter A., 1908-2000  Search this
Meltzer, Doris, 1908-1977  Search this
Menil, Dominique de  Search this
Miller, Stephen Robeson  Search this
Minguzzi, Luciano, 1911-  Search this
Miró, Joan, 1893-  Search this
Morlotti, Ennio, 1910-1992  Search this
Moyens, H. Marc  Search this
Myers, John Bernard  Search this
Ossorio, Alfonso, 1916-1990  Search this
Perlin, Bernard, 1918-  Search this
Price, Vincent, 1911-1993  Search this
Pulitzer, Joseph, 1913-1993  Search this
Rathbone, Perry Townsend, 1911-2000  Search this
Ribicoff, Belle Krasne, 1924-  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Rosenthal, Bernard M.  Search this
Sage, Kay  Search this
Seeger, Stanley J.  Search this
Shapiro, Meyer  Search this
Stout, George L. (George Leslie)  Search this
Tanning, Dorothea, 1910-2012  Search this
Valentin, Curt, 1902-1954  Search this
Van Veen, Stuyvesant  Search this
Viviano, Catherine.  Search this
Wakabayashi, Kazuo  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
11.6 Linear feet
Type:
Archival materials
Collection descriptions
Notes
Photographs
Date:
1930-1990
bulk 1949-1978
Summary:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Scope and Contents note:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.

Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.

Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.

General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.

Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.

Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.

Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.

Photographs include three images of miscellaneous artwork used for art reference.
Arrangement note:
Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically

The collection is arranged as 5 series:

Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)

Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)

Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)

Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)

Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)
Biographical/Historical note:
Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.

Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.

In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.
Related Archival Materials note:
Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.
Provenance:
The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Catherine Viviano Gallery records records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art dealers  Search this
Sculpture  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Painting  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Notes
Photographs
Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cathvivi
See more items in:
Catherine Viviano Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cathvivi
Additional Online Media:

Harvey Quaytman

Interviewee:
Quaytman, Harvey 1937-2002 http://id.loc.gov/authorities/names/nr95043764  Search this
Writer of added text:
Ashton, Dore http://id.loc.gov/authorities/names/n79054747 http://viaf.org/viaf/85360390  Search this
Interviewer:
Sarje, Kimmo http://id.loc.gov/authorities/names/n88624342 http://viaf.org/viaf/209865563  Search this
Author:
Quaytman, Harvey 1937-2002 Works Selections  Search this
Subject:
Quaytman, Harvey 1937-2002  Search this
Quaytman, Harvey 1937-2002  Search this
Physical description:
143 pages : chiefly illustrations (chiefly color) ; 27 cm
Type:
Exhibitions
Catalogs
Interviews
Exhibition catalogs
Date:
2014
20th century
Topic:
Painting, American  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1104895

Jack Tworkov papers

Creator:
Tworkov, Jack  Search this
Names:
Egan Gallery  Search this
Leo Castelli Gallery  Search this
Nancy Hoffman Gallery  Search this
Poindexter Gallery  Search this
Stable Gallery (New York, N.Y.)  Search this
Zabriskie Gallery  Search this
Ashbury, John  Search this
Ashton, Dore  Search this
Bartlett, Jennifer, 1941-  Search this
Blinken, Donald M., 1925-  Search this
Calfee, William H. (William Howard), 1909-1995  Search this
Cavallon, Giorgio, 1904-1989  Search this
Cézanne, Paul, 1839-1906  Search this
Demarco, Ricky  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Forge, Andrew  Search this
Hartigan, Grace  Search this
Herzbrun, Helene  Search this
Katz, Paul  Search this
Knaths, Karl, 1891-1971  Search this
Lindeberg, Linda, 1915-1973  Search this
Matter, Herbert, 1907-1984  Search this
Newman, Arnold, 1918-2006  Search this
Newman, Michael  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Ponsold, Renate  Search this
Praeger, David A.  Search this
Rothko, Mark, 1903-1970  Search this
Summerford, Joe  Search this
Thorne, Joan, 1943-  Search this
Westenberger, Theo  Search this
Wheeler, Dennis  Search this
Wise, Howard  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
9.7 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sketchbooks
Video recordings
Interviews
Motion pictures (visual works)
Sound recordings
Sketches
Diaries
Date:
1926-1993
Summary:
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.
Scope and Content Note:
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993, with the bulk from the period 1931-1982. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.

Biographical material includes Tworkov's citizenship certificate, awards, diplomas, a copy of Jack Tworkov: Video Portrait, produced by Electronic Arts Intermix, and a motion picture film, USA Artists: Jack Tworkov, produced by National Education Television.

Correspondence consists largely of incoming letters. It is both professional and personal in nature and often combines both spheres. Correspondents include artists Jennifer Bartlett, William H. Calfee, Giorgio Cavallon and Linda Lindeberg, Grace Hartigan, Helene Herzbrun (also named Helene McKinsey), Karl Knaths, Joe Summerford, Joan Thorne, and Adja Yunkers; cartoonist Robert C. Osborn; collectors Donald M. Blinken and David A. Praeger (who was also Tworkov's lawyer); illustrator Roger Dovoisin; critics Dore Ashton and Andrew Forge; critic and poet John Ashbury; galleries that represented Tworkov: Egan Gallery, Leo Castelli, Nancy Hoffman Gallery, Poindexter Gallery, Stable Gallery and Zabriskie Gallery; and many museums, arts organizations, colleges and universities.

Interviews with Tworkov include one with Ricky Demarco videotaped in 1979 and two conducted on video by Twokov's daughter Helen in 1975. The remaining interviews are sound recordings, one conducted by Grace Alexander for the show Artists in New York in 1967, one conducted by Michael Newman in 1980, and the remainder by unidentified interviewers. None have transcripts.

All writings are by Tworkov and include poems, an artist's statement, and documentation for two children's books by Tworkov illustrated by Roger Duvoisin. Two additional notebooks contain miscellaneous notes, teaching notes, and some specific to identified courses. Lectures exist as untranscribed sound recordings.

Tworkov's journals (33 volumes) span a period of 35 years, from 1947 until 1982, with the final entry dated a few weeks before his death. They record his reflections on painting, his challenges as a painter, aesthetics, the role of the artist in society, Jewish identity, painters he admired (especially Cézanne and Edwin Dickinson), politics, and teaching. They also recount everyday life: the comings and goings of friends and family members, social engagements, professional activities, illness, and travel.

The lone subject file concerns Mark Rothko and includes a photograph of Rothko and the guest list for the dedication of the Rothko Chapel in Houston.

Artwork consists of a small number of sketches by Tworkov in pencil and ink. Tworkov's sketchbooks (28 volumes) contain sketches and some finished drawings. Most are in pencil, but scattered throughout are a few pencil sketches embellished with colored marker or pastel, and a small number in ink.

Photographs are of people, places and events. Most photographs are of Tworkov alone and with others including Giogio Cavallon, though most friends and students are unidentified. Of note are views of Tworkov producing a series of prints at Tamarind Institute. Also found is an informal portrait of Wally Tworkov. Events recorded include the jurying of "Exhibition Momentum" in Chicago, 1956. Among the places shown are Tworkov's studios at Black Mountain College and in Provincetown. When known, photographers are noted; among them are Paul Katz, Herbert Matter, Arnold Newman, Renate Ponsold, Theo Westenberger, Dennis Wheeler, and Howard Wise.

A separate series of audiovisual recordings was established for those recordings that could not be readily identified to be arranged in other series. They consist of three videocassettes (2 VHS and 1 miniDV).
Arrangement:
The collection is arranged as 11 series:

Series 1: Biographical Material, 1933-1981 (Boxes 1, 9, 11, FC 13; 0.7 linear ft.)

Series 2: Correspondence, 1926-1993 (Boxes 1-5; 3.8 linear ft.)

Series 3: Interviews, 1978-1982 (Boxes 5, 9-10; 1 linear ft.)

Series 4: Writings, Notes, and Lectures, 1955-1982 (Boxes 5, 9; 0.5 linear ft.)

Series 5: Journals, 1947-1982 (Boxes 5-7; 2.0 linear ft.)

Series 6: Subject File, 1961-1977 (Box 7; 1 folder)

Series 7: Printed Material, 1952-1981 (Box 7, OV 12; 0.1 linear ft.)

Series 8: Artwork, circa 1950s-1960s (Box 7: 3 folders)

Series 9: Sketchbooks, circa 1950s-1960s (Boxes 7-8, 11; 1.0 linear ft.)

Series 10: Photographic Materials, 1941-1981 (Boxes 8-9; 0.5 linear ft.)

Series 11: Audiovisual Recordings, 1961-1975 (Box 9; 0.1 linear ft.)
Biographical Note:
New York School painter Jack Tworkov (1900-1982), best known for his Abstract Expressionist paintings and as a highly regarded teacher, lived and worked in New York City and Provincetown, MA.

At age 13, Tworkov (born Yakov Tworkovsky) emigrated from Poland with his mother and sister to join his father already in the United States. In America, they chose to use the name of distant relatives, the Bernsteins, who were their sponsors. Eventually, Jack and his sister, Janice, reclaimed and shortened their name to Tworkov; later, she adopted the name of their hometown in Poland and became the painter Janice Biala.

As a high school student in New York City, Tworkov attended drawing classes. After graduating from Columbia University, where he had been an English major and considered becoming a writer, Tworkov instead turned to art. He studied with Ivan Olinsky at the National Academy of Design between 1923 and 1925, and from 1925 to 1926 attended painting classes taught by Guy Péne Du Bois and Boardman Robinson at the Art Students League. During his college years, Tworkov began visiting museums and became a great admirer of Cézanne. Tworkov's early paintings - still life, landscapes, and portraits - showed the influence of European modernism and Cézanne.

Tworkov spent his first summer in Provincetown while still a student and subsequently returned to study with Ross Moffet. In Provincetown he met and was greatly influenced by Karl Knaths and developed a lifelong friendship with Edwin Dickinson. By 1929, Tworkov was painting there year round. Over the years, Tworkov and his family continued to return for long stretches, and in 1958 he purchased a house in Provincetown.

During the Great Depression, Tworkov participated in the Treasury Department's Public Works of Art Project until 1934, and then moved to the easel division of the WPA Federal Art Project. He felt uncomfortable with the growing ideological and political influences on art and found it depressing to paint for the WPA rather than for himself, so he left the WPA in 1941. Tworkov, who had studied mechanical drawing while in high school, spent most of the War years employed as a tool designer and draftsman at an engineering firm with government contracts.

By the 1940s, Tworkov was painting in the Abstract Expressionist style. Between 1948 and 1953, he leased a studio on Fourth Avenue that adjoined that of his friend Willem de Kooning. During this time, they mutually influenced each other as they developed into mature Abstract Expressionists. At Yale in the 1960s, Tworkov became close friends with fellow student Josef Albers. Alber's influence on Tworkov resulted in a turn to geometric compositions of small, systematic, and repetitive strokes defined by a grid. He experimented with diagonal compositions, and later geometric work that featured large areas of color and soft texture.

Tworkov's first teaching experience was during 1930-1931 when he served as a part-time painting instructor at the Ethical Culture Fieldston School. His teaching career began in earnest when he joined the faculties of Queens College, 1948-1955, and Pratt Institute, 1955-1958. During the summers he taught at various schools, most notably Black Mountain College's 1952 summer session. Tworkov was a visiting artist at the Yale University School of Art and Architecture, 1961-1963, and became chairman of its Art Department from 1963 until his retirement in 1969. In retirement he lived in Provincetown and was a visiting artist for both short and extended periods at various universities and art schools.

An avid reader of literature and poetry, Tworkov also wrote poems and essays. He published essays in It Is, Art Digest, and Art In America; his most notable piece, "The Wandering Soutine," appeared in Art News, November 1950. Tworkov also kept a journal for 35 years (1947-1982) that recorded his thoughts on a wide range of subjects concerning professional, personal, and philosophical issues, as well as details of everyday life.

Tworkov was among the founders of the Artists' Club or The Club in 1949, and for a decade actively participated in the stimulating discussions for which the group was known. In 1968 he helped to establish the Fine Arts Work Center in Provincetown. Its residency program enabled younger artists and writers to advance their careers and kept Provincetown's historic artists' colony active year round.

He was the recipient of the William A. Clark Award and Corcoran Gold Medal from the Corcoran Gallery of Art, 1963; Skowhegan School of Art's Painter of the Year Award, 1974; and Distinguished Teaching of Art Award from College Art Association, 1976. Tworkov was appointed to serve on the Massachusetts Art Commission, 1970-1971, and in 1981 was named a Fellow of The Cleveland Museum of Art and of the Rhode Island School of Design.

Following his second divorce in 1935, Rachel (Wally) Wolodarsky became Tworkov's third wife and their marriage endured. They had two daughters. Hermine Ford (b. 1939) is an artist married to fellow painter Robert Moskowitz. Helen Tworkov (b. 1943) is the founder of Tricycle: The Buddhist Review and the author of a book about yoga.

Tworkov remained physically and intellectually active after a diagnosis of bone cancer around 1980, and continued to paint until shortly before his death in Provincetown on September 4, 1982.
Related Material:
Among the holdings of the Archives of American Art are two oral history interviews with Jack Tworkov, one conducted by Dorothy Seckler, Aug. 17, 1962, and another by Gerald Silk, May 22, 1981. There is also a small collection of three letters written by Jack Tworkov to friend Troy-Jjohn Bramberger.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N70-38 and 62) including writings by Tworkov, notebooks, notes for teaching and talks, notes on art and miscellaneous subjects, poems, artist's statements, biographical data, the transcript of a 1970 interview with Tworkov conducted by Phyllis Tuchman, and a few letters and drafts of letters, 1950-1963. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jack Tworkov lent the Archives of American Art papers for microfilming in 1970-1971. Jack Tworkov's daughters, Hermine Ford and Helen Tworkov, donated the rest of the collection in 2009, which included some of the material from the original loan.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Jack Tworkov papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting -- New York (State)  Search this
Painters -- Massachusetts  Search this
Painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Sketchbooks
Video recordings
Interviews
Motion pictures (visual works)
Sound recordings
Sketches
Diaries
Citation:
Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tworjack2
See more items in:
Jack Tworkov papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tworjack2
Additional Online Media:

José de Rivera papers

Creator:
De Rivera, José Ruiz, 1904-1985  Search this
Names:
American Iron and Steel Institute  Search this
Exposition universelle et internationale (1958: Brussels, Belgium)  Search this
New York World's Fair (1964-1965)  Search this
Smithsonian Institution  Search this
Ashton, Dore  Search this
Goldsmith, Howard  Search this
Marter, Joan M.  Search this
Extent:
5.6 Linear feet
Type:
Archival materials
Collection descriptions
Drawings
Collages
Sketchbooks
Interviews
Transcripts
Sketches
Motion pictures (visual works)
Blueprints
Photographs
Date:
1930-1991
Summary:
The papers of sculptor José de Rivera date from 1930 to 1991 and measure 5.6 linear feet. Found within the papers are biographical materials, letters, scattered personal business records, commission files, art work including four sketchbooks, printed material, and photographs. One of the commission files includes a motion picture film.
Scope and Content Note:
The papers of sculptor José de Rivera date from 1930 to 1991 and measure 5.6 linear feet. Found within the papers are biographical materials, letters, scattered personal business records, commission files, art work including four sketchbooks, printed material, and photographs. One of the commission files includes a motion picture film.

Biographical material consists of a biographical account, resumé, military service records, an interview transcript, certificates, addresses, and miscellaneous notes and writings.

Twenty-nine folders of letters are primarily from de Rivera's patron, attorney Howard Goldsmith, but also include single letters from Marcel Breuer, John Canaday, Emlen Etting, Dag Hammarskjold, and G. Vantongerloo.

Scattered personal business records include rental records, sculpture inventories, a contract, receipts, and miscellaneous records.

Commission files contain letters, contracts, receipts, clippings, blueprints, miscellaneous printed material, and photographs concerning several of de Rivera's commissions, including Brussels Construction for the Brussels Universal and International Exhibition, his sculpture for the 1964 New York World's Fair, and Infinity, commissioned for the Smithsonian. A file for Construction #73 completed for the American Iron and Steel Institute also contains a reel of 16mm motion picture film.

Art work consists of four sketchbooks, drawings, and geometric collages including detached cut out shapes.

Printed material includes primarily clippings and exhibition announcements and catalogs. There is also a copy of the book José de Rivera Constructions by Dore Ashton and Joan M. Marter. Photographs are of de Rivera, miscellaneous art-related events, his studio, his art works, and of miscellaneous exhibition installations. Commission files also contain photographs.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material, 1942-1984 (Box 1; 11 folders)

Series 2: Letters, 1938-1988 (Box 1; 29 folders)

Series 3: Personal Business Records, 1947-1984 (Box 1; 11 folders)

Series 4: Commission Files, 1955-1977 (Box 1-2, 6-7, OV 10, FC 13; 1.1 linear feet)

Series 5: Art Work, 1960-1984 (Box 2, 6, OV 8; 0.9 linear feet)

Series 6: Printed Material, 1931-1991 (Box 2-4, 6; 1.5 linear feet)

Series 7: Photographs, 1930-1985 (Box 4-7, OV 9-OV 10; 1.7 linear feet)
Biographical Note:
José de Rivera (1904-1985) worked primarily in New York as an abstract expressionist sculptor known for twisting steel or bronze bands into space-defining three-dimensional shapes.

José A. Ruiz was born on September 18, 1904 in West Baton Rouge, Louisiana, the son of Joseph and Honorine Montamat Ruiz. He would later take the surname of his maternal grandmother, de Rivera. Early in his life his family moved to New Orleans where his father was a sugar mill engineer on a plantation. De Rivera became adept at repairing machinery and doing blacksmith work with his father. Shortly after completing high school in 1922, de Rivera moved to Chicago where he was employed in foundries and machine shops as a pipe fitter and tool and die maker. His 1926 marriage to Rose Covelli ended in divorce.

Beginning in 1928 de Rivera attended night drawing classes conducted at the Studio School by painter John W. Norton. De Rivera was impressed by the Egyptian collections at the Field Museum. The work of Mondrian, Brancusi, and Georges Vantongerloo also exerted a strong influence on him. In 1932, he traveled through southern Europe and North Africa visiting Spain, Italy, France, Greece, and Egypt. Upon his return to the United States he decided to become a sculptor.

From 1937-1938, de Rivera was employed by the Works Progress Administration-Federal Art Project and created the sculpture Flight for the Newark, New Jersey airport. During World War II, he first served in the U.S. Army Corps from 1942 to 1943. For the following three years, he designed and constructed ship models used as training aids in the U. S. Navy.

De Rivera's first solo exhibition was in 1946 in New York at the Mortimer Levitt Gallery. In 1953, de Rivera taught sculpture at Brooklyn College. For the following three years, he was a critic in sculpture at Yale University and taught at the School of Design at North Carolina State College from 1957 to 1960. De Rivera married Lita Jeronimo in 1955.

In 1961 de Rivera was given a retrospective exhibition at the Whitney Museum of American Art. One of his most notable works Infinity was commissioned by the Smithsonian Institution for the front of its newly built Museum of History and Technology in 1963.

José de Rivera died on March 19, 1985 in New York City.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-32) including biographical material, correspondence, writings, drawings, printed material, and photographs. Loaned material was returned to the lender and are not described in the collection container inventory.
Provenance:
In 1970, José de Rivera loaned the Archives of Amrican Art material for microfilming. The artist and the Grace Borgenicht Gallery donated additional papers in 1982 and De Rivera's son, Joseph A. Ruiz II, gave more material in 1998.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The José de Rivera papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Hispanic American artists  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, American -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Drawings
Collages
Sketchbooks
Interviews
Transcripts
Sketches
Motion pictures (visual works)
Blueprints
Photographs
Citation:
José de Rivera papers, 1930-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.derijose
See more items in:
José de Rivera papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-derijose

Correspondence

Collection Creator:
Ashton, Dore  Search this
Extent:
4.6 Linear feet (Boxes 1-5, ov 15-16)
Type:
Archival materials
Date:
1952-2010, undated
Scope and Contents:
Correspondence contains mixed business and personal correspondence from artists, family, friends, admirers, writers, publishers, museums, and galleries; many with enclosures including small artworks, exhibition announcements, poetry, and photographs and writings by others. There is a small amount of correspondence from Ashton to others. The largest amounts of correspondence are with Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reutersward, and Hedda Sterne, among others. A small amount of correspondence (one to six letters) is from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos. Types of correspondence include holiday cards and postcards, as well as letters. Some letters and envelopes are illustrated. Correspondence is in English, Spanish, French, Italian, German and Norwegian.
Arrangement:
The series is arranged in two subseries.

2.1: Chronological, 1952-1983

2.2: Alphabetical, 1952-2010, undated
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Series 2
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref16

Photographs of Artwork

Collection Creator:
Ashton, Dore  Search this
Extent:
2.5 Linear feet (Boxes 10-14, ov 15)
Type:
Archival materials
Date:
circa 1950-2010
Scope and Contents:
Photographs include black and white photocopy prints and a few prints and postcards, acquired by Ashton for reference, and representing mostly 19th and 20th century American and European artists. Most are labeled and of a single work of art, some show artworks in exhibition spaces.
Arrangement:
Arranged alphabetically by artist's surname, followed by subjects.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Series 7
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref38

Addition to the Dore Ashton Papers

Collection Creator:
Ashton, Dore  Search this
Extent:
22.8 Linear feet (Box 17-40, OV 41-42)
Type:
Archival materials
Date:
circa 1928-2013
Scope and Contents:
The addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to a wide variety of people including artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. Many of the files contain research compiled for a vast number of writing projects including books, articles, and catalog essays. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. Artwork and seven sketchbooks contain brief studies of people and places, most done while traveling. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family. Ashton is also captured giving lectures, and at exhibitions and other professional engagements.
Arrangement:
The series is arranged as 8 subseries.

8.1: Biographical Material, 1943-2012

8.2: Correspondence, circa 1945-2012

8.3: Writings, 1947-2011

8.4: Writing Project and Subject Files, circa 1950-2012

8.5: Teaching Files, 1967-2013

8.6: Printed Material, circa 1950-2012

8.7: Artwork and Sketchbooks, circa 1950-2000

8.8: Photographic Material, circa 1928-2010
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Series 8
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref715

Biographical Material

Collection Creator:
Ashton, Dore  Search this
Extent:
0.8 Linear feet (Box 17)
Type:
Archival materials
Date:
1943-2012
Scope and Contents:
Biographical material dates from 1943-2012 and includes address books, agendas, curricula vitae, membership cards, and passports. A few files contain Ashton's personal business records regarding a donation to the Museum of Modern Art library and royalty statements from publishers. Also found here are personal and business files relating to Ashton's family, including her father and children.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Subseries 8.1
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref717

Correspondence

Collection Creator:
Ashton, Dore  Search this
Extent:
1.4 Linear feet (Box 17-19)
Type:
Archival materials
Date:
circa 1945-2012
Scope and Contents:
Correspondence dates from circa 1943-2012 and, as with Series 2, contains mixed business and personal correspondence from artists, family, friends, writers, publishers, museums, and galleries. While predominantly correspondence, small artworks, printed material, and writings by others are mixed in. The largest amounts of correspondence are with actor Eusebio Lázaro, art historians Fred Licht and Norbert Lynton, and her second husband Matti Megged. Types of correspondence include letters and postcards. Correspondence is in English, Spanish, and French.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Subseries 8.2
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref718

Writings

Collection Creator:
Ashton, Dore  Search this
Extent:
6.3 Linear feet (Box 19-25)
Type:
Archival materials
Date:
1947-2011
Scope and Contents:
Writings date from 1947-2011 and contain manuscripts, lectures, notes, sixty notebooks, ten diaries, and a small number of writings by others. Manuscripts include hundreds of essays, articles, introductions, and reviews, as well as a few books and book chapters, including A Joseph Cornell Album (1974), A Fable of Modern Art (1980) and Delicate Thread: Teshigahara's Life in Art (1997). Manuscripts are mostly typescripts, with a small number of published versions of Ashton's writings in magazines. Occasional items of correspondence, handwritten notes, and other reference articles are found in the folders. Lectures contain typescripts of talks given at colleges, universities, museums and as part of symposia, conferences, commencements, and exhibition related programming. Notes and notebooks contain a set of index cards with research and quotations by various artists and thinkers, two folders of scattered notes on a variety of subjects, and sixty notebooks. The majority of the notebooks are travel related and contain logistical notes, jottings, lists, names and addresses, thoughts and reflections, as well as sketches. Ten diaries chronicle Ashton's day-to-day life, and contain illuminating recounts of dinner parties and conversations with artists and writers. Writings by others predominantly contain writings by art historian and friend Fred Licht, but other writings by friends are also found here, as well as one file of unidentified writings.
Arrangement:
The subseries is arranged as 5 sub-subseries.

8.3.1: Manuscripts, circa 1950-2010

8.3.2: Lectures, circa 1960-2008

8.3.3: Notes and Notebooks, circa 1957-2011

8.3.4: Diaries, 1947-2008

8.3.5: Writings by Others, circa 1954-2010
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Subseries 8.3
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref719

Writing Project and Subject Files

Collection Creator:
Ashton, Dore  Search this
Extent:
12.3 Linear feet (Box 25-37, OV 41)
Type:
Archival materials
Date:
circa 1950-2012
Scope and Contents:
Writing project and subject files date from circa 1950-2012 and encompass a large collection of alphabetical files pertaining to a wide variety of people including artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. Many of the files contain research compiled for a vast number of writing projects including books, articles, and catalog essays. Included in this large assortment of files are manuscripts, notes, correspondence, photographic material, clippings, postcards, exhibitions catalogs and announcements, articles, brochures, and press releases. Files for Valerio Adami, Jake Berthot, Stephen de Staebler, Robert Israel, Robert Motherwell, and Octavio Paz contain many items of correspondence with the individual. The grouping of files related to Robert Motherwell document a number of projects Ashton completed on the artist, including exhibitions and books Robert Motherwell (1983) and The Writings of Robert Motherwell (2007).
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Subseries 8.4
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref720

Teaching Files

Collection Creator:
Ashton, Dore  Search this
Extent:
0.7 Linear feet (Box 37-38)
Type:
Archival materials
Date:
1967-2013
Scope and Contents:
Teaching files date from 1967-2013 and contain administrative files, course materials, and lecture notes from Ashton's teaching appointments at the Copper Union, the New School for Social Research, and Yale University. Items include correspondence, memos, course reserves, assignments, and a large number of lecture notes organized by subject or name of course.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Subseries 8.5
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref721

Printed Material

Collection Creator:
Ashton, Dore  Search this
Extent:
0.3 Linear feet (Box 38)
Type:
Archival materials
Date:
circa 1950-2012
Scope and Contents:
Printed material dates from circa 1950-2012 and consists of exhibition and lecture announcements, clippings related to Ashton's professional life, exhibition catalogs, postcards collected from travel and museums, and reviews of Ashton's books.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore, Subseries 8.6
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref722

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