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Brian Kazlov papers

Creator:
Kazlov, Brian, 1944-1991  Search this
Names:
Kazlov, Louise  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1959-1991
Summary:
The papers of painter and teacher Brian Kazlov measure 0.2 linear feet and date from 1959 to 1991. Included are letters written by Kazlov and his wife Louise to his parents, Gertrude and Peter, and other relatives. In his letters he wrote about his art education, his process of painting, the books he read, his relationships, and his emotional ups and downs as an artist. Also found are a few biographical documents, exhibition catalogs, and news clippings.
Scope and Contents:
The papers of painter and teacher Brian Kazlov measure 0.2 linear feet and date from 1959 to 1991. Included are letters written by Kazlov and his wife Louise to his parents, Gertrude and Peter, and other relatives. In his letters he wrote about his art education, his process of painting, the books he read, his relationships, and his emotional ups and downs as an artist. Also found are a few biographical documents, exhibition catalogs, and news clippings.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Biographical / Historical:
Brian Kazlov (1944-1991) was a painter and teacher in New York City and Yachats, Oregon. Kazlov received his MFA from Yale University and later taught at Western University and the University of Oregon. In 1964 he helped found the New York Studio School, and unaccredited art school in Soho.
Provenance:
Donated in 1992 by Gerturde Kazlov, Brian Kazlov's mother.
Restrictions:
Use of original paper requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art -- Study and teaching  Search this
Art teachers--Oregon  Search this
Painters -- New York (State) -- New York  Search this
Painters--Oregon  Search this
Painting -- Technique  Search this
Citation:
Brian Kazlov papers, 1959-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kazlbria
See more items in:
Brian Kazlov papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kazlbria

Thread Waxing Space records

Creator:
Thread Waxing Space (Gallery)  Search this
Extent:
36.7 Linear feet
3.86 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Video recordings
Date:
1980s-2001
bulk 1991-2001
Summary:
The records of the New York City gallery Thread Waxing Space measure 36.7 linear feet and 3.86 GB and date from 1980s-2001 (bulk 1991-2001). Exhibitions and events held at the gallery are documented through correspondence, artists' bios, printed and digital materials, shipping records, photographic materials, audiovisual materials, and other administrative records. Also found are a handful of artist research files, clippings, and press books.
Scope and Contents note:
The records of the New York City gallery Thread Waxing Space measure 36.7 linear feet and 3.86 GB and date from 1980s-2001 (bulk 1991-2001). Exhibitions and events held at the gallery are documented through correspondence, artists' bios, printed and digital materials, shipping records, photographic materials, audiovisual materials, and other administrative records. Also found are a handful of artist research files, clippings, and press books.

Program Files provide a nearly comprehensive documentation of the exhibitions, performances, lectures and other programs held at Thread Waxing Space. Materials include correspondence, contracts, administrative records, printed materials, photographic materials, audiovisual materials, and scattered electronic records.

Research Files include a handful of folders containing materials related to artists, such as resumes, biographies, printed and digital materials, clippings, and scattered correspondence. Press books containing photocopied newspaper and magazine articles, scattered clippings and scattered printed materials are found in Press Files. Audiovisual Materials contain sound and video recordings presumably of artists found in the Program Files series.

Exhibitions and performances for which there is considerable documentation in the collection include Post-IZUM Moods Music Series (1993), "Don't Look Now" (1994) curated by Joshua Decter, "Garbage!" (1995), "Beyond Ars Medica: Treasures from the Mutter Museum" (1995-1996), "European Comics: Another Image" (1997), "Celluloid Cave" (1997), "Ascent of Western Civilization: American Independent Rock, 1976-1991" (1997), "Jump Cut (Faust)" (1997), "Sanctuary: A Spiritual Music Festival" (1998), "Conceptual Art as Neurobiological Praxis" (1999), "Foul Play" (1999), and "Mr. Fascination" (1999-2000); and traveling exhibitions "Archigram: Experimental Architecture 1961-1974" (1998-1999), "Spectacular Optical" (1998-1999), "After the Gold Rush" (1999), and "Achieving Failure: Gym Culture 2000" (2000).
Arrangement note:
The collection is arranged as 4 series:

Series 1: Program Files, 1980s-2001 (Boxes 1-38; 35.7 linear feet, ER01-ER16; 3.86 GB)

Series 2: Research Files, 1993-2000 (Box 35; 8 folders)

Series 3: Press Files, 1991-circa 2001 (Boxes 35, 38; 0.4 linear feet)

Series 4: Audiovisual Materials, 1989-1993, undated (Boxes 35-36; 0.6 linear feet)
Biographical/Historical note:
Founded by Tim Nye, Thread Waxing Space opened in September 1991 on the second floor of 476 Broadway in New York City. Named after the building's previous occupants -- a factory which produced waxed thread -- the non-profit gallery and performance space explored the interdisciplinary nature of the arts and expanded the boundaries of a traditional gallery through diverse programming.

Thread Waxing Space had multiple exhibition spaces, including the main gallery where the gallery's curators and independent curators organized solo and group exhibitions of contemporary artists working in all types of mediums; the Project Room, a space typically showing works of emerging or under-represented artists; and the Kitchenette, showing works by video artists. In addition to solo and group exhibitions, dance performances, readings, musical events, film screening, lectures, discussion panels, benefits, and arts education programs for students were all frequently held at Thread Waxing Space.

Exhibitions in the main gallery and the Project Room typically ran concurrently for 4-6 weeks. One of the more prominent exhibits held at Thread Waxing Space was "Beck & Al Hansen: Playing With Matches," an exhibit of artworks by musician and songwriter Beck and his grandfather, Fluxus artist Al Hansen. Other artists with solo exhibitions at Thread Waxing Space include Leonardo Drew and Virgil Marti. Thread Waxing Space closed in 2001.
Provenance:
The Thread Waxing Space records were donated in 2008 by Thread Waxing Space founder Tim Nye.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings and electronic records with no duplicate access copy requires advance notice.
Rights:
The Thread Waxing Space 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 galleries, Commercial -- New York (State) -- New York  Search this
Performance art -- New York (State) -- New York  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Video recordings
Citation:
Thread Waxing Space records, 1980s-2001, bulk 1991-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.threwaxs
See more items in:
Thread Waxing Space records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-threwaxs
Additional Online Media:

Jack Stewart papers

Creator:
Stewart, Jack, 1926-2005  Search this
Names:
New York City Transit Authority  Search this
World Trade Center (New York, N.Y.)  Search this
Yale University -- Students  Search this
Baxter, Violet  Search this
Egan, Charles, 1911-  Search this
Gold, Nancy  Search this
Goulet, Lorrie, 1925-  Search this
Kahn, Wolf, 1927-  Search this
Romano, Clare  Search this
Thomas, Steffen, 1906-  Search this
Toney, Anthony  Search this
Townsend, Rodman  Search this
Walker, Herbert Brooks, 1927-  Search this
Weiner, Sam  Search this
Extent:
9.9 Linear feet
7.31 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Date:
1926-2010
Summary:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Scope and Content Note:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.

Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.

Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.

Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.

Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.

Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."

Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)

Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)

Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)

Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)

Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)

Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)

Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)

Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)

Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)
Biographical Note:
Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.

Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).

Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.

Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.

Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.

Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.

Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.

Jack Stewart died in New York City in 2005.
Provenance:
Donated in 2010 by Regina Stewart, widow of Jack Stewart.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.
Rights:
The Jack Stewart 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:
Street art  Search this
Muralists -- New York (State) -- New York  Search this
Mail art  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Graffiti  Search this
Graffiti artists  Search this
Arts administrators -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Citation:
Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewjack
See more items in:
Jack Stewart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stewjack

Robert W. White papers

Creator:
White, Robert, 1921-2002  Search this
Names:
American Academy in Rome  Search this
American Battle Monuments Commission  Search this
Century Association (New York, N.Y.)  Search this
Davis Galleries  Search this
Graham Gallery  Search this
Graham Modern (Gallery)  Search this
Heckscher Museum  Search this
National Academy of Design (U.S.)  Search this
Parsons School of Design  Search this
Parsons School of Design -- Faculty  Search this
Peabody Museum  Search this
Skowhegan School of Painting and Sculpture. School -- Faculty  Search this
State University of New York at Stony Brook  Search this
Steuben Glass, Inc.  Search this
Suffolk Museum  Search this
United States. Coast Guard  Search this
Ames, Amyas  Search this
Cremer, Theodore  Search this
Fleischmann, Patricia  Search this
Fosburgh, Hugh, 1916-  Search this
Franklin, Gilbert, 1919-2004  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Harrison, Jim  Search this
Hobbs, Susan, 1945-  Search this
Huntington, Willard R.  Search this
Kean, Rebekah Harkness  Search this
La Farge, Bancel, 1865-1938  Search this
Lamb, Ward  Search this
Lessard, Suzannah  Search this
Lowe, David, 1933-  Search this
Matthiessen, Peter  Search this
O'Cain, Walker  Search this
Oxman, Katja  Search this
Oxman, Mark  Search this
Platt, Frank C. (Frank Cheney), 1932-  Search this
Pope, Laura Spencer  Search this
Resika, Ellen  Search this
Resika, Paul  Search this
Ripley, Sidney Dillon, 1913-2001  Search this
Russotto, Paul  Search this
Simon, Sidney, 1917-1997  Search this
Styron, William, 1925-  Search this
White, Bessie Chanler  Search this
White, Claire Nicolas, 1925-  Search this
White, Lawrence Grant  Search this
Extent:
8.4 Linear feet
0.846 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Drawings
Essays
Sound recordings
Sketchbooks
Lectures
Notebooks
Sketches
Date:
1889-2003
bulk 1915-2003
Summary:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scope and Content Note:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.

Scattered biographical materials include a curriculum vitae, documentation relating to White's service in the U.S. Coast Guard, a certificate of appreciation, and a memorial card for White's daughter, Natalie Laura White.

Correspondence contains primarily incoming letters from family and friends, and from clients, galleries, museums, arts organizations, students, and university administrators. Spanning over a seventy year period, family and friends correspondence centers on daily activities, events, and work. There is extensive correspondence from Robert White's parents, Lawrence Grant White and Bessie Chanler White and from Claire Nicolas White and her family. Other correspondents include Gil Franklin, Walker Hancock, Jim Harrison, Susan Hobbes, Willard R. Huntington, Ben LaFarge, Ward Lamb, Suzannah Lessard, Peter Matthiessen, Walker O'Cain, Mark and Katja Oxman, Frank C. Platt, Laura Spencer Pope, Paul and Ellen Resika, Paul Russotto, Sidney Simon, and William Styron, among others.

General correspondence mostly concerns White's commissions, teaching appointments, and his activities in professional organizations. Also included are letters from family members, friends, and colleagues. Frequent correspondents include: the American Academy in Rome, Amyas Ames, the Augustus Saint Gaudens Memorial, Century Association, Theodore Cremer, Davis Galleries, Patricia Fleischmann, Hugh Fosburgh, Rebekah Harkness Kean, David Garrard Lowe, National Academy of Design, Parsons School of Design, S. Dillon Ripley, the State University of New York at Stony Brook, Steuben Glass, and the Suffolk Museum and Carriage House.

Project files contain materials on Robert White's exhibitions and his commissioned projects. Materials include letters, lists of artwork, notes, price lists, receipts, exhibition schedules, contracts, and loan agreements. Files document White's exhibits at the Davis Galleries, Elaine Benson Gallery, Graham Gallery, Graham Modern, Heckscher Museum, and the State University of New York at Stony Brook. Included are extensive files on White's commissions for the American Battle Monuments Commission, Peabody Museum, and Steuben Glass.

Personal business records include files on Robert White's association with the Augustus Saint Gaudens Memorial and the National Academy of Design; his teaching appointments at the Parsons School of Design, the State University of New York at Stony Brook, and the Skowhegan School of Painting and Sculpture; and his dealings with foundries. There are scattered files on the Whites' St. James, New York property and residence.

Notes and writings contain Robert White's diaries, artist's statements, notebooks, essays on art, lectures, and scattered notes. Also found are writings by Clare White and others.

Sketchbooks and loose sketches contain preliminary studies by Robert White and scattered sketches by others. Printed material houses newspaper clippings and periodicals; exhibition announcements, catalogs, brochures, and posters; press releases and newsletters; and miscellaneous printed material.

Artifacts include two printing blocks: a portrait sculpture of Stephanie White and a landscape image. Audiovisual material consists of a digital audio recording of a classroom lecture by Robert White at an unidentified venue.

Photographs house images of Robert White; his studio; and snapshots of family and friends, many unidentified. Also included are photographs and slides of artwork.
Arrangement:
The collection is arranged into ten series:

Series 1: Biographical Material, 1939-2002 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1923-2002 (Boxes 1-4; 3.8 linear feet)

Series 3: Project Files, 1952-2003 (Boxes 4-5, OV 10; 1.2 linear feet)

Series 4: Personal Business Records, 1889, 1946-2003 (Boxes 5-6, OV 10; 1.3 linear feet)

Series 5: Notes and Writings, 1915, circa 1946-2002 (Boxes 6-7; 0.6 linear feet)

Series 6: Sketchbooks and Sketches, circa 1965-1972 (Boxes 7, 9; 0.3 linear feet

Series 7: Printed Material, 1937-2003 (Boxes 7, 9; 0.5 linear feet)

Series 8: Audiovisual Material, 1973 (ER01; 0.846 GB)

Series 9: Artifacts, circa 1965 (Box 7; 0.1 linear feet)

Series 10: Photographs, circa 1940s-2001 (Box 8; 0.5 linear feet)
Biographical Note:
Robert Winthrop White (1921-2002) lived and worked in St. James, New York and was primarily known as a sculptor and educator.

He was the son of the architect, Lawrence Grant White (1887-1956) and Bessie Chanler White. Stanford White (1853-1906), Robert's grandfather, was one of the founding partners in the prominent New York City architectural firm, McKim, White, and Mead.

As a youth, Robert White traveled to Munich, Germany to study woodcarving, sculpture, and painting. In 1935, he entered Portsmouth Priory School in Rhode Island. From 1938-1942, he was enrolled in the Rhode Island School of Design, where his mentors were Walter Raemisch in sculpture and John Howard Benson in calligraphy. In World War II, White served as chief boatswain's mate in the United States Coast Guard and later worked in the Office of Strategic Services (OSS). At the end of the war, White continued his training in sculpture and painting. In 1947, Robert White married Clare Nicolas, daughter of the painter and stained glass master, Joep Nicolas and the sculptor, Suzanne Nicolas.

Robert White, influenced by the classical techniques of the Renaissance artists, worked in various media, such as bronze, stone, plaster, terra-cotta, and wood. His subjects included portrait, figure, and life studies; animals; and dancers. Robert White also was an illustrator. He illustrated works by Laura Spencer Pope, William Styron, and others. White also illustrated two collections of his own poems, Casques and Dust and Palace: The Story of A Friendship that were privately published before his death in 2002.

Robert White held teaching positions at several universities and schools, including the Suffolk Museum of Art, the Parsons School of Design, and the Skowhegan School of Painting and Sculpture. From 1967-1987, White was an associate professor at the State University of New York at Stony Brook.

White exhibited his work in museums and galleries in the United States and abroad, including Artists Choice Museum, Artist's Gallery, Benson Gallery, Boston Athenaeum, Gallery North, Hartwick College Museum, Nassau County Museum of Fine Art, Patricia Fleischmann Gallery, Rijksakademie Van Beeldende, State University of New York at Stony Brook, and the Suffolk Museum and Carriage House, among others. Robert White was represented by the Davis Gallery, Graham Gallery, and Graham Modern in New York City.

Robert White's private and public commissions included works for the American Battle Monuments Commission, Amyas Ames, Theodore Cremer, John Marquand, Peabody Museum, State University of New York, William Styron, and Xerox Corporation. His work can be viewed in the collections of the Boston Athenaeum, Brooklyn Museum, Civici Musei 3 Gallerie di Storia e Arte, Heckscher Museum, and the Rhode Island School of Design. Robert White was the recipient of the Laurel Gallery's "New Talent" exhibition prize, 1948; American Academy's Rome Prize, 1952-1954; and the Proctor Memorial Prize at the National Academy of Design, 1962, 1982. He was also awarded grants from the Tiffany Foundation, 1950 and the Fairfield Foundation, 1968. From 1952-1955, White was a fellow of the American Academy in Rome, where he also served as an artist-in-residence from 1969-1970. Robert White was a member of the American Academy in Rome, the Augustus Saint Gaudens Memorial, Century Association, and the National Academy of Design.

Robert White continued to work on the family estate in St. James, New York until his death in 2002.
Provenance:
The Robert W. White Papers were donated in 2003 by Claire Nicolas White, widow of Robert White.
Restrictions:
Use of the original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Authorization to quote, publish or reproduce requires written permission from: Claire Nicolas White, 574 Moriches Road, St. James, New York 11780.
Topic:
Educators -- New York (State) -- New York  Search this
Sculptors -- New York (State)  Search this
Sculpture -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Diaries
Drawings
Essays
Sound recordings
Sketchbooks
Lectures
Notebooks
Sketches
Citation:
Robert W. White papers, 1889-2003 (bulk 1915-2003). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whiterobe
See more items in:
Robert W. White papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whiterobe

Robert Sperry papers

Creator:
Sperry, Robert, 1927-1998  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Faculty  Search this
Warashina, Patti, 1940-  Search this
Extent:
13.6 Linear feet
0.907 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Motion pictures (visual works)
Transcripts
Interviews
Sketches
Drawings
Photographs
Scrapbooks
Videotapes
Date:
1951-2002
Summary:
The papers of ceramicist Robert Sperry measure 13.6 linear feet and 0.907 GB and date from 1951-2002. The collection documents Sperry's career as an artist, teacher, and filmmaker through biographical information, correspondence, exhibition files, gallery files, material on projects and workshops, writings, a scrapbook, financial files, printed and digital material, photographs, moving image materials, and artwork.
Scope and Content Note:
The papers of ceramicist Robert Sperry measure 13.6 linear feet and 0.907 GB and date from 1951-2002. The collection documents Sperry's career as an artist and teacher through biographical information, correspondence, exhibition files, gallery files, material on projects and workshops, writings, a scrapbook, financial files, printed and digital material, photographs, video recordings, films, and artwork.

Biographical files contain items outlining Sperry's career including resumes, teaching evaluations, awards, and interviews. Correspondence includes general correspondence with family, friends, colleagues, schools, galleries, art organizations, and publications as well as named files for those with whom Sperry exchanged a significant amount of correspondence over a long period of time. The Exhibition Files contain materials on group and solo exhibitions Robert Sperry participated in, while Gallery Files hold material, such as correspondence and contracts, related to the galleries which exhibited Sperry's work primarily after 1979. The Project and Workshop Files in Series 5 contain material related to public commissions he completed and workshops he gave during the 1980s and 1990s.

Writings encompass writings by Sperry and others. Sperry's writings vary greatly and include drafts of articles, a family history, poetry, notes and a screenplay, while writings by others are primarily essays on art. Within this series Sperry's event calendars are also found. Sperry compiled a scrapbook which spans 1955 to 1964 and includes correspondence and printed material about exhibitions and newspaper clippings which feature his artwork. He and his wife, Patti Warashina, also compiled Financial Records primarily of their business and living expenses from 1976 to 1984 and earnings as artists and professors at the University of Washington.

The largest series in this collection, Printed Material, provides information largely on Sperry's career through press clippings, exhibition announcements, catalogs, and publications, and also includes other materials on ceramics in general. The Photographs series contains both photos and negatives from Sperry's trip to Japan to film "Village Potters of Onda" as well as photographs of his artwork and his family. Also found in this collection are a few sketches and drawings by Sperry and one drawing by Patti Warashina. Moving image material includes video recordings and motion picture film with a wide range of content, including documentaries about Sperry, studio footage, and experimental and narrative films created by Sperry in a range of styles and genres, including animation such as the animated film "Henry," hand colored film, live action footage, abstract design, and narrative short films by Sperry. There are digital research copies of some of the films.
Arrangement:
The Robert Sperry papers are arranged as thirteen series, according to type of material. Each series is arranged either in rough chronological or alphabetical order.

Series 1: Biographical Files, 1954-circa 2000, undated (Box 1; 0.3 linear feet)

Series 2: Correspondence Files, 1951-2000, undated (Boxes 1-2; 0.9 linear feet)

Series 3: Exhibition Files, 1963-1999, undated (Boxes 2-3; 1.2 linear feet)

Series 4: Gallery Files, 1960-2000, undated (Boxes 3-4; 0.8 linear feet)

Series 5: Project and Workshop Files, 1967-1996, undated (Box 4; 0.4 linear feet)

Series 6: Writings, 1966-1990, undated (Box 5; 0.5 linear feet)

Series 7: Scrapbook, 1955-1964 (Box 5; 8 folders)

Series 8: Financial Records, 1961-1995, undated (Boxes 5-6; 1.0 linear feet)

Series 9: Miscellaneous Subject Files, 1975-1998, undated (Box 6; 0.2 linear feet)

Series 10: Printed Material, 1955-2002, undated (Boxes 6-10; 3.4 linear feet)

Series 11: Photographs, 1963, undated (Box 10; 0.2 linear feet)

Series 12: Sketches and Drawings, 1984, undated (Box 10; 2 folders)

Series 13: Moving Image Material, circa 1962-1998, undated (Boxes 10-12, FC 13-18; 3.1 linear feet, ER01; 0.907 GB)
Biographical Note:
Robert Sperry was born in Bushnell, Illinois, in 1927. He grew up on his family's farm in Druid, Saskatchewan, Canada, and in 1945 was drafted into the U.S. Army, where he first developed an interest in art. After serving in the military, he returned home and completed his B.A. at the University of Saskatchewan in 1950 and a B.F.A. at the Art Institute of Chicago in 1953. While working on his B.A. he met and married Edyth MacDonald and they had one child, Van, in 1950. Sperry spent one summer as Artist in Residence at the Archie Bray Foundation, in Helena, Montana, and then moved his family to Seattle so that he could complete his M.F.A. at the University of Washington. After graduating in 1955 he stayed at the University and became a professor, teaching ceramics until retiring in 1982. During this time, Sperry widely exhibited his clay vessels in both group and solo exhibitions and was active in the American Craft Council.

When not teaching, Robert Sperry pursued his interest in photography and filmmaking and, in 1963, traveled to Japan to make "Village Potters of Onda," a project that included a documentary film and a collection of black and white photographs. Sperry continued experimenting with film and, in 1967, created a fictional film entitled, "Profiles Cast Long Shadows," which was shown at film festivals throughout the United States. After abandoning another film project in 1970 while going through a divorce, he returned to ceramics as his focus. During the 1970s Sperry developed his techniques, modifying glazes and moving away from the vessel shape. In 1976 Sperry married Patti Warashina, fellow ceramicist and professor at the University of Washington. He began producing murals, which led to several public commissions such as a mural for the IBM Field Engineering Educational Center in Atlanta, created in 1983. Robert Sperry: A Retrospective, was exhibited in 1985-1986 at the Bellevue Art Museum, however, Sperry would continue producing and exhibiting new work, and giving lectures and workshops for thirteen more years, until his death in 1998.
Related Material:
Also found in the Archives of American Art are the Patti Warashina papers, circa 1900-1991. An online finding aid is available.
Provenance:
The Robert Sperry papers were donated by Sperry's wife Patti Warashina in 2003 and 2004.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Robert Sperry 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:
Works of art  Search this
Filmmakers  Search this
Potters -- Japan  Search this
Ceramicists -- Washington (State)  Search this
Ceramics -- Study and teaching  Search this
Genre/Form:
Motion pictures (visual works)
Transcripts
Interviews
Sketches
Drawings
Photographs
Scrapbooks
Videotapes
Citation:
Robert Sperry papers, 1951-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sperrobe
See more items in:
Robert Sperry papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sperrobe

Ruth Bowman papers

Creator:
Bowman, Ruth, 1923-  Search this
Names:
American Association of Museums  Search this
American Federation of Arts  Search this
Brooklyn Museum  Search this
Canadian Museums Association  Search this
Craft and Folk Art Museum  Search this
KUSC (Radio station : Los Angeles, Calif.)  Search this
Long Beach Museum of Art  Search this
Los Angeles County Museum of Art  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Newark Museum  Search this
WNYC (Radio station : New York, N.Y.)  Search this
Albers, Josef  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bengelsdorf, Rosalind, 1916-1979  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Cézanne, Paul, 1839-1906  Search this
Diller, Burgoyne, 1906-1965  Search this
Eakins, Thomas, 1844-1916  Search this
Ferren, John, 1905-1970  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Les, 1935-  Search this
Lipchitz, Jacques, 1891-1973  Search this
MacDonald, Duncan (Broadcaster)  Search this
Mason, Alice Trumbull, 1904-1971  Search this
McNeil, George, 1908-1995  Search this
Morris, George L. K., 1905-1975  Search this
Noguchi, Isamu, 1904-1988  Search this
Picasso, Pablo, 1881-1973  Search this
Reinhardt, Ad, 1913-1967  Search this
Sloan, Helen Farr, 1911-2005  Search this
Wilfred, Thomas, 1889-1968  Search this
Extent:
26.7 Linear feet
21.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Scripts (documents)
Date:
1936-2006
bulk 1963-1999
Summary:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Ruth Bowman papers are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Authorization to quote, publish or reproduce her unpublished writings and related research materials requires written permission from Ruth Bowman, 200 East 66th Street, Apt. B-2101, New York, New York 10021.
Topic:
Art -- Study and teaching  Search this
Art historians -- California -- Los Angeles  Search this
Art, American -- 20th century  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Sound recordings
Scripts (documents)
Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bowmruth2
Additional Online Media:

Burt Chernow papers

Creator:
Chernow, Burt  Search this
Names:
Housatonic Community College (Bridgeport, Conn.)  Search this
Housatonic Museum of Art  Search this
Westport Schools Permanent Art Collection  Search this
Westport-Weston Arts Council (Westport, Conn.)  Search this
Arman, 1928-2005  Search this
Avery, Milton, 1885-1965  Search this
Christo, 1935-  Search this
Christo, 1935- (Wrapped Reichstag)  Search this
Hendricks, Barkley L., 1945-  Search this
Jeanne-Claude, 1935-2009  Search this
Johnson, Lester, 1919-2010  Search this
Peterdi, Gabor  Search this
Woodham, Jean, 1925-  Search this
Zúñiga, Francisco, 1912-1998  Search this
Extent:
21.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Transcriptions
Video recordings
Sound recordings
Photographs
Date:
1930-2002
Summary:
The papers of Burt Chernow measure 21.8 linear feet and consist mainly of research materials gathered and produced in the course of writing Christo and Jeanne-Claude: A Biography over an extensive period of close contact with the subjects, from the early 1980s until Chernow's death in 1997. Research materials for the biography include photocopies of personal documents of the Christos, hundreds of recorded interviews with Christo, Jeanne-Claude, their family members, and their associates, transcripts of interviews and research on interview subjects, other collected research material compiled chronologically, drafts of the biography written by Chernow, drafts of the biography and its epilogue produced after Chernow's death, and business records related to the book's production, which include significant correspondence with the Christos. Also found are the published German and U.S. editions of the biography, printed materials and photographs related to the book's subject matter, and fabric samples from five of the Christos' projects undertaken during Chernow's association with them. Chernow's career as an art critic, writer, educator, and arts advocate, primarily in Southern Connecticut, is documented in Chernow's other writings, organizational records, printed materials, and photographs.
Scope and Contents:
The papers of Burt Chernow measure 21.8 linear feet and consist mainly of research materials gathered and produced in the course of writing Christo and Jeanne-Claude: A Biography over an extensive period of close contact with the subjects, from the early 1980s until Chernow's death in 1997. Research materials for the biography include photocopies of personal documents of the Christos, hundreds of recorded interviews with Christo, Jeanne-Claude, their family members, and their associates, transcripts of interviews and research on interview subjects, other collected research material compiled chronologically, drafts of the biography written by Chernow, drafts of the biography and its epilogue produced after Chernow's death, and business records related to the book's production, which include significant correspondence with the Christos. Also found are the published German and U.S. editions of the biography, printed materials and photographs related to the book's subject matter, and fabric samples from five of the Christos' projects undertaken during Chernow's association with them.

Chernow's career as an art critic, writer, educator, and arts advocate, primarily in Southern Connecticut, is documented in Chernow's other writings, organizational records, printed materials, and photographs. Other writings include drafts of articles, lectures, exhibition reviews, and catalog essays, some of which include research material gathered on the subjects. Artists written about by Chernow include Arman, Milton Avery, Barkley Hendricks, Francisco Zuñiga, Lester Johnson, Gabor Peterdi, and Jean Woodham, among many others, and including many Connecticut artists. A recorded interview with Arman, as well as transcripts of multiple interviews with Zuñiga, are filed with these writings. Also found are many writings and lectures related to the value of visual art in public life and in elementary and higher education. Numerous lectures by Chernow about several of the Christos' large-scale projects are also found, one of which, on the Wrapped Reichstag, is recorded on video.

Organizational records document Chernow's involvement in various art education organizations, his years of teaching at Housatonic Community College, his development of the Housatonic Museum of Art collection, and his work with several local arts organizations in Westport, Conn., including the Westport Arts Advisory Council, the Westport Arts Center, the Westport Schools Permanent Art Collection Committee, and the Westport Weston Arts Council. Types of documents found include correspondence, clippings, photographs, flyers, and notes.

Printed material includes many of the books written by Chernow, and monographs and magazines which included essays on specific artists by Chernow. A file of clippings about Chernow spanning his career is also found. Photographs include prints, negatives, and contact sheets, and consist mainly of photographs of artists, many of which were taken by Chernow, and many of which are signed by the artists with a personal note to the Chernows. A handful of personal photographs of the Chernows are also found.
Arrangement:
Collection is arranged as 5 series.

Series 1: Research Material for -- Christo and Jeanne-Claude: A Biography -- , 1930-2002 (17.1 linear feet; Boxes 1-17, 23, OV 24)

Series 2: Other Writing, 1962-1999 (1.5 linear feet; Boxes 17-19)

Series 3: Organizational Records, 1963-2000 (1.1 linear feet; Boxes 19-20, 23, OV 24)

Series 4: Printed Material, 1960-2002 (1.3 linear feet; Boxes 20-21, 23)

Series 5: Photographs, 1950-1997 (0.8 linear feet; Boxes 21-23, OV 24)
Biographical / Historical:
Burt Chernow was an art historian, writer, educator, collector, and dealer who founded the Housatonic Museum of Art in Bridgeport, Connecticut, and who, upon his retirement from Housatonic Community College, became the authorized biographer of Christo and Jeanne-Claude, which he researched through close contact with the Christos from 1984 until his death in 1997. Although he had not completed the biography when he died, his wife Ann Chernow saw the manuscript through to publication, and the biography, Christo and Jeanne-Claude: A Biography, was first published in Germany in 2000, and then in the United States in 2002.

Born in New York City in 1933, Chernow earned a master's degree in art education at New York University in 1960, and began his career as an art teacher in the Westport, Connecticut public schools, later joining the faculty of the Art Department at the Housatonic Community College, where he eventually became the department's director. He also taught at the Museum of Modern Art, organizing the Children's Art Carnival in Harlem through the museum, and at Silvermine School of the Arts, the A.B.C.D. Arts Center in Bridgeport, Conn., and the Stamford Museum. While on faculty at Housatonic Community College, he began collecting original artworks, mainly through donations directly from the artists, for what eventually became the Housatonic Museum of Art. Over the course of nearly 30 years he amassed over 4000 works for the collection, the largest of its kind for a community college, and remained the museum's Emeritus Director until his death. He remained active in civic arts organizations in Westport as well, where he was a founding member of the Westport Arts Center, served on the Westport Arts Advisory Council, and helped to establish the annual Westport Arts Awards.

Upon his retirement from the Housatonic faculty in 1984, Chernow approached Christo and Jeanne-Claude about becoming their authorized biographer. He had participated in their project Surrounded Islands in Miami in 1983, and had played a role in exhibitions and artist talks by Christo at the Aldrich Museum (1981) and the Wadsworth Atheneum (1978) as well. He and his wife Ann Chernow attended and helped to document the Wrapped Pont Neuf (1985) in Paris, and then visited Christo's family in Bulgaria in 1986. It was after their Bulgarian trip that Christo and Jeanne-Claude agreed to authorize him to write their biography, and Chernow's research began in earnest. He conducted hundreds of interviews with them, their family, and associates, participated in the major large-scale projects that took place between 1985 and 1995, and completed a draft of the biography up to the year 1982 before he died suddenly in 1997. After his death, his wife Ann Chernow saw the biography through to publication. It was published with an epilogue by Wolfgang Volz, the Christos' official photographer, bringing the Christos' story up to date from where Chernow had left off, first in Germany, and later in the United States and Italy.

Chernow wrote many books, catalogs, and articles about other artists as well, including Milton Avery, Francisco Zuniga, Gabor Peterdi, Will Barnet, Jean Woodham, and Lester Johnson, among others, and published and lectured widely on the subjects of art education and public art.
Provenance:
Donated 2002 by Ann Chernow, the widow of Burt Chernow.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Burt Chernow 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:
Art historians -- Connecticut  Search this
Topic:
Art -- Study and teaching  Search this
Art critics -- Connecticut  Search this
Authors -- Connecticut  Search this
Educators -- Connecticut  Search this
Genre/Form:
Interviews
Transcriptions
Video recordings
Sound recordings
Photographs
Citation:
Burt Chernow papers, 1930-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cherburt
See more items in:
Burt Chernow papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cherburt
Additional Online Media:

Colette Roberts Papers and Interviews with Artists

Creator:
Roberts, Colette, 1910-  Search this
Names:
British Broadcasting Corporation  Search this
Grand Central Moderns (Gallery)  Search this
Le Point Cardinal (Gallery)  Search this
New York University -- Faculty  Search this
Bauermeister, Mary, 1934-  Search this
Bearden, Romare, 1911-1988  Search this
Chryssa, 1933-  Search this
Dehner, Dorothy, 1901-1994  Search this
Duchamp, Marcel, 1887-1968  Search this
Ferren, John, 1905-1970  Search this
Gottlieb, Adolph, 1903-1974  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Le Prat, Thérèse  Search this
Lindner, Richard, 1901-  Search this
Marisol, 1930-  Search this
Moy, Seong  Search this
Nevelson, Louise, 1899-1988  Search this
O'Doherty, Brian  Search this
Ray, Man, 1890-1976  Search this
Reinhardt, Ad, 1913-1967 -- Photographs  Search this
Schwabacher, Ethel, 1903-1984  Search this
Sterne, Hedda, 1910-  Search this
Vieira da Silva, Maria Helena, 1908-1992  Search this
Extent:
10.2 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Date:
1918-1971
Summary:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Scope and Content Note:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.

Significant correspondents include Sam Adler, Erwin Barrie, Hubert Damisch, George Deem, Mesdames de Harting and de Tinan, Lamar Dodd, Hélène Drude (Le Point Cardinal gallery), Arne Ekstrom, Albert M. Fine (Fluxus artist), Iqbal Geoffrey, R.G. Gilllet, Adolph Gottlieb, Cleve Gray, Leon Hartl, Jennett Lam, Alberto Cifolelli Lamb, Mike Nevelson, Norman Norotzky, Jacqueline Pavlowsky, Abe Rattner, Ad Reinhardt, H. Sandberg, Philippe Stern, Russell Twiggs, and Zuka.

Writings by Roberts include manuscripts and articles about artists, writings about her own art, personal writings, working notes from interviews and classes, reviews, and translations between English and French.

Among the personal records are Robert's files relating to teaching, charitable activities, and exhibitions. Also found are gallery records from Grand Central Moderns Gallery, including artist résumés, a card file of artworks with provenance information, exhibition catalogs and announcements, membership records, posters, publicity, and sales records.

Printed materials in the collection include clippings, Roberts' printed articles, press releases, and other exhibition catalogs and announcements. Photographs are of Roberts, artists, including Ad Reinhardt, classes, art spaces, and works of art. A small number of artworks on paper are also found, including Fluxus art stamps and a printed picture of Ray Johnson stamped "DOUGHNUT FESTIVAL."

Documentation of interviews with artists conducted by Roberts includes a card index file, a few transcripts, and the original sound recordings. Most of the recordings are interviews with artists that Roberts created during a class she taught at New York University between 1957 and 1971 called "Meet the Artist," including Mary Bauermeister, Romare Bearden, Dorothy Dehner, John Ferren, Ray Johnson, Ivan Karp, Thérèse Le Prat, Richard Lindner, Marisol, Seong Moy, Brian O'Doherty, Man Ray, Ethel Schwabacher, Hedda Sterne, Marie Helena Vieira da Silva, and many others. In preparation for magazine articles, Roberts conducted more extensive interviews with Chryssa, Marcel Duchamp, Adolph Gottlieb, and Louise Nevelson. A few of the recordings of Marcel Duchamp were not created by Roberts. In all, over 100 artists are represented in Roberts' interviews. Other recordings found include lectures and interviews conducted by people other than Roberts.
Arrangement:
The collection is arranged as 8 series:

Series 1: Correspondence, 1918-1971 (Box 1, 0.5 linear feet)

Series 2: Notes and Writings, 1936-1970 (Box 1, 0.3 linear feet)

Series 3: Personal Records, 1944-1971 (Box 1-2, 11; 0.7 linear feet)

Series 4: Grand Central Moderns Gallery Records, 1952-1970 (Box 2-3, 11; 0.7 linear feet)

Series 5: Printed Material, 1938-1971 (Box 3-5, 11-12; 2.0 linear feet)

Series 6: Photographs, 1930-1971 (Box 5; 0.2 linear feet)

Series 7: Artwork, 1940-1969 (Box 5; 4 folders)

Series 8: Interviews with Artists, 1959-1971 (Box 5-10; 5.5 lienar feet)
Biographical Note:
Colette Roberts was a French artist, curator, gallery director, and scholar who emigrated to the United States in 1939, settling in New York City and remaining there until her death in 1971.

Roberts was born in Paris, France in 1910. She studied art with Roger Bissière at the Académie Ranson and with Henry Focillon at the Ecole du Louvre, and she later attended the Institut d'Art et Archeologie at the Sorbonne. Roberts came to the United States in 1939, settling in New York City, and became an American citizen three years later. In her early years in the United States, Roberts lectured and wrote on art and literature, and was active in various war-relief organizations, raising money and organizing benefits for organizations such as the American Red Cross and UNICEF. She was the gallery director for the National Association of Women Artists' Argent Galleries from 1947 to 1949, secretary to the curator of Far Eastern Art at New York's Metropolitan Museum from 1950 to 1951, and art editor for "France Amérique," the French-language newspaper in New York, beginning in 1953.

Roberts became gallery director of the Grand Central Moderns Gallery (New York, NY) in 1952 and remained in that position until 1968, when the gallery closed. The gallery was opened in 1946 by Erwin S. Barrie of the Grand Central Galleries for the promotion of living American artists. Among the artists represented there were Jennett Lam and Seong Moy. During this period she was also an instructor at New York University and Queens College, teaching art history and contemporary art. In 1957, she began a course at New York University called "Meet the Artist," for which she took her classes to the studios of working artists to see and discuss their work. In the early 1960s, she began to tape record her interviews of artists for this course, a practice which continued until her death in 1971. In 1968, Roberts worked briefly as Gallery Director for the A.M. Sachs Gallery (New York, NY), and as an oral history interviewer for the Archives of American Art.

Roberts wrote extensively on contempoary art, including articles and monographs on Mark Tobey (1960, Grove Press), Louise Nevelson (1964, The Pocket Museum), and Marcel Duchamp. She was a regular contributor to Aujourd'hui and Art and Architecture magazines.
Related Material:
Additional papers and recordings of Colette Roberts are held by Syracuse University Library Special Collections Research Center.
Separated Material:
A copy of a 1967 oral history with Adolf Gottlieb conducted by Dorothy Seckler for the Archives of American Art oral history program, which was found in Roberts' papers, has been returned to the Archives' oral history collection.
Provenance:
The sound recordings and transcripts of interviews with artists, were donated by Colette Roberts in 1970. The remaining papers were donated by her son, Richard B. Roberts, in 1973.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Colette Roberts papers and interviews with artists 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 galleries, Commercial -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Art -- Study and teaching  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Fluxus (Group of artists)  Search this
Art historians -- New York (State) -- New York  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Citation:
Colette Roberts papers and interviews with artists, circa 1930-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robecoli
See more items in:
Colette Roberts Papers and Interviews with Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robecoli
Additional Online Media:

Ellen Lanyon papers

Creator:
Lanyon, Ellen  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Faculty  Search this
Landfall Press  Search this
Ox-Bow Summer School of Painting  Search this
Chicago, Judy, 1939-  Search this
Golub, Leon, 1922-2004  Search this
Grooms, Red  Search this
Hunt, Richard, 1935-  Search this
Kozloff, Joyce  Search this
Lippard, Lucy R.  Search this
Nilsson, Gladys, 1940-  Search this
Petlin, Irving, 1934-  Search this
Plunkett, Ed (1922-)  Search this
Rockburne, Dorothea  Search this
Schapiro, Miriam, 1923-2015  Search this
Spector, Buzz  Search this
Stevens, May  Search this
Stuart, Michelle, 1933-  Search this
Extent:
62.6 Linear feet
Type:
Collection descriptions
Archival materials
Electronic records (digital records)
Sketches
Interviews
Collages
Paintings
Sound recordings
Prints
Video recordings
Sketchbooks
Diaries
Transcriptions
Photographs
Scrapbooks
Date:
circa 1880-2014
bulk 1926-2013
Summary:
The papers of artist Ellen Lanyon measure 62.6 linear feet and date from circa 1880-2014, bulk 1926-2013. Biographical material; correspondence; interviews; writings; journals; project files; teaching files; exhibition files; personal business records; printed and broadcast material; scrapbooks; photographic material; artwork; sketchbooks; as well as sound and video recordings and electronic records, provide a comprehensive view of Lanyon's career and of art circles in Chicago and New York. Correspondence with artists and friends make up a significant portion of the collection. Project and exhibition files reflect her professional and artistic career. Thousands of slides and photographs document her life and artwork over seven decades, and over seventy sketchbooks are filled with student sketches, portraits of friends and family, and preliminary drawings.
Scope and Contents:
The papers of artist Ellen Lanyon measure 62.6 linear feet and date from circa 1880-2014, bulk 1926-2013. Biographical material; correspondence; interviews; writings; journals; project files; teaching files; exhibition files; personal business records; printed and broadcast material; scrapbooks; photographic material; artwork; sketchbooks; as well as sound and video recordings and electronic records, provide a comprehensive view of Lanyon's career and of art circles in Chicago and New York.

Biographical material documents Lanyon's major life events and includes calendars; addresses and contacts; life documents; awards; diplomas and school records; resumes; horoscope readings and natal chart; residence documents; personal memorabilia; family papers and memorabilia; and items relating to Lanyon's memorial.

Correspondence, both personal and professional, consists of letters, postcards, holiday and greeting cards exchanged with family, friends, artists, collectors, publishers, print shops, museums, galleries, and cultural and educational institutions. Notable correspondents include Judy Chicago, Leon Golub, Red Grooms, Richard Hunt, Joyce Kozloff, Lucy Lippard, Gladys Nilsson, Irving Petlin, Edward Plunkett, Dorothea Rockburne, Miriam Schapiro, Buzz Spector, May Stevens, and Michelle Stuart.

Fourteen interviews are with Ellen Lanyon conducted by various interviewers on behalf of a number of organizations and consist of transcripts, sound recordings, and video recordings.

Writings include general writings, lectures, presentations, and thirty-seven notebooks by Lanyon. A few writings by others about Lanyon and several sound recordings of lectures by other artists are also found here.

Twenty-five journals intermittently record Lanyon's reflections on her day-to-day life including her work, obligations, and relationships.

Project files include professional activities and files documenting projects and commissions. Files may contain project proposals, correspondence, printed material, applications, contracts, research notes, invoices, receipts, notebooks, sketches, plans, organizational records, and photographic material. Three multi-year projects are extensively documented, including theMiami Metamorphosis mural, Riverwalk Gateway mural, and Hiawatha Rail Line mural.

Teaching files consist of correspondence, memoranda, course descriptions and proposals, rosters, administrative documents, and printed material from a number of institutions, including Cooper Union, where Lanyon taught from the 1970s to her retirement in 1993.

Exhibition files include files for individual exhibitions, exhibitions by women artists, and chronological files. Files may contain correspondence, inventories, consignment records, layout plans, printed material, and photographic material.

Personal business, inventory, and estate records document the financial and administrative history of Lanyon's career and artworks.

Printed material, broadcast material, and published video recordings document Lanyon's career, art movements in Chicago and New York, and the women's movement in art. Files may contain books, booklets, broadsides, radio and television broadcasts, brochures, exhibition announcements and catalogs, lecture announcements, news and magazine clippings, newspapers and newsletters, periodicals, press releases, programs, video recordings, source material, and posters.

Eight scrapbooks contain predominantly clippings and exhibition material documenting Lanyon's career.

Photographic material consists of thousands of prints, slides, transparencies, and negatives of Lanyon, family, friends, artists, places, and artwork.

A small number of artworks include a self-portrait Lanyon carved in wood, a childhood painting, a photo collage, sketches, and one folder of assignments for an art course. Artworks by others are a hand colored photograph album by Marcia Palazzolo and prints distributed by Landfall Press.

Seventy-one sketchbooks are filled with student sketches, portraits of friends and family, and preliminary drawings done in pencil, watercolor, and colored pencil.

The content of the sound and video recordings, and electronic records in the last series remains unidentified and existing labeling is insufficient for further description.
Arrangement:
The collection is arranged as fifteen series

Series 1: Biographical Material, circa 1880-2014, bulk 1926-2013 (5.3 linear feet; Box 1-6, 62)

Series 2: Correspondence, 1936-2013 (14.3 linear feet; Box 6-20)

Series 3: Interviews, circa 1975-2012 (0.7 linear feet; Box 20-21)

Series 4: Writings, Lectures, and Notebooks, circa 1947-2013 (3.2 linear feet; Box 21-24)

Series 5: Journals, 1967-2013 (1 linear foot; Box 24-25)

Series 6: Project Files, 1952-2014 (5.8 linear feet; Box 25-31, 62, OV 66)

Series 7: Teaching Files, 1953-2010 (0.9 linear feet; Box 31)

Series 8: Exhibition Files, circa 1944-2013 (2.7 linear feet; Box 32-34, 63)

Series 9: Personal Business, Inventory, and Estate Records, circa 1950-2014 (3 linear feet; Box 34-37)

Series 10: Printed and Broadcast Material, and Published Video Recordings, 1937-2013 (13.3 linear feet; Box 37-49, 63, OV 67-77)

Series 11: Scrapbooks, 1946-2013 (0.6 linear feet; Box 49-50)

Series 12: Photographic Material, circa 1920-2013 (7.7 linear feet; Box 50-57, 63)

Series 13: Artwork, circa 1938-1979 (0.2 linear feet; Box 58, 63)

Series 14: Sketchbooks, circa 1940-2010 (3.4 linear feet; Box 58-60, 64, 65)

Series 15: Unidentified Sound and Video Recordings, and Electronic Records, circa 1974-2013 (0.5 linear feet; Box 60-61)
Biographical / Historical:
Ellen Lanyon (1926-2013) was an American painter and printmaker working in Chicago and New York. She was born in Chicago, Illinois to Howard and Ellen (Nellie) Lanyon. Lanyon received her BFA from the School of the Art Institute of Chicago in 1948 and married classmate and artist Roland Ginzel that same year. In 1950, she received her MFA from the University of Iowa. As part of her post graduate work, Lanyon studied at the Courtauld Institute, University of London on a Fulbright Fellowship.

In the late 1940s, Lanyon began exhibiting her work and was featured in several Chicago and Vicinity Annual shows as well as the Momentum exhibitions. Influenced by surrealism, magic realism, and the work of the Chicago Imagists and the Hairy Who, Lanyon's subjects range from portraits of friends and family, to objects from her collection of curios, to flora and fauna. She produced paintings, drawings, print editions, artist's books, and some ceramics. In addition to her own artwork, Lanyon took on numerous commissions including the Riverwalk Gateway murals in Chicago, the Hiawatha Transit murals in Minneapolis, Minnesota, and a variety of illustration work.

Lanyon was active in many professional organizations and women's organizations including the College Art Association (CAA) and the Women's Caucus for Art. She organized panels at CAA, contributed writings and editing to journals, including Heresies, and served on a variety of panels and juries. Lanyon was also on the Board of the Ox-Bow Summer School of Painting, which she attended in her youth. Over the course of her career, she taught at many colleges and universities, including Cooper Union, where she was Associate Professor.

Throughout her career, Lanyon participated in exhibitions around the country, including a retrospective of her work at the National Museum for Women in the Arts in 1999. She was also the recipient of many awards and grants including the Logan Price and a National Endowment for the Arts grant.

Lanyon and Ginzel had two children, Andrew and Lisa Ginzel.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Ellen Lanyon conducted by James Crawford in 1975.
Provenance:
A majority of the collection was donated in 2015 by Andrew Ginszel, Ellen Lanyon's son and executor. Lanyon also donated material in 1990. Portions of the collection were lent for microfilming from 1977-1981 by Lanyon and subsequently donated.
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.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Ellen Lanyon 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:
Muralists -- New York (State) -- New York  Search this
Women artists  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Illinois -- Chicago  Search this
Printmakers -- Illinois -- Chicago  Search this
Feminism and the arts  Search this
Art -- Illinois -- Chicago  Search this
Painting, Modern -- 20th century -- Illinois -- Chicago  Search this
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Feminism and art  Search this
Muralists -- Illinois -- Chicago  Search this
Genre/Form:
Electronic records (digital records)
Sketches
Interviews
Collages
Paintings
Sound recordings
Prints
Video recordings
Sketchbooks
Diaries
Transcriptions
Photographs
Scrapbooks
Citation:
Ellen Lanyon papers, circa 1880-2014, bulk 1926-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lanyelle
See more items in:
Ellen Lanyon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lanyelle
Additional Online Media:

F. Luis Mora papers

Creator:
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Art Students League (New York, N.Y.) -- Faculty  Search this
Lotos Club (New York, N.Y.)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Academy of Design (U.S.)  Search this
Salmagundi Club  Search this
Compton, Sophia  Search this
Downes, William Howe, 1854-1941  Search this
Stribling, T. S. (Thomas Sigismund), 1881-1965 (Birthright)  Search this
Twain, Mark, 1835-1910 (Man that corrupted Hadleyburg)  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Illustrations
Diaries
Sketches
Illustrated letters
Christmas cards
Photographs
Awards
Place:
Spain -- description and travel
Date:
1891-1986
bulk 1891-1922
Summary:
The papers of painter and illustrator F. Luis Mora measure 1.7 linear feet and date from 1891 to 1986, with the bulk of material dating from 1891 to 1922. The collection includes biographical information, correspondence, 242 monthy pocket diaries by Mora, and printed and photographic materials.
Scope and Contents note:
The papers of painter and illustrator F. Luis Mora measure 1.7 linear feet and date from 1891 to 1986, with the bulk of material dating from 1891 to 1922. The collection includes biographical information, correspondence, 242 small monthly pocket diaries by Mora, and printed and photographic materials.

Biographical material includes one folder containing Mora's Rothschild Prize certificate.

The correspondence is primarily with galleries regarding sales, the value of artwork, and Mora's murals for the St. Louis World's Fair in 1904. There is also correspondence with Mora's family and friends regarding his personal life and a family vacation in Cadiz, Spain. The collection also includes two Christmas cards, several illustrated letters and two invitations to Mora's solo art shows. Some of the correspondence is to and from Mora's first wife, Sophia Compton.

The majority of the writings consists of 242 monthly pocket diaries, which contain brief daily entries and some sketches. Mora writes about his work, memberships in the Salmagundi Club and the National Academy of Design, and teaching at the Art Student League. He also discusses his ideas about painting and his observations of the art scene, including his visit to the 1913 Armory Show. Also included is a handwritten "Editorial" by Mora, probably for election to the Lotos Club.

Printed material includes clippings, brochures, programs, advertisements, exhibition catalogs, books, and magazines. Two books, The Man that Corrupted Hadleyburg and Other Essays and Stories, by Mark Twain (1917), and Birthright, by T.S. Stribling (1922), both illustrated by Mora, are included, along with over a dozen magazines containing illustrations by Mora.

Photographs include black and white photographs and glass plate negatives of Mora, family and friends, students, and artwork. Black and white pictures of Mora's artwork include his "Thine is Glory" mural (1919), the "National Academy Jury of 1907" painting (1907) and an etching of his daughter, Rosemary. Glass plate negatives are of his first wife, Sophia Compton, her mother Emma, Mora's father Domingo, the painting "Dance of Salome" (1893), Mora's brother-in-law Alfred Compton, his Boston Museum and Chase School of Art classes, and the Perth Amboy Terra Cotta Company, where Mora's father worked.
Arrangement note:
The collection is arranged as 5 series. Records are generally arranged alphabetically by subject. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Materials, circa early 1900s (Box 1; 1 folder)

Series 2: Correspondence, 1900-1969 (Box 1; 3 folders)

Series 3: Writings, 1899-1922 (Box 1; 0.4 linear feet)

Series 4: Printed Material, 1895-1986 (Boxes 1-2 and OV 3; 0.8 linear feet)

Series 5: Photographic Materials, 1891-1941 (Box 2, MGP 1, MGP 2; 0.4 linear feet)
Biographical/Historical note:
Francis Luis Mora (1974-1940) was born in Montevideo, Uruguay. In 1877, he and his family moved to Catalonia, Spain and in 1880, they moved again to the United States where they eventually settled in Perth Amboy, New Jersey. Both his father, Domingo, and his brother, Joseph, were also noted sculptors.

Mora studied at the School of the Boston Museum of Fine Arts and at the Art Students League of New York. He was a muralist, oil and watercolor portrait painter, and etcher, though he is best known for his illustrations in magazines such as Century, Harper's, and Ladies' Home Journal. He was a member of the Salmagundi Club and the National Academy of Design and taught at the Art Students League of New York and the Chase School of Art. He and his wife, Sophia ("Sonia") Compton, had a daughter, Rosemary, in 1918. After his wife's death, Mora married May Gosman Safford in 1932. Mora died at the age of 64 in 1940.
Related Archival Materials note:
Among the holdings of the Archives of American Art are the F. Luis Mora Art Works and Photographs (available on microfilm reel 5053) and a F. Luis Mora Letter to William John Wittemore (available on microfilm reel D30, frame 534.)
Provenance:
The F. Luis Mora papers were donated to the Archives of American Art by Cornelia Colton, the daughter of Mora's second wife, May Safford, in 1975. Additional papers were donated in 2008 by Gwen Compton, Mora's niece.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The F. Luis Mora 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:
Mural painting and decoration  Search this
Illustrators  Search this
Art -- Study and teaching  Search this
Muralists  Search this
Hispanic American artists  Search this
Painters  Search this
Painting, American  Search this
Genre/Form:
Illustrations
Diaries
Sketches
Illustrated letters
Christmas cards
Photographs
Awards
Citation:
F. Luis Mora papers, 1891-1986, bulk 1891-1922. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moraflui
See more items in:
F. Luis Mora papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moraflui
Additional Online Media:

Richard McDermott Miller papers

Creator:
Miller, Richard McDermott, 1922-  Search this
Names:
National Academy of Design (U.S.)  Search this
National Sculpture Society (U.S.)  Search this
Peridot Gallery (New York, N.Y.)  Search this
Sculptors Guild (New York, N.Y.)  Search this
Pollack, Louis  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-2001
Summary:
The papers of sculptor Richard McDermott Miller measure 3.4 linear feet and date from 1962 to 2001. The papers document his work as an artist and teacher in New York City through biographical material, financial and business records, writings, subject files, and correspondence. His personal records about the National Academy of Design, of which he was an active member and president, are included.
Scope and Content Note:
The papers of sculptor Richard McDermott Miller measure 3.4 linear feet and date from 1962 to 2001. The papers document his work as an artist and teacher in New York City through biographical material, financial and business records, writings, subject files, and correspondence. His personal records about the National Academy of Design, of which he was an active member and president, are included.

Biographical material consists of a resume and exhibition history, as well as notes and correspondence not involving Miller's vocation. Financial and Business records contain account books of income and expenses, records of his bronzes and a register of his work. Writings include speeches Miller prepared as he practiced for his teaching career. Also found are miscellaneous texts and drafts of unknown purpose, and musings on art. Artwork consists of one ink drawing.

Subject files reflect Miller's activities in New York City. Of particular interest is his pursuit of gallery representation, which led him to friendship and affiliation with Louis Pollack and the Peridot Gallery. There are also files relating to the Sculptors' Guild and the National Sculpture Society. Correspondence is mainly with other artists, patrons and collectors.

A significant portion of Richard McDermott Miller's papers relates to the National Academy of Design. Included are financial and legal records, correspondence, and minutes stemming from his involvement with the Academy. This series is especially rich for the period of his presidency, 1989-1992.

The small number of photographs found in this collection are mainly promotional in nature, and some are annotated.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Material, 1969-1997 (Box 1; 2 folders)

Series 2: Financial and Business Records, 1962-circa 2000 (Box 1: 0.4 linear ft.)

Series 3: Writings, 1968-1969 (Box 1; 2 folders)

Series 4: Artwork, 1985 (Box 1; 1 folder)

Series 5: Subject Files, 1962-2001 (Boxes 1-2; 1.2 linear ft.)

Series 6: Correspondence, 1963-2001 (Boxes 2-3; 0.8 linear ft.)

Series 7: National Academy of Design Files, 1972-2001 (Boxes 3-4; 1.0 linear ft.)

Series 8: Photographs, circa 1981 (Box 4; 1 folder)
Biographical Note:
Richard McDermott Miller (1922-2004) was a sculptor and educator in New York, NY. Miller was born Richard Alan Miller in 1922. After studying at the Cleveland Institute of Art in the 1940s, Miller returned to his home town of New Philadelphia, Ohio, to work in the family plaque business.

At the age of 40, he and his wife, Gloria Bley Miller, moved to New York City. This transition is the focus of Miller's posthumously published autobiography, Heading for New York: A Sculptor's Journey. Upon arriving in New York, Miller began using McDermott (his mother's maiden name) as his middle name.

Countering prevailing tastes, Miller abandoned the popular abstract style to explore the human form. In addition to executing portraits and medals, his primary focus was the nude female figure. He worked with live models, creating sculpture in clay or wax, often casting in bronze. Because of his dedication to naturalistic work, Miller became known as the "Figure Sculptor of SoHo." Miller completed several large-scale commissions for public spaces across the country. He taught sculpture at Queens College, and, with his wife, wrote the textbook Figure Sculpture in Wax and Plaster.

In New York, Miller was a prominent presence among the city's sculpture organizations, writing many letters to newspapers demanding proper recognition for sculptors. He was active in the Sculptors' Guild, and active member and president (1989-1992) of the National Academy of Design, and president (1997-2000) of the National Sculpture Society. Upon his death in 2004, he bequeathed his SoHo building to the National Sculpture Society.
Related Material:
The holdings of the Archives of American Art include additional photographs of Miller among the Louise Finklestein papers, circa 1944-2000, and sound tapes and partial transcripts of the Alliance of Figurative Artists lectures and panel discussions, 1969-1970, in which Miller participated.
Provenance:
The papers were donated by Richard McDermott Miller to the Archives of American Art in 2001.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Richard McDermott Miller 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 -- Study and teaching  Search this
Sculptors -- New York (State) -- New York  Search this
Citation:
Richard McDermott Miller papers, 1962-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.millrimc
See more items in:
Richard McDermott Miller papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-millrimc

Edmund Greacen papers

Creator:
Greacen, Edmund W., 1876-1949  Search this
Names:
National Academy of Design (U.S.)  Search this
National Arts Club  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Etchings
Photographs
Sketches
Date:
1987-1972
bulk 1905-1949
Summary:
The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.
Scope and Contents:
The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.
Arrangement:
The collection is arranged in five series:

Series 1: Biographical and Professional (Box 1, Box 3) Series 2: Correspondence (Boxes 1-2) Series 3: Writings (Box 2) Series 4: Photographs (Boxes 2-3) Series 5: Artwork (Box 3, OV 4)
Biographical / Historical:
Edmund William Greacen (1876-1949) was an American Impressionist painter born in New York City. Greacen traveled extensively throughout Europe early in his career, which afforded him the opportunity to exhibit his work in Paris, and participate in the international art scene both abroad and in New York City. He is particularly known for his oil paintings on canvas and board depicting both human subjects and landscapes. In 1922 he was awarded the Samuel T. Shaw Prize from the Salmagundi Club following his solo show at the Macbeth Gallery. During his career, he was an active member of the Salmagundi Club, the National Academy of Design, and the National Arts Club where he served as Arts Committee Chair. He helped found the Manhattan School of Art as well as the Grand Central School of Art in 1923, and he served as director of both. He was also a member of the Old Lyme Art Colony of American Impressionists at Old Lyme, Connecticut.
Provenance:
The Edmund Greacen papers were donated to the Archives of American Art in 1971 by Mrs. Edmund Greacen, Jr., daughter-in-law of Edmund Greacen, and in 2017 by Elizabeth G. Knudsen, granddaughter of Edmund Greacen.
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 Edmund Greacen 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, American  Search this
Art -- Study and teaching  Search this
Art teachers -- New York (State) -- New York  Search this
Drawing  Search this
Impressionism (Art)  Search this
Landscape painting  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Etchings
Photographs
Sketches
Citation:
Edmund Greacen papers, 1897-1972, bulk 1905-1949. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greaedmu
See more items in:
Edmund Greacen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greaedmu

By way of conclusion : the burden of cultural decolonization

Author:
Irbouh, Hamid  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Belkahia, Farid 1934-2014  Search this
Type:
Articles
Place:
Morocco
Date:
2000
20th century
Topic:
Artists  Search this
Art, Moroccan--Themes, motives  Search this
Education and state  Search this
Art education  Search this
Art--Study and teaching  Search this
Cultural policy  Search this
Call number:
N274.7.A1 I73 2000a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_758203

Carnegie Tech, Robert Lepper and the Oakland Project / Richard Rappaport

Author:
Rappaport, Richard  Search this
Subject:
Lepper, Robert  Search this
Carnegie Institute of Technology College of Fine Arts  Search this
Physical description:
44 leaves ; 28 cm
Type:
Books
Date:
1989
[Place of publication not identified] :
Topic:
Art--Study and teaching  Search this
Call number:
N346.P42 C37 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_675255

Publications, 2011

Creator:
National Museum of the American Indian (U.S.) Office of Education and Museum Programs Publications Office  Search this
Uniform title:
Past, Present, and Future: Challenges of the National Museum of the American Indian (Monograph). 2011  Search this
Where We Live: A Puzzle Book of American Indian Art (Monograph). 2011  Search this
Subject:
West, W. Richard  Search this
National Museum of the American Indian (U.S.) History  Search this
National Museum of the American Indian (U.S.) Management  Search this
Physical description:
0.5 cu. ft. (1 document box)
Type:
Books
Collection descriptions
Juvenile literature
Place:
North America
Washington (D.C.)
Date:
2011
Topic:
Museum publications  Search this
Museums--Public relations  Search this
Dwellings--Study and teaching (Early childhood)  Search this
Indian art  Search this
Indians--Museums--Management  Search this
Puzzles  Search this
Local number:
SIA Acc. 12-178
See more items in:
Publications 1994, 2003-2017 [National Museum of the American Indian (U.S.) Office of Education and Museum Programs Publications Office]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_338161

Publication Records, 1988-1998, 2001

Creator:
National Science Resources Center (U.S.) Department of Communications and Publications  Search this
Uniform title:
Discovery deck  Search this
Subject:
Carolina Biological Supply Company  Search this
Physical description:
2 cu. ft. (2 record storage boxes)
Type:
Manuscripts
Collection descriptions
Clippings
Drawings
Black-and-white negatives
Color photographs
Color negatives
Black-and-white photographs
Date:
1988
1988-1998
1988-1998, 2001
Topic:
Educational planning  Search this
Publications  Search this
Science--Study and teaching  Search this
Local number:
SIA Acc. 08-007
See more items in:
Publication Records 1988-1998, 2001 [National Science Resources Center (U.S.) Department of Communications and Publications]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_274816

Publications, 2007

Creator:
National Museum of the American Indian (U.S.) Office of Education and Museum Programs Publications Office  Search this
Uniform title:
Do All Indians Live in Tipis?: Questions and Answers from the National Museum of the American Indian (Monograph : 2007)  Search this
Pulling Down the Clouds (Sound recording : 2007)  Search this
Remix: New Modernities in a Post-Indian World (Monograph : 2007)  Search this
Subject:
National Museum of the American Indian (U.S.)  Search this
Physical description:
0.5 cu. ft. (1 document box)
Type:
Books
Collection descriptions
Exhibitions
Compact discs
Place:
North America
Date:
2007
Topic:
Art, American  Search this
Authors, American  Search this
Museum publications  Search this
Indian authors  Search this
Indians in popular culture  Search this
Indians of North America--Public opinion  Search this
Indians of North America--Social life and customs  Search this
Indians of North America--Study and teaching  Search this
Questions and answers  Search this
Indians of North America--Mixed descent  Search this
Stereotypes (Social psychology)  Search this
Indian art  Search this
Local number:
SIA Acc. 08-111
See more items in:
Publications 1994, 2003-2017 [National Museum of the American Indian (U.S.) Office of Education and Museum Programs Publications Office]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_279690

Margaret Trowell's legacy and a new era / Sunanda K. Sanyal

Author:
Sanyal, Sunanda K  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Maloba, Gregory 1922-2007  Search this
Todd, Cecil 1912-1986  Search this
Kingdon, Jonathan  Search this
Trowell, Margaret  Search this
Msangi, K. F  Search this
Bukhala, James  Search this
Kaunda, Berlings 1939-2010  Search this
Matti, Severino 1937-  Search this
Tabbaro, Theophilus  Search this
Kamulegeya, Muhammed 1944-  Search this
Njau, Elimo 1932-  Search this
Mulindwa, Peter 1943-  Search this
Margaret Trowell School of Fine Art (Kampala, Uganda)  Search this
Type:
Articles
Place:
Uganda
Date:
2000
20th century
Topic:
Art teachers  Search this
Art students  Search this
Art, Ugandan--History  Search this
Art--Study and teaching (Higher)  Search this
Mural painting and decoration  Search this
Call number:
N7397.6.U26 S26 2000a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_757637

Martin H. Bush papers

Creator:
Bush, Martin H.  Search this
Names:
ACA Galleries  Search this
Edwin A. Ulrich Museum of Art  Search this
Wichita State University -- Faculty  Search this
Andrews, Benny, 1930-2006  Search this
Beckett, Samuel, 1906-1989  Search this
Goodnough, Robert, 1917-  Search this
Hanson, Duane  Search this
Karp, Ivan C., 1926-2012  Search this
Neel, Alice, 1900-1984  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Arnold, 1918-2006  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Trova, Ernest T., 1927-  Search this
Von Wicht, John, 1888-1970  Search this
Witkin, Isaac  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Video recordings
Interviews
Date:
1948-2012
bulk 1970-2008
Summary:
The papers of Martin H. Bush measure 5.1 linear feet and date from 1948-2012, with the bulk of the material dating from 1970-2008. The collection documents Bush's career as an art historian, educator, consultant, and gallery director through biographical material, correspondence, interviews, subject files, a scrapbook, and printed material. There is an unprocessed addition to this collection that includes one VHS tape, "American Art Forum: Martin Bush, October 27, 1988."
Scope and Contents:
The papers of Martin H. Bush measure 5.1 linear feet and date from 1948-2012, with the bulk of the material dating from 1970-2008. The collection documents Bush's career as an art historian, educator, consultant, and gallery director through biographical material, correspondence, interviews, subject files, a scrapbook, and printed material. There is an unprocessed addition to this collection that includes one VHS tape, "American Art Forum: Martin Bush, October 27, 1988."

Biographical material includes curriculum vitae, a certificate of discharge from the United States Army Reserve, and a lifetime membership certificate from the Edwin A. Ulrich Museum of Art. Most of the correspondence is personal in nature and consists of letters between Bush and his colleagues at Wichita State University and the Ulrich Museum of Art, friends, and family members. Martin H. Bush's interviews on videocassette with artists and other figures in the art world include Benny Andrews, Duane Hanson, Ivan Karp, Alice Neel, Louise Nevelson, and Arnold Newman.

Subject files primarily document Martin H. Bush's activities as an art dealer and consultant and contain auction house sales and files on individual artists, including Richard Pousette-Dart, Robert Goodnough, Ernest Trova, and Isaac Witkin. Source files include illustrated letters by John Von Wicht and a folder on Samuel Beckett's correspondence with Bush that includes three holograph letters and one typescript letter from Beckett. A small amount of material references Bush's tenure as director of the ACA Gallery. Photographic materials are also included.

A scrapbook contains news clippings and excerpts of newsletters covering Bush's career at Wichita State University. Printed material includes books, an educational brochure, exhibition catalogs, and a memorial booklet.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, 1956-2008 (Box1, OV 5; 0.2 linear feet)

Series 2: Correspondence, 1984-2012 (Box 1; 0.8 linear ft.)

Series 3: Interviews, circa 1970-1994 (Boxes 1-2; 1 linear ft.)

Series 4: Subject Files, 1963-2012 (Boxes 2-4; 2 linear ft.)

Series 5: Scrapbook, 1971-2000 (Box 4; 1 folder)

Series 6: Printed Material, 1948, 1964-circa 2000 (Box 4, 0.25 linear ft.)

Series 7: Unprocessed addition, 1988 (Box 4)
Biographical / Historical:
Martin H. Bush is an art historian, educator, consultant, and gallery director.

Bush received a Bachelor of Arts from the State University of New York at Albany in 1958. From 1963-1965, he taught at Syracuse University, where he earned his Ph.D in History in 1966. Bush also served as the University's Assistant Dean for Academic Resources from 1965-1970. During this time, Martin H. Bush was also a consultant to the New York State Education Department.

From 1970-1974, Martin H. Bush was the Vice President of Academic Resource Development at Wichita State University, a position created for him by the University's President, Clark Ahlberg. In this post, Bush established a special collections department at Ablah Library and the Ulrich Museum of Art. Bush was also a consultant to several major corporations in Wichita, including Fourth Financial Corporation, Range Oil Company, and American Diversified Real Estate. In 1974, in recognition of Bush's contribution to the museum, the University opened the Martin H. Bush Outdoor Sculpture Collection. Bush has been involved in the acquisition of major pieces of outdoor sculpture from such well-known artists as Chaim Gross, Barbara Hepworth, Henry Moore, Juan Miró, Louise Nevelson, and George Rickey. In 1989, Bush moved to New York City, where he continued his work as an art consultant. From 1992-1993, he was President of the ACA Gallery.

Martin H. Bush has published many books and articles on artists as well as contributed essays for exhibition catalogs. In the 1970s-1980s, Bush interviewed major artists for public television and radio programs in Wichita, among them Benny Andrews, Isabel Bishop, Richard Pousette-Dart, and Theodoros Stamos. Martin H. Bush's honors and awards include the George S. Patton Medal by the government of Luxembourg for his essay, "Ben Shahn: The Passion of Sacco and Vanzetti," 1969; "Outstanding Educator" by the Kansas Art Education Association, 1979; and the Wichita Arts Council Award, 1984.
Provenance:
The collection was donated in 2013 by Martin H. Bush. An unprocessed addition to the collection was donated by Lisa Bush Hankin in 2016.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Martin H. Bush 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:
Educators  Search this
Consultants  Search this
Topic:
Art -- Study and teaching  Search this
Gallery directors  Search this
Art historians  Search this
Genre/Form:
Photographs
Scrapbooks
Video recordings
Interviews
Citation:
Martin H. Bush papers, 1948-2012, bulk 1970-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bushmart
See more items in:
Martin H. Bush papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bushmart

Nan Rosenthal papers

Creator:
Rosenthal, Nan  Search this
Names:
Hodgkin, Howard, 1932-2017  Search this
Im, Sangbin  Search this
Kiefer, Anselm, 1945-  Search this
Klein, Yves, 1928-1962  Search this
Oldenburg, Claes, 1929-  Search this
Piene, Otto, 1928-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rickey, George  Search this
Extent:
17.1 Gigabytes
26.6 Linear feet
Type:
Collection descriptions
Archival materials
Gigabytes
Slides (photographs)
Interviews
Video recordings
Transcripts
Sound recordings
Date:
circa 1940-2013
Summary:
The papers of curator Nan Rosenthal measure 26.6 linear feet and 17.1 gigabytes and date from circa 1940-2013. There is a small amount of biographical material; correspondence, mostly letters from her first husband Otto Piene; project and research files encompassing her work as a curator and historian; as well as teaching files; and thousands of slides organized by subject. Among Rosenthal's research and project files are sound recordings and transcripts from dozens of interviews Rosenthal conducted with artists including Howard Hodgkin, Anselm Kiefer, friends and family of Yves Klein, Robert Rauschenberg and friends, George Rickey, Claus Oldenburg, and Sangbin Im. In addition to paper records, the collection also includes a large number of sound recordings, video recordings, and born digital material.
Scope and Contents:
The papers of curator Nan Rosenthal measure 26.6 linear feet and 17.1 gigabytes and date from circa 1940-2013. There is a small amount of biographical material; correspondence, mostly letters from her first husband Otto Piene; project and research files encompassing her work as a curator and historian; as well as teaching files; and thousands of slides organized by subject. Among Rosenthal's research and project files are sound recordings and transcripts from dozens of interviews Rosenthal conducted with artists including Howard Hodgkin, Anselm Kiefer, friends and family of Yves Klein, Robert Rauschenberg and friends, George Rickey, Claus Oldenburg, and Sangbin Im. In addition to paper records, the collection also includes a large number of sound recordings, video recordings, and born digital material.
Arrangement:
The collection is arranged as five series.

Series 1: Biographical Material, circa 1950-2010 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1965-2012 (0.7 linear feet)

Series 3: Project and Research Files, circa 1940-2013 (20 linear feet; Box 1-21; 17.1 gigabytes; ER01-ER14)

Series 4: Teaching Files, 1973-2002 (2.2 linear feet; Box 21-24)

Series 5: Slides, 1970s-1990s (3.3 linear feet; Box 24-27)
Biographical / Historical:
Nan Rosenthal (1927-2014) was a curator and art historian in New York City and Washington, D.C. who specialized in twentieth-century modern and contemporary art. Born in New York, Rosenthal attended Smith College before earning her bachelor's degree from Sarah Lawrence College in 1959. After college, she worked as a journalist for a number of publications including Art in America and the New York Post.

Rosenthal received her PhD from Harvard University in 1976, completing her dissertation titled, "The Blue World of Yves Klein." After her graduate studies, Rosenthal taught at Princeton University, New York University, and University of California, Santa Cruz.

In 1985, Rosenthal became the curator of twentieth-century art at the National Gallery of Art. She organized several important exhibitions including The Drawings of Jasper Johns (1990), acquired works by Alberto Giacometti and Barnett Newman, and began the lecture series "Conversations with Artists."

Rosenthal then joined the staff of the Metropolitan Museum of Art in 1993 as senior consultant of modern and contemporary art, where she organized a number of other important exhibitions including Anselm Kiefer: Works on Paper 1969-1993 (1998), Robert Rauschenberg: Combines (2005), Jasper Johns: Gray (2008), and others featuring Willem de Kooning, Jackson Pollack, and Judith Rothschild. She retired from the Metropolitan Museum in 2008.

In addition to her curatorial activities, Rosenthal authored several books and catalogs including George Rickey (1977), Robert Rauschenberg (1990), and Terry Winters: Printed Works (2001).

Rosenthal was married to the German artist Otto Piene from 1965-1973 and went by Nan R. Piene or Nan Rosenthal Piene. She remarried in 1990 to her second husband, Henry Benning Cortesi.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Nan Rosenthal conducted by Judith Olch Richards in 2010.
Provenance:
The collections was donated to the Archives of American Art in 2016 by the Nan Rosenthal and Henry B. Cortesi Estate via executor Katherine C. Armstrong.
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.

Use archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Nan Rosenthal 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:
Curators -- New York (State) -- New York  Search this
Art, Modern  Search this
Art -- Study and teaching  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Slides (photographs)
Interviews
Video recordings
Transcripts
Sound recordings
Citation:
Nan Rosenthal papers, circa 1940-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosenan
See more items in:
Nan Rosenthal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosenan

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