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Untitled, (sculpture)

Sculptor:
Chamberlain, John 1927-2011  Search this
Medium:
Foam rubber
Type:
Sculptures
Owner/Location:
Akron Art Museum 70 East Market Street Akron Ohio 44308 Accession Number: 70.53
Date:
1970
Topic:
Abstract  Search this
Control number:
IAS 40440005
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_31867

Scull's Angel, (sculpture)

Sculptor:
Chamberlain, John 1927-2011  Search this
Medium:
Painted and chromium-plated steel
Type:
Sculptures
Owner/Location:
Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth Texas 76107 Accession Number: 1975.43.G.S
Date:
1974
Topic:
Abstract  Search this
Control number:
IAS 50910002
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_297109

Fancy, (sculpture)

Sculptor:
Chamberlain, John 1927-2011  Search this
Medium:
Painted and chromium-plated steel
Type:
Sculptures
Owner/Location:
Chrysler Museum of Art 245 West Olney Road (at Mowbray Arch) Norfolk Virginia 23510-1587 Accession Number: 71.2004
Date:
1963
Topic:
Abstract  Search this
Control number:
IAS 55450075
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_297127

Etruscan Romance, (sculpture)

Sculptor:
Chamberlain, John 1927-2011  Search this
Medium:
Painted and chromium-plated steel
Type:
Sculptures
Owner/Location:
Frederick R. Weisman Foundation of Art 10350 Santa Monica Boulevard, #160 Los Angeles California 90025
Date:
1984
Topic:
Allegory--Place--Etruria  Search this
Allegory--Passion--Love  Search this
Abstract  Search this
Control number:
IAS 65860043
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_297213

Installation Model for McNamara's Band, (sculpture)

Sculptor:
Chamberlain, John 1927-2011  Search this
Medium:
Wood and mineral board
Type:
Sculptures-Model
Sculptures
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1979.159.40
Date:
1979
Topic:
Architecture--Vehicle--Truck  Search this
Control number:
IAS 08580236
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_31033

Alan R. Solomon papers

Creator:
Solomon, Alan R., 1920-1970  Search this
Names:
Albright-Knox Art Gallery  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Art Gallery of Ontario  Search this
Artforum  Search this
Biennale di Venezia  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Cornell University. -- Faculty  Search this
Expo 67 (Montréal, Québec)  Search this
Harvard University -- Students  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Jewish Museum (New York, N.Y.)  Search this
Leo Castelli Gallery  Search this
Los Once (Artists' group)  Search this
Pasadena Art Museum  Search this
San Francisco Art Institute  Search this
University of California (System)  Search this
Velvet Underground (Musical group)  Search this
Bontecou, Lee, 1931-  Search this
Castelli, Leo  Search this
Chamberlain, John, 1927-2011  Search this
Childs, Lucinda  Search this
Dine, Jim, 1935-  Search this
Duchamp, Marcel, 1887-1968  Search this
Dunn, Judith  Search this
Fahlström, Öyvind, 1928-1976  Search this
Finkelstein, Nat  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Greenberg, Jeanine  Search this
Grisi, Laura  Search this
Hay, Alex  Search this
Hay, Deborah  Search this
Johns, Jasper, 1930-  Search this
Kron, Joan  Search this
Lichtenstein, Roy, 1923-1997  Search this
Louis, Morris, 1912-1962  Search this
MacElroy, Robert R.  Search this
Moore, Peter  Search this
Morris, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-2010  Search this
Novick, Elizabeth  Search this
Oldenburg, Claes, 1929-  Search this
Oldenburg, Patty  Search this
Paxton, Steve  Search this
Picasso, Pablo, 1881-1973  Search this
Poons, Larry  Search this
Provinciali, Michele  Search this
Rainier, Yvonne  Search this
Rauschenberg, Robert, 1925-2008  Search this
Redon, Odilon, 1840-1916  Search this
Reed, Lou  Search this
Rosenquist, James, 1933-  Search this
Sabol, Audrey, 1922-  Search this
Schute, Terry  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Segal, George, 1924-2000  Search this
Sisler, Mary  Search this
Sonnabend, Ileana  Search this
Stella, Frank  Search this
Warhol, Andy, 1928-  Search this
Whitman, Robert  Search this
Extent:
9.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Date:
1907-1970
bulk 1944-1970
Summary:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.
Scope and Contents:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Biographical material includes résumés, an engagement book, and a monthly planning book from 1965, identification cards, and educational transcripts.

Correspondence documents Solomon's education at Harvard College and Harvard University, and his teaching appointments at Cornell University. Correspondence also provides some documentation of his involvement with museums and arts organizations, including the Jewish Museum, Stedlijk Museum, the San Francisco Art Institute, the University of California, and Centro de Artes Visuales; his submission of writings for publications including Artforum, Art International, and Konstrevy; and his relationships with artists and colleagues including Jim Dine, Joan Kron, Audrey Sabol, and Ileana Sonnabend. Also found is correspondence related to Solomon's work for Mary Sisler, who employed Solomon to sell her collection of artwork by Marcel Duchamp in the late 1960s.

One series comprises transcripts of interviews with many of the artists who were central to the transition from Abstract Expressionism to later modern movements that occurred in the 1950s and 1960s, such as Neo-Dada and Pop art. Artists represented in the interviews include Jim Dine, Helen Frankenthaler, Jasper Johns, Barnett Newman, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella, and Andy Warhol.

Solomon's writings include many of his essays for exhibition catalogs, magazines, and journals, and are in a combination of annotated manuscript and published formats. There are writings on Jim Dine, Barnett Newman, Robert Rauschenberg, and Jasper Johns, and on the new movements in theater and performance art of the 1960s. His writings also document the art history education which informed all of his later work, with the inclusion of papers written as a student and teacher, his honors thesis on Odilon Redon, and his dissertation on Pablo Picasso. This material is supplemented by notes, and teaching and study files, documenting courses taken and taught at Harvard and Cornell universities. Also found is the manuscript of the text for New York: The New Art Scene, accompanied by a partial published copy of the book and photographs by Ugo Mulas.

Solomon's subject files augment several of the other series, comprising material on various art related subjects and individual painters and sculptors, arranged alphabetically. Material found here includes printed matter documenting exhibitions and other events, scattered letters from artists, related writings, and photographs.

One series documents Solomon's involvement with the First New York Theater Rally, which he co-produced with Steve Paxton in 1965. This material includes a drawing each by Jim Dine and Alex Hay, pieces of a combine by Robert Rauschenberg, and photographs of the group including Dine, Hay, and Rauschenberg, as well as Lucinda Childs, Judith Dunn, Deborah Hay, Robert Morris, Claes Oldenburg, the Once Group, Steve Paxton, Yvonne Rainier, Alan Solomon, and Robert Whitman. The series includes multiple contact sheets of photos of First New York Theater Rally events, by Peter Moore, Elizabeth Novick, and Terry Schute.

Exhibition files document Solomon's role as an organizer and curator for some of his most well-known exhibitions, including American Painting Now (1967) for Expo '67 in Montreal; Andy Warhol (1966) at the Institute of Contemporary Art in Boston; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and Albright-Knox Gallery; the American exhibition at the 1964 Venice Biennale; Young Italians (1968) at the Institute of Contemporary Art; and Painting in New York 1944-1969, a major retrospective installed for the opening of the new Pasadena Art Museum in fall, 1969. Records include correspondence, lists and notes, financial records, printed material, and photographs of artists and installations, including a series by Ugo Mulas taken at the Venice Biennale.

Solomon's business records include lists, notes, contracts, expense forms, vouchers, purchase orders, and receipts. They provide scattered documentation of exhibition-related expenses and purchases of artwork, as well as Solomon's income from teaching appointments, lectures, honorariums, and writings. Amongst Solomon's general business records is an American Federation of Musicians agreement between the Institute of Contemporary Art and "Louis Reed," with booking agent Andy Warhol, for a performance by the Velvet Underground and Nico, performing as The Exploding Plastic Inevitable on October 29, 1966. This seemingly mundane item documents an event that accompanied Solomon's landmark Warhol exhibition of nearly forty iconic works, and the accompanying show by The Exploding Plastic Inevitable was hailed by the Boston Phoenix newspaper as one of the greatest concerts in Boston history.

Printed material includes announcements, catalogs, and posters for exhibitions and art related events, including two Jasper Johns lithographs for a 1960 exhibition at Galerie Rive Droite, and a 1963 exhibition at Leo Castelli Gallery. Also found are news clippings, press releases, and other publications.

Photographs are of Solomon, artists, friends and colleagues, exhibitions and other events, and artwork. They include snapshots of Solomon, and a series of photographs of him at various events and parties, many taken by Ugo Mulas, as well as a photo taken by Robert Rauschenberg of Ugo Mulas, Michele Provinciali, and Solomon. Additional photos by Ugo Mulas include some which were probably taken for New York: The New Art Scene, and a series of photos of Robert Rauschenberg and others at the Venice Biennale. Photos of artists include Lee Bontecou, John Chamberlain, Jim Dine, Marcel Duchamp, Öyvind Fahlström, Laura Grisi, Jasper Johns, Roy Lichtenstein, Morris Louis, Barnett Newman, Kenneth Noland, Claes and Patty Oldenburg, Larry Poons, James Rosenquist, George Segal, Frank Stella, and Andy Warhol and The Factory. Photos of others include Leo Castelli, Clement and Jeanine Greenberg, and Ethel and Robert Scull. Also found are photos of the exhibition Toward a New Abstraction (1963), at The Jewish Museum, photos of Venice, and photos of artwork by many of the above named, and other, artists. In addition to Ugo Mulas, photographers represented in this series include Nat Finkelstein, Robert R. McElroy, and Hans Namuth.
Arrangement:
The collection is arranged as eleven series.

Series 1: Biographical Material, 1938-1968 (5 folders; Box 1)

Series 2: Correspondence, 1930-1970 (0.66 linear feet; Box 1)

Series 3: Interviews, 1965-1969 (0.25 linear feet; Box 1)

Series 4: Writings and Notes, 1945-1969 (1.35 linear feet; Boxes 1-3, 11)

Series 5: Teaching and Study Files, 1944-1958 (0.25 linear feet; Box 3)

Series 6: Subject Files, 1907-1969 (2.92 linear feet; Boxes 3-6, 1, OV 12)

Series 7: First New York Theater Rally, 1963-1965 (0.15 linear feet; Boxes 6, 11)

Series 8: Exhibition Files, 1954-1969 (1.42 linear feet; Boxes 6-7, 11, OV 12)

Series 9: Business Records, 1945-1970 (0.3 linear feet; Boxes 7-8)

Series 10: Printed Material, 1914-1970 (0.8 linear feet; Boxes 8-9, OV 12)

Series 11: Photographs, circa 1951-circa 1970 (1.7 linear feet; Boxes 9-11, OV 13)
Biographical / Historical:
New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.

Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.

In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital."

Solomon subsequently left the Jewish Museum, having engendered resistance to leading the museum in a more experimental direction, away from the traditional Jewish educational aspects of its mission. In the mid-sixties he worked as a consultant and writer for a National Educational Television series entitled "U. S. A. Artists," which drew on artist interviews, many conducted by Solomon. He also wrote the text for Ugo Mulas's classic photographic study, New York: The New Art Scene (1967: Holt Rinehart and Winston).

In 1966 Solomon was hired by the United States Information Agency to organize the United States contribution to the Canadian World Exhibition in Montreal, known as Expo '67. His stunning American Painting Now installation placed large scale paintings by twenty-three artists, including Jim Dine, Ellsworth Kelly, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist, inside Buckminster Fuller's twenty-story Biosphere of Montreal.

Other important exhibitions organized by Solomon included Andy Warhol (1966) at the Institute of Contemporary Art, Boston, which was only the second of two exhibitions dedicated to the artist; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and the Albright-Knox Art Gallery; and Young Italians (1968) at the Institute of Contemporary Art.

Solomon was also interested in contemporary theater and organized the First New York Theater Rally with Steve Paxton in 1965, a series of performances which combined new dance and a revival of the Happenings of the early 1960s, in which Claes Oldenburg, Jim Dine and others were involved.

Following a six-week appointment as a senior lecturer at the University of California, Irvine, in spring 1968, Solomon became chairman of the University's art department and director of the art gallery. His last exhibition, Painting in New York, 1944-1969 (1969-1970), was held at the Pasadena Art Museum and closed in January 1970, just a few weeks before Solomon's sudden death at the age of forty-nine.
Provenance:
The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to the Archives of American Art in 1974 and 2007.
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 Alan R. Solomon 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:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art historians -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Painters  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soloalan
See more items in:
Alan R. Solomon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soloalan
Additional Online Media:

Billy Al Bengston papers

Creator:
Bengston, Billy Al  Search this
Names:
Ferus Gallery (Los Angeles, Calif.)  Search this
James Corcoran Gallery  Search this
John Berggruen Gallery (San Francisco, Calif.)  Search this
Martha Jackson Gallery  Search this
Alexander, Peter, 1939-  Search this
Altoon, John, 1925-  Search this
Andre, Carl, 1935-  Search this
Chamberlain, John, 1927-2011  Search this
Diebenkorn, Richard, 1922-1993  Search this
Flavin, Dan, 1933-  Search this
Goode, Joe, 1937-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Motherwell, Robert  Search this
Plagens, Peter  Search this
Ruscha, Edward  Search this
Extent:
10.4 Linear feet
Type:
Archival materials
Collection descriptions
Interviews
Photographs
Date:
circa 1940s-1989
bulk 1960-1988
Summary:
The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.
Scope and Content Note:
The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.

Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.

Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.

Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.

Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.
Arrangement:
The collection is arranged into 10 series:

Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)

Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)

Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)

Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)

Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)

Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)

Series 7: Writings, 1967-circa 1988 (Box 9, OV 1; 0.25 linear feet)

Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)

Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 1-2; 1.25 linear feet)

Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)
Biographical Note:
Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.

Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.

Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.

Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.
Related Material:
Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.
Provenance:
The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Billy Al Bengston 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
Painters -- California  Search this
Art galleries, Commercial  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Genre/Form:
Interviews
Photographs
Citation:
Billy Al Bengston papers, circa 1940s-1989 (bulk 1960-1988). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bengbill
See more items in:
Billy Al Bengston papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bengbill

John Chamberlain: artist file, [photographs]

Artist:
Chamberlain, John 1927-2011  Search this
Type:
Photograph
Artist files
Topic:
Art, American  Search this
Image number:
VFM VF000580
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_137753

John Chamberlain / Hans-Ulrich Obrist

Author:
Chamberlain, John 1927-2011-  Search this
Obrist, Hans Ulrich  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
124 p. : ill ; 21 cm
Type:
Books
Interviews
Date:
2006
C2006
20th century
21st century
Topic:
Sculpture, American  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_836740

John Chamberlain : the foam sculptures / edited by Marianne Stockebrand

Title:
Foam sculptures
Author:
Chamberlain, John 1927-2011-  Search this
Stockebrand, Marianne  Search this
Chinati Foundation  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
199 p. : ill. (chiefly col.), ports. ; 25 cm
Type:
Books
Exhibitions
Date:
2007
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_895434

Chamberlain : Lifetime Achievement Award in Contemporary Sculpture, Patron's Special Recognition Award

Title:
Lifetime Achievement Award in Contemporary Sculpture
Author:
International Sculpture Center  Search this
Ramljak, Suzanne  Search this
Creeley, Robert 1926-2005  Search this
Chamberlain, John 1927-2011  Search this
Subject:
Chamberlain, John 1927-2011  Search this
Physical description:
[32] p. : chiefly col. ill., ports. ; 28 cm
Type:
Books
Date:
1993
20th century
Topic:
Sculpture, American  Search this
Call number:
NB237.C43 I68 1993
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_711869

John Chamberlain : early works

Author:
Chamberlain, John 1927-2011  Search this
Stone, Allan  Search this
Allan Stone Gallery  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
1 v. (unpaged) : chiefly col. ill. ; 26 cm
Type:
Books
Exhibitions
Date:
2003
C2003
Call number:
N40.1.C447 A44 2003
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_719153

John Chamberlain : recent sculpture : January 16-March 1, 2003

Title:
Chamberlain
Author:
Chamberlain, John 1927-2011-  Search this
Kertess, Klaus  Search this
PaceWildenstein (Firm)  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
26 p. : col. ill. ; 29 cm
Type:
Books
Exhibitions
Date:
2003
C2003
Call number:
NB237.C43 A4 2003b
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_762428

John Chamberlain : without fear

Title:
Without fear
John Chamberlain, without fear, sculpture from 1988 to 2003
Author:
Chamberlain, John 1927-2011-  Search this
Waddington Galleries  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
1 v. (unpaged) : col. ill. ; 28 cm
Type:
Books
Exhibitions
Date:
2005
C2005
Call number:
NB237.C43 A4 2005
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_790510

John Chamberlain : papier paradisio : drawings, collages, reliefs, paintings / edited by Dieter Schwarz ; with contributions by Carl Andre ... [et al. ; English translation, Fiona Elliott]

Title:
Papier paradisio
Author:
Kunstmuseum Winterthur  Search this
Chamberlain, John 1927-2011-  Search this
Schwarz, Dieter 1953-  Search this
Andre, Carl 1935-  Search this
Physical description:
159 p. : ill. (chiefly col.) ; 28 cm
Type:
Books
Date:
2005
C2005
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_796774

John Chamberlain : recent sculpture, May 12-June 10, 2000

Author:
Chamberlain, John 1927-2011-  Search this
PaceWildenstein (Firm)  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
24, [3] p. : col. ill. ; 29 cm
Type:
Books
Exhibitions
Date:
2000
C2000
Call number:
NB237.C43 A4 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_621174

Chamberlain's fauve landscape / John Chamberlain

Title:
Chamberlain
Author:
Chamberlain, John 1927-2011  Search this
PaceWildenstein (Firm)  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
[12] p. : col. ill. (1 folded) ; 21 cm
Type:
Books
Exhibitions
Date:
1998
C1998
Call number:
NB237.C43 A4 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_622404

John Chamberlain : Ileana Sonnabend

Author:
Chamberlain, John 1927-2011  Search this
Ileana Sonnabend (Gallery)  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
[13 p.] : ill. ; 27 cm
Type:
Books
Exhibitions
Date:
1960
1969
196-
Call number:
NB237.C43 I4
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_636301

In honor of John Chamberlain / Willem de Kooning, Dan Flavin, Jasper Johns, Donald Judd, Malcolm Morley, Frank Stella : [exhibition] June 27 - September 12, 1986, Xavier Fourcade, Inc

Author:
Chamberlain, John 1927-2011  Search this
Xavier Fourcade, Inc  Search this
Subject:
Chamberlain, John 1927-  Search this
Physical description:
[12] p. : col. ill. ; 18 cm
Type:
Exhibitions
Date:
1986
20th century
Topic:
Art, American  Search this
Call number:
N6512 .X28 1986
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_638829

Lynda Benglis, John Chamberlain, Joel Fisher, Mel Kendrick, Robert Therrien : Februari-Mars 1988 / text by Carter Ratcliff

Author:
Ratcliff, Carter  Search this
Benglis, Lynda 1941-  Search this
Chamberlain, John 1927-2011  Search this
Fisher, Joe (Joel)  Search this
Kendrick, Mel 1949-  Search this
Therrien, Robert 1947-  Search this
Subject:
Benglis, Lynda 1941-  Search this
Chamberlain, John 1927-  Search this
Fisher, Joe (Joel) Exhibitions  Search this
Kendrick, Mel 1949-  Search this
Therrien, Robert 1947-  Search this
Physical description:
[42] p. : col. ill. ; 26 cm
Type:
Books
Exhibitions
Place:
United States
Date:
1987
Topic:
Sculptors  Search this
Call number:
NB212 .L96 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_638885

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