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One Hundred Twenty-Fifth Street

Title:
Photography in Harlem
Editor:
Pelizzari, Maria Antonella  Search this
Sherman, Arden  Search this
Writer of foreword:
Brooks, LeRonn P  Search this
Author:
Hunter College Art Galleries  Search this
Hunter East Harlem Gallery  Search this
Physical description:
171 pages illustrations (some color) 26 cm
Type:
Pictorial works
Ouvrages illustrés
Photography, Artistic
Place:
New York (State)
New York
New York (État)
Harlem (New York, N.Y.)
Harlem
Date:
2022
Topic:
African American neighborhoods  Search this
African Americans--Social life and customs  Search this
African Americans--Social conditions  Search this
Streets  Search this
Street photography  Search this
Photography, Artistic  Search this
Rues  Search this
Photographie artistique  Search this
Quartiers noirs américains  Search this
Noirs américains--Mœurs et coutumes  Search this
Noirs américains--Conditions sociales  Search this
Photographie de rue  Search this
art photography  Search this
HISTORY / Americas (North, Central, South, West Indies)  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158949

Philip Pearlstein papers

Creator:
Pearlstein, Philip, 1924-  Search this
Names:
WBAI Radio (New York, N.Y.)  Search this
WRFM (Radio station : New York, N.Y.)  Search this
Barnet, Will, 1911-2012  Search this
Blaine, Michael  Search this
Cantor, Dorothy  Search this
Close, Chuck, 1940-  Search this
Downes, Rackstraw  Search this
Dückers, Alexander, 1939-  Search this
Field, Richard  Search this
Haas, Richard, 1936-  Search this
Hampleman, Jean  Search this
Kelly, W. J.  Search this
Levine, Jack, 1915-2010  Search this
McCarthy, David, 1960-  Search this
Shaman, Sanford Sivitz  Search this
Storr, Robert  Search this
Tamburini, Fernando  Search this
Tsao, Vivian, 1950-  Search this
Updike, John  Search this
Viola, Jerome  Search this
Wallin, Leland  Search this
Ward, John  Search this
Warhol, Andy, 1928- -- Photographs  Search this
Witkin, Jerome  Search this
Yezzi, David  Search this
Extent:
31.8 Linear feet
16.68 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Date:
circa 1940-2008
Summary:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.
Scope and Contents:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)
Biographical / Historical:
Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.
Provenance:
The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Architecture -- Egypt  Search this
Architecture, Roman  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Citation:
Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pearphil
See more items in:
Philip Pearlstein papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae8de1cb-660c-49be-b009-d765ed771ebe
EDAN-URL:
ead_collection:sova-aaa-pearphil
Online Media:

American Academy in Rome records

Creator:
American Academy in Rome  Search this
Names:
American Academy in Rome  Search this
American School of Architecture in Rome  Search this
American School of Classical Studies in Rome  Search this
Aldrich, Chester Holmes, 1871-1940  Search this
Boring, William, 1859-1937  Search this
Breck, George, 1863-1920  Search this
Dinsmoor, William B.  Search this
Egbert, J. C. (James Chidester), 1859-1948  Search this
Ely, Theo. N.  Search this
Faulkner, Barry, 1881-1966  Search this
Guernsey, Roscoe  Search this
Hewlett, James Monroe  Search this
Kendall, William M.  Search this
La Farge, C. Grant (Christopher Grant), 1862-1938  Search this
Marquand, Allan, 1853-1924  Search this
McKim, Charles Follen, 1847-1909  Search this
Mead, William Rutherford, 1846-1928  Search this
Millet, Francis Davis, 1846-1912  Search this
Morey, Charles Rufus, 1877-1955  Search this
Mowbray, H. Siddons (Harry Siddons), 1858-1928  Search this
Platt, Charles A. (Charles Adams), 1861-1933  Search this
Pope, John Russell, 1874-1937  Search this
Roberts, Laurance P.  Search this
Smith, James Kellum, 1893-1963  Search this
Stevens, Gorham Phillips, 1876-  Search this
Vedder, Elihu, 1836-1923  Search this
Vitale, Ferrucio, 1875-1933  Search this
Ward, John Quincy Adams, 1830-1910  Search this
Extent:
65.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1855-2012
Summary:
The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.
Scope and Content Note:
The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Items predating the 1894 founding of the American School of Architecture in Rome are personal papers and memorabilia of individuals associated with the institution.

Series 1: Predecessor Institutions, is composed of the records of the American School of Architecture in Rome, 1894-1898, and the American School of Classical Studies in Rome, 1895-1913. Records of the American School of Architecture in Rome include records of its Managing Committee, correspondence, financial records, and printed matter. Among the Managing Committee's records are notes and correspondence relative to the founding of the institution, minute books and reports; also, legal documents including records concerning its dissolution prior to being reorganized as the American Academy in Rome. Correspondence is mostly that of Vice President Charles F. McKim who handled administrative matters. Financial records include capital stock certificates, invoices and receipts. Printed matter consists of scholarship competition announcements.

Records of the American School of Classical Studies in Rome include records of its Managing Committee, Committee on Fellowships, publications, printed matter, and treasurers' records. The Managing Committee's records consist of the proposed resolution concerning its merger with the American Academy in Rome. Committee on Fellowship records are comprised of correspondence, reports, and fellowship applications. Publications records include correspondence and invoices. Printed matter includes general information, annual reports of the Managing Committee and Director, annual reports of the Committee on Medieval and Renaissance Studies, fellowship applications and examination questions, and the proposed consolidation agreement. Treasurers' records include the files of Alex. Bell and Willard V. King. Bell's sparse records consist of a budget, receipts for salary payments, an invoice, canceled checks, and correspondence. King's files, while more substantial than those that survive from Bell's tenure, are quite incomplete. They include correspondence, banking records, budgets and financial statements, investment records, invoices, and receipts for salaries and expenses.

Series 2: Board of Trustees Records, is comprised of legal documents, minutes, and reports; records of Trustee committees; records of officers; and records of individual Trustees. Legal documents, 1897-1926 and undated, consist of by-laws and amendments, certificate of incorporation, and constitution and amendments. Minutes and reports of the Board of Trustees, 1897-1947 and 1957, including those of its annual meetings, are carbon copies rather than the official minute books, and are incomplete. Reports of officers are incomplete, as well. Also included are reports of Officers'/Trustees' visits to Rome, and reports of the Director and Secretary in Rome submitted to the Board of Trustees.

Records of Trustee committees, 1905-1946 and undated, consist of reports and/or minutes arranged alphabetically by committee; these, too are incomplete, with many committees represented by a single report. Committees represented are: Building Committee, Carter Memorial Committee, Endowment Committee, Executive Committee, Finance Committee, Library Committee, McKim Memorial Committee, Nominating Committee, Committee on Publications. Committee on the School of Classical Studies records consist of its own minutes and reports, reports of its Advisory Council and the Jury on Classical Fellowships. Committee on the School of Classical Studies also include reports of officers and staff of the School of Classical Studies to the Committee on the School of Classical Studies as follows: Director, Professor in Charge, Annual Professor, Director of the Summer Session, Professor of Archaeology, Curator of the Museum, Editor, Librarian, and Committee on the Welfare of Women Students. Committee on the School of Fine Arts records consist of its own minutes and reports, reports of its Special Committee on the Plan and Expense of a Department of Music in the School of Fine Arts, and report of Fine Arts Program, Triptych Project with the Citizens Committee for the Army and Navy, Inc.; also, reports of officers and staff of the School of Fine Arts to the Committee on the School of Fine Arts as follows: Director, Professor in Charge, Associate in Charge, Annual Professor, Professor in Charge of the Department of Musical Composition. In addition, there are minutes and/or reports of the Committee of Twelve and Subcommittee of Five and the Special Committee on Villa Aurelia.

Records of Officers. 1898-1957 and undated, consist mainly of correspondence files and reports, with large numbers of transcriptions and carbon copies. Included are records of: Presidents Charles F. McKim, William R. Mead, Charles A. Platt, John Russell Pope, and James Kellum Smith; Vice Presidents Theodore N. Ely, George B. McClellan, and Henry James; Secretaries H. Siddons Mowbray (Secretary/Treasurer), Frank D. Millet, C. Grant La Farge, William B. Dinsmoor, and H. Richardson Pratt; and Treasurers William R. Mead, William A. Boring, Leon Fraser, and Lindsay Bradford Office files of President Mead, Secretaries Millet and La Farge, and Treasurer Boring are the most complete; files of other individuals, the Vice Presidents in particular, are often quite sparse.

Records of individual Trustees, 1902-1946 and undated, consist of material relating to official Academy business that was created or maintained by each in his capacity as trustee. (Note: many of these individuals also served as officers or staff of the Academy, and their records documenting those functions will be found in the appropriate series.) Included in this subseries are the records of: Chester H. Aldrich, Gilmore D. Clarke, James C. Egbert, Barry Faulkner, Allan C. Johnson, William M. Kendall, C. Grant La Farge, Edward P. Mellon, Charles Dyer Norton, Charles A. Platt, John Russell Pope, Edward K. Rand, John C. Rolfe, James Kellum Smith, S. Breck Trowbridge, Ferruccio Vitale, John Quincy Adams Ward, Andrew F. West, and William L. Westerman. These records tend to be sparse; files maintained by James C. Egbert, Barry Faulkner, Allan C. Johnson, and Ferruccio Vitale are notable exceptions.

Series 3: New York Office Records, consists of records of staff, rosters, printed matter, photographs, personal papers, Association of Alumni of the American Academy in Rome, and miscellaneous records.

Records of staff, 1919-1950 and undated, include the office files of Executive Secretaries Roscoe Guersney, Meriwether Stuart, and Mary T. Williams; Librarian George K. Boyce; and Endowment Fund Campaign Secretaries Phillilps B. Robinson and Edgar I. Williams.

The rosters, 1895-1939 and undated, are printed forms completed by fellows and students, with occasional attachments (usually correspondence or photographs). Included are the rosters of the School of Fine Arts, School of Classical Studies, and School of Classical Studies Summer Sessions.

Printed matter, 1905-[1981?] and undated, has been classified as Academy produced and produced by others. Items produced by the Academy, 1905-[1981?], include general information including act of incorporation and by-laws, fundraising brochure, constitution, Directory of Fellows and Residents, histories of the institution, newsletter of the Director, and printed items relating to special events. Printed matter specifically relating to the School of Classical Studies includes annual announcements, the consolidation agreement, a directory, fellowship announcements and applications, lecture announcements, newsletters, and brochures about summer sessions. School of Fine Arts printed matter includes annual announcements, concert programs, exhibition checklists and catalogs, fellowship announcements and application forms, history, and newsletters.

Printed matter produced by others, 1905-1940 and undated, consists of three scrapbooks of news clippings and photographs compiled by the American Academy in Rome, extensive clipping files, and articles from miscellaneous publications. All of these items are about the American Academy in Rome, or by or about individuals associated with the institution. Also included is a poster for Leave Courses offered at the Academy for U. S. servicemen.

Photographs, 1891-1941 and undated, are organized into the categories of works of art, people, buildings, places, events, and miscellaneous. Works of art are by visiting students and fellows, Frank D. Millet, collaborative problems, Rome Prize Competitions in Architecture, Rome Prize Competitions in Landscape Architecture, and Prix de Rome Competition exhibitions. Photographs of people are both of individuals and groups; among the groups are summer school students and fellowship winners.

Buildings depicted are American Academy properties. Among them are the "New Building," including interior and exterior construction views; studios; and Villas Aurelia, Mirafiore, and Richardson. Also included is a group of photographs of Academy architecture students measuring buildings in Rome and Florence. Places pictured are views of the Academy property and surrounding areas.

Photographs of events include cricket games, Thanksgiving and Fourth of July dinners, Architectural League exhibition, and inauguration of the Manship Fountain. Miscellaneous photographs are of an architectural drawing for a proposed building.

Personal Papers, Memorabilia, and Ephemera, 1855-1923 an undated, were donated to the American Academy in Rome or otherwise left on its premises. None are official records generated by the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.

Records of the Association of the Alumni of the American Academy in Rome, 1913-1945 and undated), consist of a small number of scattered records including correspondence, fellows' war/government service information (compiled by Sidney Waugh), membership lists, and a newsletter.

Miscellaneous records, 1899-1926 and undated, are writings and architectural records. Writings consist of published and unpublished manuscript material about the American Academy in Rome and its history, and article by H. Siddons Mowbray advising on ornamentation, and text and illustrations for the Art and Archaeology issue on the Academy. Also included are fragments of unidentified letters. Architectural records [oversize] include property and floor plans of Villas Aurora, Chiaraviglio, Ferrari, and Ludovisi.

Series 4: Rome Office Records, consist of records of staff and personal papers. Records of staff, 1903-1947 and undated, include the office files of Directors H. Siddons Mowbray, George Breck, Jesse Benedict Carter, Gorham Phillips Stevens, James Monroe Hewlett, Chester H. Aldrich, Amey Aldrich [Acting Director, very briefly, perhaps unofficially], Charles R. Morey, and Laurance P. Roberts; and records of two members of the School of Fine Arts faculty, Frank P. Fairbanks, Professor of Fine Arts, and Felix Lamond, Professor of Music. Records of Carter, Stevens, Hewlett, and Aldrich appear to be fairly complete; records of early directors are sparse; those of Morey and Roberts appear to be missing significant portions; and those of Professors Fairbanks and Lamond consist of a few scattered items.

Also surviving are the personal papers of Director Gorham Phillips Stevens, 1912-1931 and undated), consisting of correspondence, financial records, and documentation of professional and charitable activities.

Series 5: Unprocessed Addition to the American Academy in Rome Records was received in 2014 and consists of 31.6 linear feet of the New York office's records for officers, directors, and executives.
Arrangement:
It was obvious that before they came to the Archives of American Art the records had been rearranged more than once, and in such a way that materials from many different departments had been intermingled. In keeping with archival theory and practice, the records were organized to reflect the structure and operation of the institution that created the records, making them more understandable and accessible to a wide variety of researchers.

In general, the records of each officer and staff member are arranged alphabetically, with general correspondence preceding the alphabetical sequence; arrangement within each file is chronological, unless noted otherwise.

Records of the American Academy in Rome are organized into five major series. Each series, except series 5, is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Predecessor Institutions, 1894-1913 (box 1; 0.88 linear ft.; Reels 5749-5750)

Series 2: Board of Trustees Records, 1897-1957, undated (boxes 1-17, 35, 37; 15.25 linear ft.; Reels 5750-5777)

Series 3: New York Office, 1855-circa 1981, undated (boxes 17-32, 36; 15 linear ft.; 5777-5795)

Series 4: Rome Office, 1903-1943, undated (boxes 32-34; 3 linear ft.; 5795-5800)

Series 5: Unprocessed Addition to the American Academy in Rome Records, 1933-2002 (boxes 35-103; 31.6 linear ft.)
Historical Note:
While in Chicago to advise and work on the fine arts section of the 1893 World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, and Richard Howland Hunt, painters John La Farge and Frank Millet, and sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly. From their collaborative experience and discussions came the idea for an American school for artists in Europe. Charles F. McKim was especially enthusiastic. He strongly believed that collaborative experience should be available to future American artists, and perceived a real need for an American school in Europe--preferably in Rome, the very best place to study art, in his opinion.

By March of the following year, McKim was busy devising plans for the school and persuading like-minded architects and artists to assist. He proposed to finance the school by convincing institutions with traveling scholarships in the arts to send those students to Rome. Columbia University, University of Pennsylvania, and the Rotch Scholarship fund readily agreed to the scheme, and in ensuing years many others followed suit. In October, 1894, the American School of Architecture in Rome opened temporary quarters in the Palazzo Torlonia. The school consisted of its Director, Austin Lord, three fellows, and a visiting student; its "library" contained but one volume.

A move to the larger, more suitable Villa Aurora occurred in July 1895. Rent from two subtenants (the newly established American School of Classical Studies in Rome and the British and American Archaeological Society Library in Rome), along with a personal contribution from McKim, made this financially feasible.

The American School of Architecture in Rome was incorporated in the State of New York, 1895, and 10 shares of capital stock were issued. Despite substantial fundraising efforts in Chicago, New York, and Boston, severe financial problems continued. The American School of Classical Studies in Rome vacated the Villa Aurora in 1896--and with it went a sizeable portion of the School of Architecture's income. McKim frequently made up the deficit from his own pocket.

Eventually, it was decided that the American School of Architecture in Rome must be reorganized along the lines of the French Academy and that national sponsorship needed to be obtained through an act of Congress. In June of 1897, the American School of Architecture in Rome voted to dissolve itself and create the American Academy in Rome. The new institution would assume all assets and obligations, fellowships in painting and architecture were to be added to the program, and its Board of Trustees would include architects and artists. The Academy is not a school. Its fellows and visiting students, already professionally trained, go to Rome for further development and for collaboration and association with others. In the words of Director Gorham Phillips Stevens: "The object of the American Academy in Rome is not to afford opportunities for a few individuals to perfect themselves for the practice of their chosen professions. The ideal is to create an atmosphere in which a limited number of carefully selected artists and scholars may develop that synthesis of intellectual culture which will make them worthy to preserve and continue the great traditions of the past in order that the standard of art and literature may be handed on from year to year, constantly strengthened and improved."

Beginning in 1901, bills to make the American Academy in Rome a "national institution" were introduced in Congress on several occasions. A hearing was finally scheduled in 1905, and a revised bill that prohibited government funding and specified that U.S. officials may not be Trustees was signed into law. Serious efforts to create an Endowment Fund and secure better quarters were associated with the movement to obtain status as a national institution. The Academy was successful in meeting all of these objectives. In 1904, the Academy moved to the Villa Mirafiore (also known as Villa Mirafiori), which it soon purchased and renovated. The Endowment Fund raised well over a million dollars. Donors of $100,000 to the Endowment Fund, designated "Founders" of the American Academy in Rome, were: The Carnegie Foundation, Henry C. Frick, Harvard College, Charles F. McKim, J. P. Morgan, Sr., J. P. Morgan, Jr., The Rockefeller Foundation, John D. Rockefeller, Jr., William K. Vanderbilt, and Henry Walters. Other categories of donors were "Incorporators" (a new Act of Incorporation was required at the time the American Academy in Rome was chartered as a national institution) and "Life Members."

The American School of Classical Studies in Rome, which had been established by the Archaeological Society in 1895 and during its first year shared the Villa Aurora with the American School of Architecture in Rome, entered into a consolidation agreement with the American Academy in Rome in 1911. Their merger went into effect on the last day of 1912, and ever since, the American Academy in Rome has consisted of the School of Fine Arts and the School of Classical Studies, administered by a common director. The School of Classical Studies is composed of fellows and visiting scholars who are graduate students, secondary teachers, or professors engaged in research in the areas of archaeology, ancient art, philology, and humanistic studies. Women were a part of the School of Classical Studies from its beginning, but were not permitted to participate in the School of Fine Arts until well after World War II. Beginning in 1923, the School of Classical Studies instituted Summer Sessions which appealed to secondary teachers, and attracted an enrollment that was largely female.

Originally, the School of Fine Arts offered fellowships in architecture, painting, and sculpture. Fellowships in landscape architecture were added in 1915; in 1920, a Department of Music was established, and along with it fellowships in musical composition. Fellowships in art history were established in 1947. Unmarried men under age 30 were eligible to compete for the fine arts fellowships awarded annually (except for landscape architecture, awarded every third year); the duration of fellowships ranged from one to three years at various points in the institution's history. In residence along with fellows of the American Academy in Rome, might be holders of various traveling scholarships: the McKim Fellowship, the Columbia Traveling Scholarship, the Perkins Scholarship, the Robinson Traveling Scholarship (Harvard), the Rotch Scholarship, the Julia Appleton Scholarship, the Traveling Scholarship and Stewardson Memorial Scholarship (University of Pennsylvania), the Cresson Scholarship (Pennsylvania Academy of the Fine Arts), the Drexel Institute Traveling Scholarship, the Lazarus Scholarship (Metropolitan Museum of Art), the Lowell Scholarship (Massachusetts Institute of Technology), and the Rinehart Scholarship (Peabody Institute, Baltimore). Visiting students, who remained for a much briefer period than fellows or recipients of various traveling scholarships, were admitted to all lectures and granted use the library, but resided elsewhere. The Academy opened an Atelier in downtown Rome for visiting students in 1927, which operated until financial considerations forced its discontinuation seven years later.

As the merger was being planned, J. P. Morgan, Sr., who was interested in both the American Academy in Rome and the American School of Classical Studies in Rome, began buying properties on the Janiculum, adjacent to Villa Aureilia. Villa Aurelia, built on the summit of the Janiculum in 1650, had been bequeathed to the American Academy in Rome in 1909 by Clara Jessup Heyland. Complications surrounding the gift of Villa Aurelia--including the will being contested by Mrs. Heyland's brother, and problems with unsettled tax assessments--were overcome in the interest of acquiring the outstanding building and its extensive grounds. Not long before his death in 1913, Morgan donated his neighboring land, and the American Academy in Rome continued to expand its Janiculum holdings through purchases and gifts from others. Morgan also agreed to provide a loan for construction of a new building. This building, designed by McKim, Mead, and White and known as the Main Building or Academy Building, opened in 1915; it served as the fellows' residence and work area, and included room for the library, offices, and space for exhibitions and other public events.

During World War I, the American Academy in Rome managed to remain open, although no new fellows arrived during the war years and the number of resident fellows and staff dwindled considerably. Most who remained were involved in some type of civilian war work, often with the Red Cross. In fact, Villa Aurelia was rented by the Red Cross in Italy for office space, and the Main Building was offered as a convalescent hospital, but the war ended before it could be put to that use.

After Italy declared war on the United States in 1941, the American Academy in Rome closed for the remainder of World War II. Those who had been awarded fellowships in classics just prior to the Academy's closing were given the option of using their stipends for study at home or waiting until conditions permitted travel to Rome. A very reduced staff stayed to care for the property and continue library cataloguing, coping with often severe wartime shortages of food and fuel. In addition, there were financial hardships. When bank accounts of enemy aliens were frozen and it was no longer possible to transfer funds from the United States, the Swiss Legation and Vatican arranged for loans to keep the Academy and its staff afloat. Funds that would have been awarded to new fellows during this period were put to use in other ways. In 1943, the American Academy in Rome made a grant to the Citizen's Committee for the Army and Navy, Inc. for competitions to award commissions to artists and art students throughout the country, funding more than 100 triptychs for chapels, as well as murals, medals, and sculpture. Seniors in American colleges and universities were eligible to compete for several scholarships for graduate work in classical studies awarded by the American Academy in Rome.

In 1945, the Academy was the site of Leave Courses on various aspects of Italian culture offered to servicemen. From the end of the war until the Academy reopened at the start of the 1946/47 academic year, G.I. Fellowships were offered to discharged soldiers wishing to study at the Academy, making the institution eligible to receive surplus equipment and rations. During this time intensive planning was underway for administrative changes and new programs.

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1893 -- While in Chicago to collaborate on the fine arts section for the World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, Richard Howland Hunt, painters John La Farge, and Sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly and from their collaborative experience and discussions came the idea for an American school in Europe.

1894 -- American School of Architecture in Rome opened in temporary quarters at the Palazzo Torlonia with Austin Lord, Director, three fellows, and a visiting student.

1895 -- Villa Aurora leased with 2 subtenants, the American School of Classical Studies and the British and American Archaeological Society Library in Rome American School of Architecture incorporated and 10 shares of capital stock issued (2 each to McKim and Hunt, and 1 to Burnham, Kendall, Schermerhorn, Boring, Garland, and Dill) McKim visits Rome.

1896 -- Metropolitan Museum of Art, administrator of Jacob H. Lazarus Scholarship for the study of mural painting, agrees to send the winner to Rome American School of Classical Studies in Rome vacates Villa Aurora.

1897 -- American School of Architecture in Rome dissolved and reorganized as the American Academy in Rome; the assets (including the lease on Villa Aurora) of the American School of Architecture in Rome were transferred and its program expanded to include fellowships in painting and sculpture Samuel A. B. Abbott appointed first Director Rome Prize discontinued (for 9 years) due to lack of funds.

1898 -- Incorporated in New York State; trustees begin to focus on raising an endowment.

1904 -- Move to Villa Mirafiore (also known as Villa Mirafiori); occupied until 1914.

1905 -- Chartered by the Congress of the United States; a bill signed by President Roosevelt made the American Academy in Rome a national institution (receiving no government funding and barring U.S. officials from acting as Trustees).

1906 -- Purchase of Villa Mirafiore finalized; renovations begun.

1909 -- Villa Aurelia bequeathed to the Academy by Clara Jessup Heyland (used until 1932); there were protracted problems surrounding the acquisition of the property including a brother who contested the will and unsettled taxes.

1911 -- School of Classical Studies in Rome (established by the Archaeological Institute of America in 1895) and the American Academy in Rome announce their consolidation [the merger became effective on the final day of 1912].

1912 -- Lands on the Janiculum adjacent to Villa Aurelia, recently acquired by J. Pierpont Morgan, Sr., transferred to the American Academy in Rome.

1913 -- American Academy in Rome now consists of the School of Fine Arts and the School of Classical Studies. New York office moves to the Architect's Building, 101 Park Ave., remaining at this location until 1973. By this date, largely through the generosity of J. Pierpont Morgan, Sr., nearly all of the land bounded by Via Angelo Masina, Via Giacomo Medici, Via Pietro Riselli, and the Aurelian Wall on the Janiculum had been purchased and many improvements made to the properties near the Villa Aurelia. Construction begins on the new Academy building designed by McKim, Mead, and White and situated on the grounds of Villa Aurelia; financed through a loan from J. Pierpont Morgan, Sr. (after Morgan Sr.'s death, his son offered to cancel the loan at an amount equal to funds raised by the Academy for the purpose).

1915 -- First Fellowship in Landscape Architecture established; opening of new Academy building housing the fellows' residential quarters, work areas, library, offices, and spaces for public programs.

1917 -- Villa Aurelia rented to the Red Cross for office space, and the new Main building was slated to become a convalescent hospital, but the war ended before it could be put to use.

1919 -- New York office reorganized by Roscoe Guernsey, executive secretary; sale of Villa Mirafiore; Academic Council established in Rome.

1920 -- Department of Music and Fellowship in Musical Composition established.

1923 -- School of Classical Studies establishes summer sessions, largely attended by teachers.

1926 -- Second Fellowship in Landscape Architecture funded by Garden Club of America (later permanently endowed).

1927 -- Academy opens an Atelier in downtown Rome, providing studios for visiting students (operated until 1934).

1929 -- First Thomas Spencer Jerome lecturer appointed.

1941 -- Academy closes for duration of World War II; a skeletal staff remain behind to care for the property and continue library cataloguing; Italy declares war on the United States.

1942 -- After transfer of funds from the U.S. proved impossible and enemy aliens were prohibited from withdrawing their own funds from Italian banks, the Swiss Legation and Vatican offered assistance to the Academy by providing loans.

1943 -- Academy grant to Citizen's Committee for the Army and Navy, Inc., funded hundreds of triptychs; murals, medals, and sculptures also commissioned Academy awards scholarships in classical studies at American colleges and universities.

1945 -- "Leave courses," held at the Academy, consisting mainly of lectures by distinguished scholars still in Rome, instituted for U.S. servicemen.

1946 -- Regular program resumes at the start of the academic year.

1947 -- Fellowship in the History of Art established.

1965 -- Loan of printed matter for microfilming by the Archives of American Art (reels ITRO 2-3 and 11-13).

1973 -- New York office moves to American Federation of Arts building, 41 East 65th St. (until 1993).

1982 -- Gift of New York office records to the Archives of American Art.

1990 -- Gift of Rome office records to the Archives of American Art.

1993 -- New York office moves to Metropolitan Club, 7 East 60th St.
Related Material:
Papers of a number of former fellows, trustees, and other individuals associated with the American Academy in Rome are among the holdings of the Archives of American Art.

Chaloner Prize Foundation records, 1915-1974 (microfilm reels 5664-5669) were received with the American Academy in Rome records. They have been arranged and described as a separate collection.

Valentine, Lucia and Alan Valentine. The American Academy in Rome, 1894-1969. Charlottesville: University Press of Virginia, 1973.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels ITRO 2-3, and ITRO 11-13) including annual reports, exhibition catalogues, a history of the American Academy in Rome, the American Academy in Rome at the World's Fair, and the Golden Gate Exposition and newsletter. Loaned materials were returned to the lender and can be found at the American Academy in Rome, Italy. This material is not described in the collection container inventory.
Provenance:
The material on reels ITRO 2-3 and ITRO 11-13 were lent to the Archives of American Art for microfilming by the American Academy in Rome in 1965. Records of predecessor institutions, the Board of Trustees, and the New York office, including photographs and personal papers, were donated in 1982 by the Academy president, Calvin G. Rand. In 1990, Rand also gifted the Rome office records and the personal documents of Gorham Phillips Stevens. An addition of New York office records was donated in 2014 by the Academy director, Adele Chatfield-Taylor.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Architecture -- Study and teaching  Search this
Architecture, Classical -- Study and teaching  Search this
Art -- Study and teaching  Search this
Art schools -- Italy -- Rome  Search this
Genre/Form:
Photographs
Citation:
American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ameracar
See more items in:
American Academy in Rome records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eb425e5a-26de-478b-8ecc-8a9006e9dc52
EDAN-URL:
ead_collection:sova-aaa-ameracar
Online Media:

Cleve Overton papers

Creator:
Overton, Cleve  Search this
Names:
Andreasen, Jude  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
circa 1928-2022
bulk 1948-2020
Summary:
The papers of Washington, D.C.-based mixed media artist Cleve Overton measure 3.8 linear feet and date from circa 1928-2022, bulk 1948-2020. Included are biographical materials; correspondence including letters from Overton to his wife Jude Andreasen while she was in various countries in Africa; writings, exhibition files, project files, printed materials, subject files, and photographs and photograph albums of Cleve, family, events, artwork, events and exhibitions.
Scope and Contents:
The papers of Washington, D.C.-based mixed media artist Cleve Overton measure 3.8 linear feet and date from circa 1928-2022, bulk 1948-2020. Included are biographical materials; correspondence including letters from Overton to his wife Jude Andreasen while she was in various countries in Africa; writings, exhibition files, project files, printed materials, subject files, and photographs and photograph albums of Cleve, family, events, artwork, events and exhibitions.

Biographical material includes award certificates, biographical profiles, family history, travel documents, memorial records and obituaries, and an audiovisual recording from Cleve Overton's 80th birthday celebration. Also included is a disbound binder of biographical material compiled by Overton.

Correspondence mostly consists of Cleve Overton's letters to his wife Jude Andreasen while she lived in several countries in Africa as well as some letters he wrote to "Dear Ones," presumably friends and family. There are some letters from various correspondents addressed to Cleve Overton and there is one folder of condolence letters.

Writings include articles, essays, notes, and letters to the editor written by Cleve Overton. There is also one binder of book production records that was compiled by Overton and his wife Jude Andreasen about books they collaborated on and published.

Exhibition files consist of catalogs and announcements, clippings, photographs, artist statements, price lists, video recordings of receptions, and guestbooks of group and solo exhibitions of Cleve Overton's artwork.

Project files include correspondence, printed material, photographs, and other documentation related to Overton's art projects.

Printed material is mostly comprised of clippings, magazines, and books about Cleve Overton and his artwork, whereas subject files include a mixture of printed material, photographs and documents that were compiled by Overton on topics and artists that interested him.

Photographs are of Cleve Overton, his artwork, friends and family, exhibitions (images are of the opening receptions as well as the art), military service in Japan, and various protests and marches he participated in. Most of the series is comprised of snapshots but there are also some slides and digital photographs.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, 1928-2020 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1948-2021 (0.8 linear feet; Box 1)

Series 3: Writings, circa 1969-circa 2020 (0.3 linear feet; Box 2)

Series 4: Exhibition Files, 1992-2015 (0.6 linear feet; Boxes 2, 5)

Series 5: Project Files, 1987-2018 (0.4 linear feet; Boxes 2-3, OV 6)

Series 6: Printed Material and Subject Files, 1948-2022 (Boxes 3, 5)

Series 7: Photographic Material, circa 1935-2020 (Boxes 3-5)
Biographical / Historical:
Cleve Overton (1928-2020) was an African American mixed media artist based in Washington, D.C. Overton was born in Staten Island, New York on September 17, 1928. From 1945 to 1948, Overton served in the military in an All-Black army unit, the 76th/933rd AAA battalion in Japan. He studied art at the New School and other New York schools. He also ran his studio, the Potter's Wheel, where he offered pottery classes, and later he founded and managed his business, Earthworks. He was a skilled welder. He also taught as an adjunct professor of art at Baruch College and the College of Staten Island, CUNY.

Overton collaborated on many projects with his wife, Jude Andreasen. They moved to Washington, D.C. in 1989. Overton traveled extensively and lived in many countries in Europe and Africa. His time in Senegal led to the creation of a photographic series which were exhibited in IFAN National Museum in Dakar and later became a book The Doors of Senegal that he published with Andreasen. The couple published a second book of photography together, and Overton wrote three other books of his own: a memoir, a book of essays, and a novel.

Overton exhibited widely and often. His mixed media art often reflected his profound commitment to environmental, social, and racial justice. He passed away in 2020.
Provenance:
The Cleve Overton papers were donated to the Archives of American Art in 2022 by Jude Andreasen, Cleve Overton's wife.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Mixed-media artists -- Washington (D.C).  Search this
Mixed-media artists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Genre/Form:
Video recordings
Citation:
Cleve Overton papers, circa 1928-2022, bulk 1948-2020. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.overclev
See more items in:
Cleve Overton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9839f5a87-60ac-40f6-a8b3-8b6333336783
EDAN-URL:
ead_collection:sova-aaa-overclev
Online Media:

Designing Gender Inclusive Spaces

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Lectures
YouTube Videos
Uploaded:
2023-05-26T16:07:20.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_obFbRjMZEtg

Richard McLanathan papers, 1901-1995, bulk 1940s-1990s

Creator:
McLanathan, Richard B. K., 1916-1998  Search this
Subject:
Bulfinch, Charles  Search this
Munson-Williams-Proctor Institute  Search this
Museum of Fine Arts, Boston  Search this
Harvard University  Search this
American Association of Museums  Search this
Type:
Sound recordings
Moving images
Citation:
Richard McLanathan papers, 1901-1995, bulk 1940s-1990s. Archives of American Art, Smithsonian Institution.
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)6431
(DSI-AAA_SIRISBib)215555
AAA_collcode_mclarich
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215555

Richard McLanathan papers

Creator:
McLanathan, Richard B. K.  Search this
Names:
American Association of Museums  Search this
Harvard University  Search this
Munson-Williams-Proctor Institute  Search this
Museum of Fine Arts, Boston  Search this
Bulfinch, Charles, 1763-1844  Search this
Extent:
29.8 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Moving images
Date:
1901-1995
bulk 1940s-1990s
Summary:
The papers of art historian, arts administrator, consultant, and author Richard McLanathan, measure 29.8 linear feet and date from 1901 to 1995, with the bulk of the records dating from the 1940s to 1990s. The collection documents McLanathan's career through correspondence, education records, writings, and lecture files; papers related to his career at the Museum of Fine Arts, Boston, and his directorship at the Munson-Williams-Proctor Arts Institute; and project files from his consulting work in arts, education, historic preservation, administrative reorganization, funding, and publicity. The collection is primarily composed of correspondence, writings, reports, printed matter, as well as some photographs and audiovisual material.
Scope and Contents:
The papers of art historian, arts administrator, consultant, and author Richard McLanathan, measure 29.8 linear feet and date from 1901 to 1995, with the bulk of the records dating from the 1940s to 1990s. The collection documents McLanathan's career through correspondence with artists, museum professionals, and collectors; records from his education at Harvard, including papers related to the American architect Charles Bulfinch; papers pertaining to various lectures, essay, and book projects; material documenting his career at the Museum of Fine Arts, Boston, and his directorship at the Munson-Williams-Proctor Arts Institute; and project files from his consulting work in arts, education, historic preservation, and administrative reorganization, funding, and publicity. Also included is a significant amount of material related to McLanathan's post as art curator at the American National Exhibition, Moscow, USSR, in 1959; and his work as writer, researcher, and editor at the National Gallery of art form the late-1960s to late-1970s.
Arrangement:
This collection is arranged as 9 series

Series 1: Biographical Material, 1942-1994 (1.0 linear feet; Boxes 1, 30-31, FC 32)

Series 2: Correspondence, 1901-1995, bulk 1940s-1990s (0.4 linear feet; Box 1)

Series 3: Writings, 1934-1995 (9.6 linear feet; Boxes 1-10, 31)

Series 4: Association and Membership Records, 1950-1987 (3.5 linear feet; Boxes 11-14, FC 33)

Series 5: Museum of Fine Arts, Boston, circa 1946-1976 (2.0 linear feet; Box 14-16)

Series 6: Munson-Williams-Proctor Arts Institute, 1958-1963 (1.0 linear feet; Box 16-17)

Series 7: Consulting Projects, 1950s-1991 (10.8 linear feet; Box 17-28, 31)

Series 8: Printed Material, 1930s-1990s (1.0 linear feet; Box 28-29)

Series 9: Photographs, circa 1940s-1990s (0.5 linear feet; Box 29)
Biographical / Historical:
Richard McLanathan (1916-1998) was an art historian, curator, museum administrator, consultant, and author in New York and Boston. McLanathan began his career at the Museum of Fine Arts, Boston, followed by the Munson-Williams-Proctor Arts Institute, Utica, New York before moving on to consulting work for the remainder of his career. He published numerous books and articles, was a key member of several professional and cultural organizations, and consulted on multiple projects for corporations, municipalities, museums, and educational institutions.

McLanathan graduated from high school from The Choate School in 1934, followed by his bachelor's degree and doctorate from Harvard University. While writing his dissertation on the early-American architect Charles Bulfinch, McLanathan was hired as assistant curator of paintings at the Museum of Fine Arts, Boston (MFA). Other titles he held there include Secretary of the Museum (1949-1956), Editor of Museum Publications (1952-1957), and Curator of Sculpture and Decorative Arts (1954-1957). Additionally, McLanathan was a member of the art and executive committees for the Boys' Club of Boston (circa 1950-1956).

McLanathan moved to Utica, New York, in 1957, for the position of director at the Munson-Williams-Proctor Arts Institute, Museum of Art (MWP) where he organized exhibitions, was responsible for the institute's community arts program, oversaw the planning and completion of a new museum building designed by Philip Johnson, and worked on the restoration of Fountain Elms, a nearby 1850s Tuscan villa. McLanathan was then assigned as curator of the art exhibition at the American National Exhibition, Moscow, USSR, in 1959. This led to additional roles as an American specialist for the State Department in West Germany (1959), Poland (1959), Denmark (1959), and Yugoslavia (1961). Around this time, McLanathan also served on the Commissioner's Committee for the Arts and Museum Resources under the New York State Council of the Arts (1960-1964).

After resigning from MWP in 1961, McLanathan worked primarily as a freelance writer, lecturer, and consultant. His consulting projects included program planning, future development, curriculum development, administrative reorganization, exhibitions, historic preservation, budgeting and funding, and policy development. His clients included the Atlanta Art Association, IBM, the Metropolitan Museum of Art, Time-Life, State University of New Mexico, and U. S. Plywood. In the late 1960s, McLanathan began working as a project consultant for the National Gallery of Art in Washington, D.C. While there, his projects included Art & Man (1969-1973), A Guide to Civilisation: The Kenneth Clark Films on the Cultural Life of Western Man (1970), East Building, National Gallery: A Profile (1978), and various other writings and films .

As a writer, McLanathan contributed to the Encyclopedia of World Art and Webster's Unabridged Dictionary, and published articles on artists, architecture, art history in general, and museums in the Atlantic Monthly, New York Times, Art News, and Journal of the Society of Architectural Historians. The books he wrote include Images of the Universe: Leonardo da Vinci, The Artist as Scientist (1966), The Pageant of Medieval Art and Life (1966), The American Tradition in the Arts (1968), Art in America, A Brief History (1973), The Art of Marguerite Stix (1977), and World Art in American Museums, A Personal Guide (1983).
Provenance:
This collection was donated in two installments by Richard McLanathan, 1994-1995, and by Jane McLanathan, 2005-2007, via her estate's executor.
Restrictions:
The collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art consultants -- New York (State)  Search this
Art historians -- New York (State)  Search this
Arts administrators -- Massachusetts -- Boston  Search this
Arts administrators -- New York (State) -- Utica  Search this
Authors -- New York (State)  Search this
Genre/Form:
Sound recordings
Moving images
Citation:
Richard McLanathan papers, 1901-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mclarich
See more items in:
Richard McLanathan papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94cfbdcde-8849-4607-902b-41ada5b9da17
EDAN-URL:
ead_collection:sova-aaa-mclarich

Richard Lippold papers

Creator:
Lippold, Richard, 1915-2002  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures
Date:
1940s-1977
Summary:
The papers of sculptor and educator Richard Lippold measure 1.3 linear feet and date from 1940s to 1977. The collection provides documentation on Lippold's career through correspondence, writing files, project files, printed materials, and several motion picture films.
Scope and Contents:
The papers of sculptor and educator Richard Lippold measure 1.3 linear feet and date from 1940s to 1977. The collection documents Lippold's career through correspondence, writing files, project files, printed materials, and several motion picture films.

Correspondence includes letters to and from museums and galleries, architects, clients, friends, teaching colleagues, and other artists discussing various professional and non-professional topics. Writing files include drafts and transcripts of speeches on art, society, and sculpture given by Lippold; personal writings and notes; statements on his own art and the art of other artists; and teaching materials such as drafts of syllabi, course schedules, and lectures. Project files mostly relate to public commissions and contain correspondence, status reports, work schedules, financial information, sketches and preliminary drawings, agreements, as well as some writings. Printed materials include newspaper clippings; seven issues of the publication, "Dance Observer," for which Lippold served among its editors and contributors; and some exhibition material. Film footage includes the dedication of Lippold's "Orpheus and Apollo" at the Lincoln Center in 1962; a documentary made about Lippold's sculpture, "The Sun," at the Metropolitan Museum of Art; and scenes of Lippold's "World Tree" at Harvard University.
Arrangement:
This collection is arranged as five series.

Series 1: Correspondence, 1945-1977 (Box 1; .5 linear feet)

Series 2: Writing Files, 1940s-1970s (Box 1; 10 folders)

Series 3: Project Files, 1950-1972 (Box 1-2; .5 linear feet)

Series 4: Printed Material, 1943-1973 (Box 1; 6 folders)

Series 5: Motion Picture Film, circa 1960s (FC 2-4; .3 linear feet)
Biographical / Historical:
Richard Lippold (1915-2002) was a sculptor and educator in New York, NY. Born in Milwaukee, Wisconsin, he studied at the University of Chicago and received training in industrial design at the Art Institute of Chicago. He also studied dance and piano. After graduating, Lippold started his own industrial design studio, but soon ended this endeavor to teach design and engineer drawing and mechanics at the University of Michigan in 1941. After moving to New York in 1944, Lippold began his career as a professional artist, exhibiting his work and creating public art installations. His art was known for metal, gold, and silver wire, rods, and bars used to create geometric sculptures that often incorporated a component of suspension. His installations can be found in museums, building lobbies, and universities across America including Flight found in the Pan Am (now the Met Life) Building, The Sun in the Museum of Modern Art, Baldacchino in St. Mary's Cathedral, California, and Ad Astra in front of the Smithsonian's National Air and Space Museum. Notable group exhibitions featuring Lippold's work include Abstract Painting and Sculpture in America (1951) and Fifteen Americans(1952) both at the Museum of Modern Art, Venice Biennale (1988), and Sculpture: American Directions, 1945-75 (1975) at the Whitney Museum of American Art. Marquette University's Haggerty Museum of Art held a retrospective exhibition for Lippold in 1990. His work is found in collections at the Museum of Modern Art, Whitney Museum of American Art, the Metropolitan Museum of Art, and more. In addition to the University of Michigan, Lippold also taught at Goddard College in Plainfield, Vermont, Trenton Junior College in New Jersey, and Hunter College in New York where he taught for over a decade.
Separated Materials:
The Archives of American Art also holds microfilm (reel N69-24) of material loaned for microfilming including correspondence; catalogs; clippings; writings; and papers relating to the Conference on Government Participation in the Arts and Humanities. Loaned materials were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The collection was donated in several installments by Richard Lippold between 1968-1977. Materials found on reel N69-24 were lent for microfilming 1968-1969.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Public art  Search this
Genre/Form:
Motion pictures
Citation:
Richard Lippold papers, 1940s-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipprich
See more items in:
Richard Lippold papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97cf2af3f-5196-4bc4-965b-ddbaa7e65ced
EDAN-URL:
ead_collection:sova-aaa-lipprich

Rudolf Arnheim papers, 1919-1998

Creator:
Arnheim, Rudolf, 1904-2007  Search this
Subject:
Albers, Josef  Search this
Kepes, Gyorgy  Search this
Sheldon, Alice Bradley  Search this
Harvard University  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New School for Social Research (New York, N.Y.)  Search this
Sarah Lawrence College  Search this
University of Michigan  Search this
Type:
Sound recordings
Interviews
Diaries
Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching -- United States  Search this
Art--Study and teaching--Germany  Search this
Authors -- Massachusetts  Search this
Educators -- Massachusetts  Search this
Educators -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8318
(DSI-AAA_SIRISBib)210490
AAA_collcode_arnhrudo
Theme:
Diaries
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210490
Online Media:

William Page and Page Family papers, 1815-1947, bulk 1843-1892

Creator:
Page, William, 1811-1885  Search this
Subject:
Page, William  Search this
Page, Sophia Stevens  Search this
Olmstead, Mary  Search this
Olmstead, Bertha  Search this
O'Donovan, William Rudolph  Search this
Lowell, James Russell  Search this
Hicks, Thomas  Search this
Fenton, Rueben  Search this
Cushman, Charlotte  Search this
Curtis, George William  Search this
Briggs, Charles F. (Charles Frederick)  Search this
Beecher, Thomas Kinnicut  Search this
Tilton, Theodore  Search this
Wilmarth, Lemuel Everett  Search this
Stark, William  Search this
Sumner, Charles  Search this
Scranton, William Walker  Search this
Shaw, Francis George  Search this
Beecher, Henry Ward  Search this
Phillips, Wendell  Search this
Garrison, William Lloyd  Search this
Perry, E. W. (Enoch Wood)  Search this
National Academy of Design (U.S.)  Search this
Type:
Photographs
Sketches
Poems
Drawings
Diaries
Citation:
William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.
Topic:
Works of art  Search this
Portrait painters -- New York (State) -- New York  Search this
Portrait painting -- 19th century -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8925
(DSI-AAA_SIRISBib)211111
AAA_collcode_pagewill
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211111
Online Media:

Aline and Eero Saarinen papers, 1906-1977

Creator:
Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this
Subject:
White, Stanford  Search this
Saarinen, Eero  Search this
Type:
Photographs
Motion pictures (visual works)
Sound recordings
Interviews
Citation:
Aline and Eero Saarinen papers, 1906-1977. Archives of American Art, Smithsonian Institution.
Topic:
Architecture -- United States  Search this
Architects -- Michigan -- Bloomfield Hills  Search this
Art -- Collectors and collecting -- United States  Search this
Women architectural critics  Search this
Women art critics  Search this
Women art historians  Search this
Theme:
Architecture & Design  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)5589
(DSI-AAA_SIRISBib)211237
AAA_collcode_saaralin
Theme:
Architecture & Design
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211237
Online Media:

Rudolf Arnheim papers

Creator:
Arnheim, Rudolf  Search this
Names:
Harvard University  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New School for Social Research (New York, N.Y.)  Search this
Sarah Lawrence College  Search this
University of Michigan  Search this
Albers, Josef  Search this
Kepes, Gyorgy, 1906-2001  Search this
Sheldon, Alice Bradley, 1915-1987  Search this
Extent:
9.6 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Diaries
Date:
1919-1998
Summary:
The papers of art historian, educator, writer and psychologist Rudolf Arnheim measure 9.6 linear feet and date from 1919 to 1998. The papers document his career in New York, Michigan, and abroad through biographical material, correspondence, writings, lectures, diaries, printed material, and sound recordings.
Scope and Contents:
The papers of art historian, educator, writer and psychologist Rudolf Arnheim measure 9.6 linear feet and date from 1919 to 1998. The papers documents his career in New York, Michigan, and abroad through biographical material, correspondence, writings, lectures, diaries, printed material, and sound recordings.

Biographical material includes a bibliography, biographical sketches, contracts and agreements, sound cassettes of interviews, and other miscellaneous material.

Correspondence is with colleagues, editors, publishers, and universities on various subjects. The bulk of the correspondence is arranged by subject such as architects, art historians, dance, and film. There is correspondence with Harvard University, University of Michigan, Museum of Modern Art, and New School of Social Research, as well as various individuals such as Josef Albers, Gyorgy Kepes, and Alice Sheldon.

Writings and lectures include book reviews, articles, lecture drafts and notes, sound recordings of lectures, manuscripts, and copies of published articles.

Arnheim's diaries date from 1919 to 1987 and discuss his early life as a student in Germany and career as an educator and lecturer. Some diaries include draft writings.

Printed material includes lecture announcements, reviews, clippings, programs, brochures, assorted material from Sarah Lawrence College, and two instructional sound cassettes.
Arrangement:
The collection is arranged as 5 series.

Series 1: Biographical Material, 1939-1991 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1940-1998 (Boxes 1-5; 4.4 linear feet)

Series 3: Writings and Lectures, 1930-1989 (Boxes 5-8; 2.7 linear feet)

Series 4: Diaries, 1919-1987 (Boxes 8-9; 1.0 linear feet)

Series 5: Printed Material, 1928-circa 1990 (Boxes 9-11; 1.2 linear feet)
Biographical / Historical:
Rudolf Arnheim (1904-2007) was a writer, educator, art historian and psychologist who was born in Germany and immigrated to the United States where he primarily worked in New York and Massachusetts.

Rudolf Arnheim was born in Berlin, Germany on July 15, 1904. He received his doctorate in psychology from the University of Berlin in 1928. Arnheim worked as a film critic and editor for several magazines and journals after graduation. During this time, he gathered information which would be compiled in his book Film as Art (1932). When the Nazis came into power in 1933, Arnheim moved to Rome where he worked at the Institute for the Educational Film for six years, then moved to London in 1939 and worked as a translator for the British Broadcasting Company.

Arnheim immigrated to the United States in 1940. In 1943, he became a psychology professor at Sarah Lawrence College where he continued to teach until 1968. He also taught at the New School for Social Research during this time. From 1959 to 1960, he was a Fulbright lecturer at Ochanomizu University in Tokyo, Japan. After Sarah Lawrence College, Arnheim became a Professor of Psychology of Art at Harvard University, where he stayed until 1974 when he moved to Ann Arbor, Michigan with his wife Mary. He was a visiting professor at the University of Michigan from 1974 to roughly 1984.

Among his many publications are Art and Visual Perception, Toward a Psychology of Art, Visual Thinking, Entropy and Art, Picasso's Guernica, and The Power of Center. Arnheim died in Ann Arbor in 2007.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rudolf Arnheim conducted by Robert F. Brown, May 16, 1972. Additional papers on Rudolf Arnheim related to psychology are available at the Archives of the History of Psychology in Akron, Ohio.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 3767) including correspondence with German publishers and editors, 1959-1982; Dumont Buchverlag, 1963-1980; Carl Hanser Varlag, 1974-1981; Helmut Diederich, 1974-1981; Franz Rudolf Knubel, 1971-1981; Werner Korbs, 1976-1982; Jurgen Weber, 1972-1981; and others. The originals were returned to Rudolf Arnheim after microfilming and subsequently donated to the Schiller-Nationalmuseum Deutsches Literaturarchiv, Germany. This material is not described in the collection container inventory or the finding aid.
Provenance:
The Rudolf Arnheim papers were donated to the Archives of American Art in several installments between 1974 to 1998 by Rudolf Arnheim. Arnheim also loaned material for microfilming in 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Occupation:
Art historians -- Massachusetts  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching -- United States  Search this
Art--Study and teaching--Germany  Search this
Authors -- Massachusetts  Search this
Educators -- Massachusetts  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Diaries
Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arnhrudo
See more items in:
Rudolf Arnheim papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw956011d71-95ed-495e-9e42-c9ae139b89ac
EDAN-URL:
ead_collection:sova-aaa-arnhrudo

Design Talk | Garden of Secrets

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2019-06-19T19:18:24.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_xYlwXFNte8A

Diane Spodarek papers

Creator:
Spodarek, Diane  Search this
Names:
Detroit Artists Monthly (1976-1978)  Search this
Extent:
3.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1971-1990
Summary:
The papers of artist, editor, and musician Diane Spodarek measure 3.6 linear feet and date from 1971 to 1990. The papers primarily document Spodarek's involvement with the publication Detroit Artists Monthly through administrative files, financial records, artist files, sound recordings and transcripts of interviews, sound recordings of performances, printed material, and photographic material.
Scope and Contents:
The papers of artist, editor, and musician Diane Spodarek measure 3.6 linear feet and date from 1971 to 1990. The papers primarily document Spodarek's involvement with the publication Detroit Artists Monthly through administrative files, financial records, artist files, sound recordings and transcripts of interviews, sound recordings of performances, printed material, and photographic material.

Administrative files consist of some correspondence, articles of incorporation, certificates of good standing, copyright documentation, manuscripts for articles, and material related to the first Michigan Congress on the Arts. Also included are some "Dangerous Diane" vinyl records featuring Spodarek.

Financial records consist of a budget notebook, tax exemption documents, NEA Organization Grant records, and other grant material.

Artists files for artists including Brian Buczak, Jim Pallas, Tom Sherman, and Lucinda Devlin, consist of resumes, printed material, correspondence, and some photographs of artists featured in Detroit Artists Monthly.

Interview files consist primarily of sound recordings of interviews, interview transcripts, some correspondence, and printed material related to artists and performers used in monthly issues of Detroit Artists Monthly.

Printed material consists of press releases for gallery exhibitions featured in Detroit Artists Monthly, "Dangerous Diane" posters and flyers, and publication proofs for some issues of Detroit Artists Monthly.

Photographic material consists of photographs and slides of artwork, performances, and artists and individuals associated with Detroit Artists Monthly.
Arrangement:
The collection is arranged into six series.

Series 1: Administrative Files, 1976-1990 (0.5 linear feet; Box 1)

Series 2: Financial Records, 1976-1990 (0.1 linear feet; Box 1)

Series 3: Artist Files, 1976-1987 (0.2 linear feet; Box 1)

Series 4: Interview Files, 1971-1987 (2.6 linear feet; Boxes 1-6)

Series 5: Printed Material, 1976-1979 (0.1 linear feet; Box 2)

Series 6: Photographic Material, 1977-1978 (0.1 linear feet; Box 2)
Biographical / Historical:
Diane Spodarek is a multimedia artist, poet, curator, musician, and editor from Detroit, Michigan and New York, New York. Along with Randy Delbake, Spodarek was the founder of Detroit Artists Monthly, a not-for profit arts publication, supported in part by the Michigan Foundation for the Arts, Michigan Council for the Arts, and the National Endowment for the Arts. In the 1970s Spodarek projected her persona "Dangerous Diane" in musical performances before moving to New York City.
Provenance:
Donated in 1978 and 2023 by Diane Spodarek.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- New York (State) -- New York  Search this
Artists -- Michigan -- Detroit  Search this
Editors -- New York (State) -- New York  Search this
Editors -- Michigan -- Detroit  Search this
Musicians -- New York (State) -- New York  Search this
Musicians -- Michigan -- Detroit  Search this
Topic:
Sound recordings  Search this
Genre/Form:
Interviews
Citation:
Diane Spodarek papers, 1971-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.spoddian
See more items in:
Diane Spodarek papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f5326491-28d2-4f22-87d9-25c87ab3a63e
EDAN-URL:
ead_collection:sova-aaa-spoddian

Ad Reinhardt papers, 1927-1968

Creator:
Reinhardt, Adolph Friedrich, 1913-1967  Search this
Subject:
Brooklyn College  Search this
United States. Works Progress Administration  Search this
Type:
Scrapbooks
Citation:
Ad Reinhardt papers, 1927-1968. Archives of American Art, Smithsonian Institution.
Topic:
Works of art  Search this
Art, Modern  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5659
(DSI-AAA_SIRISBib)208493
AAA_collcode_reinad
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208493
Online Media:

Oral history interview with Jean Lipman

Interviewee:
Lipman, Jean, 1909-1998  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Art in America  Search this
Whitney Museum of American Art  Search this
Extent:
61 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1973 June 19
Scope and Contents:
An interview of Jean Lipman conducted 1973 June 19, by Paul Cummings, for the Archives of American Art. Lipman discusses her education, New York art collectors and art historians, her interest in American folk art, and her editorial roles in association with "Art in America," and the Whitney Museum of American Art, among other topics.
Biographical / Historical:
Jean Lipman (1909-1998) was an artist, art editor and writer from New York, N.Y.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 7 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Editors -- New York (State) -- New York -- Interviews  Search this
Topic:
Art, American  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lipman73
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dee6ef18-2164-4502-8ac7-fe083b9e1560
EDAN-URL:
ead_collection:sova-aaa-lipman73
Online Media:

Dodie Kazanjian papers

Creator:
Kazanjian, Dodie, 1952-  Search this
Extent:
14.1 Linear feet
0.546 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Date:
1949-2017
bulk 1980-2017
Summary:
The papers of writer and art critic Dodie Kazanjian measure 14.1 linear feet and 0.546 GB, and date from 1949-2017, bulk 1980-2017. The collection is comprised of writings, interviews, and research material related to Kazanjian's career as an art writer for Vogue and House and Garden magazines. Included are manuscripts, correspondence, notes, printed material, photographs of artwork, and interviews with various artists and art world figures. The interviews were conducted by Kazanjian as part of her research process and were recorded on over 230 sound cassettes found in the collection. Many of the interviews are also transcribed. A small amount of born-digital material includes images of artworks and artists and audio recordings of interviews.
Scope and Contents:
The papers of writer and art critic Dodie Kazanjian measure 14.1 linear feet and 0.546 GB, and date from 1949-2017, bulk 1980-2017. The collection is comprised of writings, interviews, and research material related to Kazanjian's career as an art writer for Vogue and House and Garden magazines. Included are manuscripts, correspondence, notes, printed material, photographs of artwork, and interviews with various artists and art world figures. The interviews were conducted by Kazanjian as part of her research process and were recorded on over 230 sound cassettes found in the collection. Many of the interviews are also transcribed. A small amount of born-digital material includes images of artworks and artists and audio recordings of interviews.
Arrangement:
Due to the content of this collection the papers are arranged as one series.

Series 1: Writing Project Files and Interviews, 1949-2017, bulk 1980-2017 (Boxes 1-14, OVs 15-16, RD 17, 14.1 linear feet; ER01-ER05, 0.546 GB)
Biographical / Historical:
Kazanjian is a writer and art critic in New York City. She is a contributing editor to Vogue magazine and director of Gallery Met at the Metropolitan Opera in New York. She is married to Calvin Tomkins, long-time critic for The New Yorker.
Related Materials:
Also found in the Archives of American Art is the Dodie Kazanjian and Calvin Tomkins research material on Alexander Liberman.
Provenance:
Donated to the Archives of American Art by Dodie Kazanjian, 2001-2017.
Restrictions:
This collection is access restricted; written permission is required. Contact Reference Services for more information.

Access, with permission, to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing, with permission, born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Dodie Kazanjian papers, 1949-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kazadodi2
See more items in:
Dodie Kazanjian papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9209faa02-4b38-4e36-a73d-f786ab1e5fe1
EDAN-URL:
ead_collection:sova-aaa-kazadodi2

Rose Slivka papers

Creator:
Slivka, Rose  Search this
Names:
American Craft Council  Search this
Craft Horizons  Search this
Craft International  Search this
World Crafts Council  Search this
De Kooning, Elaine  Search this
Guston, Philip, 1913-1980  Search this
Kunitz, Stanley, 1905-2006  Search this
Larsen, Jack Lenor  Search this
Nevelson, Louise, 1899-1988  Search this
Slivka, David, 1913-  Search this
Voulkos, Peter, 1924-2002  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
20.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sound recordings
Video recordings
Date:
circa 1947-2006
Summary:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.
Scope and Contents:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include artwork, views of Slivka, and craftspeople she observed when traveling abroad.

Interviews with craftsmen and other artists were conducted by Rose Slivka and others. Peter Voulkos is espcially well-documented. Among the artists interviewed are: Elaine de Kooning, Philip Guston, Jack Lenor Larsen, Louise Nevelson, and David Slivka. Also found are intereviews with John Cage, Stanley Kunitz, and Rose Slivka.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1947-2005 ( Box 1; 0.6 linear feet)

Series 2: Correspondence, 1950-2004 (Boxes 1-4: 3.6 linear feet)

Series 3: Interviews, 1974-2001 (Boxes 5-6; 1.6 linear feet)

Series 4: Writings, Notes, and Related Research, 1954-2001 (Boxes 6-11, OV 23; 4.8 linear feet)

Series 5: Subject Files, 1958-2004 (Boxes 11-18, 22, OV 23; 7.4 linear feet)

Series 6: Printed Material, 1952-2006 (Boxes 18-20, OV 23; 1.9 linear feet)

Series 7: Photographs, circa 1947-1990s (Boxes 20-21; 1 linear feet)
Biographical / Historical:
Crafts expert Rose Slivka (1919-2004) was an editor, educator, and critic in New York City and East Hampton, NY. Slivka edited Craft Horizons magazine from 1957-1979, and then founded Crafts International, which published its first issue in 1980.

Rose Slivka was very active in the American Crafts Council and World Crafts Council, and promoted crafts by participating in conferences around the world, acting as a juror of competitions, writing, and teaching. The author of books and articles about crafts, including the entry on "Handicrafts" in the 1961 edition of Encyclopedia Britannica, Slivka was tireless in her search for information pertaining to crafts of all nations. Her study of the subject was integrated into a strong, far-reaching campaign to include sculpture as a craft and promote crafts on a par with fine art. She was also interested in poetry and taught courses in art criticism at New York University and the New School for Social Research.

Many of Slivka's articles on craft, painting and sculpture have been published in periodicals such as Art in America, Architectural Digest, and The New York Times. Books and exhibition catalogs include The Crafts of the Modern World (1964); The Object as Poet (1976), Renwick Gallery, Washington, DC; Peter Voulkos: A Dialogue in Clay (1978); California Clay (1979), Stedelijk Museum, Amsterdam; and The Book as Art and Artist (1979), Elaine Benson Gallery, Bridgehampton, NY. Slivka's writings have been translated into at least 7 languages.

Slivka was awarded the National Endowment for the Arts Critics Fellowship in 1976 and between 1980 and 1982 conducted a research project on "Criticism and Scholarship in Modern Craft" also sponsored by the National Endowment for the Arts. She was awarded The Rhode Island School of Design President's Fellows Award in 1982, and its highest honor, the Athena Medal. In addition, she served on the boards of directors for several New York City organizations including Clayworks Studio Workshop, New York Experimental Glassworks, and Center for Book Arts.

Following her career as a magazine editor, international speaker on crafts, writer, and educator, Slivka moved to East Hampton, Long Island, where she continued to write poetry and was art critic for The East Hampton Star newspaper.

Rose Slivka's was married to sculptor David Slivka; the couple had 2 children and eventually divorced. She died of heart failure in Southampton, NY, on September 2, 2004.
Provenance:
The Rose Slivka papers were donated to the Archives of American Art by Slivka's daughter, Charlotte Slivka, in 2008 and 2012.
Restrictions:
Use of original materials requires an appointment and is limited to the Archives' Washington D.C. research center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Editors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Interviews  Search this
Women authors  Search this
Women art critics  Search this
Women educators  Search this
Genre/Form:
Photographs
Diaries
Sound recordings
Video recordings
Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.slivrose
See more items in:
Rose Slivka papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e61796b1-d82d-43f5-bf61-c595421a8fd0
EDAN-URL:
ead_collection:sova-aaa-slivrose

Freedomways Vol. 12 No. 4

Published by:
Freedomways Associates, Inc., American, 1961 - 1985  Search this
Edited by:
John Henrik Clarke, American, 1915 - 1998  Search this
Ernest D. Kaiser, American, born 1916  Search this
Jack O'Dell, American, 1923 - 2019  Search this
Esther Cooper Jackson, American, born 1917  Search this
John Devine  Search this
Written by:
Rev. Jesse Jackson, American, born 1941  Search this
Nancy L. Moore  Search this
Rae Banks  Search this
Pauline Alice Young  Search this
Illustrated by:
Cliff Joseph, American, 1922 - 2020  Search this
Brumsic Brandon Jr., American, 1927 - 2014  Search this
Elton Clay Fax, American, 1909 - 1993  Search this
Subject of:
Paul Laurence Dunbar, American, 1872 - 1906  Search this
John Brown, American, 1800 - 1859  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D: 9 1/16 × 6 1/8 × 5/16 in. (23 × 15.5 × 0.8 cm)
Type:
magazines (periodicals)
Place printed:
New York City, New York, United States, North and Central America
Place depicted:
Weeksville, Brooklyn, New York City, Kings County, New York, United States, North and Central America
Harlem, New York City, New York, United States, North and Central America
Date:
1972
Topic:
African American  Search this
Activism  Search this
Black Press  Search this
Caricature and cartoons  Search this
Civil Rights  Search this
Education  Search this
Labor  Search this
Literature  Search this
Poetry  Search this
Politics  Search this
Race discrimination  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Maurice Jackson
Object number:
2021.20.12
Restrictions & Rights:
Unknown – Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Movement:
American Indian Movements
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd556346f6f-8b2f-4d6d-8908-ffc78e574fe5
EDAN-URL:
edanmdm:nmaahc_2021.20.12
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>Freedomways Vol. 12 No. 4</I> digital asset number 1

Freedomways Vol. 13 No. 1

Published by:
Freedomways Associates, Inc., American, 1961 - 1985  Search this
Edited by:
John Henrik Clarke, American, 1915 - 1998  Search this
Jack O'Dell, American, 1923 - 2019  Search this
Ernest D. Kaiser, American, born 1916  Search this
Esther Cooper Jackson, American, born 1917  Search this
John Devine  Search this
Written by:
E. C. Foster, American, born 1939  Search this
Loyle Hairston, American, 1926 - 2009  Search this
George W. Crockett Jr., American, 1909 - 1997  Search this
Kamal Boullata, Palestinian, 1942 - 2019  Search this
Michel Charlot, French  Search this
Tim Thomas  Search this
Charles B. McMillan  Search this
Illustrated by:
Leopoldo Méndez, Mexican, 1902 - 1969  Search this
Subject of:
Paul Robeson, American, 1898 - 1976  Search this
Southern University at New Orleans, American, founded 1956  Search this
Dr. Carter G. Woodson, American, 1875 - 1950  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D: 9 × 6 1/16 × 5/16 in. (22.9 × 15.4 × 0.8 cm)
Type:
magazines (periodicals)
Place printed:
New York City, New York, United States, North and Central America
Place depicted:
Palestine, Asia
Date:
1973
Topic:
African American  Search this
Activism  Search this
Art  Search this
Black Press  Search this
Civil Rights  Search this
Education  Search this
French colonialism  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
International affairs  Search this
Language  Search this
Literature  Search this
Poetry  Search this
Politics  Search this
Slavery  Search this
U.S. History, 1969-2001  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Maurice Jackson
Object number:
2021.20.13
Restrictions & Rights:
Unknown – Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5abe75799-9bf0-4aa9-b75b-0baf70d88a09
EDAN-URL:
edanmdm:nmaahc_2021.20.13
3 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>Freedomways Vol. 13 No. 1</I> digital asset number 1
  • View <I>Freedomways Vol. 13 No. 1</I> digital asset number 2
  • View <I>Freedomways Vol. 13 No. 1</I> digital asset number 3

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