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Meet The Artist: Rupert Garcia #shorts

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2022-02-07T16:43:07.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_tigzYXtCOuE

Rosa Esman Gallery and Tanglewood Press Inc. records

Creator:
Rosa Esman Gallery  Search this
Names:
Tanglewood Press  Search this
Darger, Henry, 1892-1972  Search this
Esman, Rosa  Search this
Gray, Eileen, 1878-1976  Search this
Rodchenko, Aleksandr, 1891-1956  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
16 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1922-2014
bulk 1972-1994
Summary:
The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.
Scope and Contents:
The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Administrative files contain correspondence files, printed material, and inventories; photos of the gallery, Rosa Esman, and others; a few gallery blueprints; and pins and magnets from a collaboration between the Esman Gallery and artists Roy Lichtenstein, Gustav Klutsis, Lazar "El" Lissitzky, and Sol LeWitt. Artist files consist of resumes and biographical summaries, correspondence, pricelists, exhibition material, press packets, photographic materials depicting artwork and artists, and more. Artists include Eileen Gray, Lev Nussberg, Pascal Verbena, Helen Frankenthaler, Alexander Rodchenko, Sol LeWitt, Peter Boynton, and Jan Muller. Exhibition and event files contain price lists, loan agreements, correspondence, printed materials, and photographic materials. Included in this series is one file for an exhibition held at Knoedler Gallery that was in collaboration with Rosa Esman after she had closed her gallery. Financial records consist of sales books, consignment records, receipts and invoices, ledgers, and some appraisals. Tanglewood Press Inc. files contain correspondence files, financial records, order forms and receipts, photographic materials, press packets, mailers, a certificate, and some exhibition materials. Printed material consists of some miscellaneous postcards, exhibition announcements and catalogs including a binder of exhibition announcements. Photographic material consists of photographs, slides, and negatives of artwork displayed at the gallery. There are also a number of CDs containing digital photographs.
Arrangement:
This collection is arranged as seven series.

Series 1: Administrative Files, 1973-2014 (Box 1-2, 16; 1.8 linear feet)

Series 2: Artist Files, 1920s, 1953-2011 (Box 2-8, 16; 5.7 linear feet)

Series 3: Exhibition and Event Files, 1971-2014 (Box 8-12, 16; 4.8 linear feet)

Series 4: Financial Records, 1965, 1977-2013 (Box 12-13, 16-17; 1.9 linear feet)

Series 5: Tanglewood Press Inc. Records, 1964-2003 (Box 13-15, 17; 1.0 linear feet)

Series 6: Printed Material, circa 1972-1994 (Box 2, 12, 17; 0.2 linear feet)

Series 7: Photographic Material, circa 1970s-2013 (Box 2, 7, 8, 12, 18; 0.4 linear feet)
Biographical / Historical:
Rosa Esman Gallery was established in 1972 in New York, New York by Rosa Esman. The gallery exhibited mostly twentieth-century American and European art in various mediums and styles, including pop art, European outsider art, Dada, constructivism, architecture, interior design, and Russian artists from the early twentieth century. Tanglewood Press Inc. was an art publishing company founded by Esman, and published thirteen limited-edition portfolios by a number of artists from 1965 to 1991.

With encouragement from Doris Freedman and Hans Kleinschmidt, Esman established Tanglewood Press Inc. in 1965 as a publisher of artists' portfolios. The first publication, New York Ten (1965), included artwork by Tom Wesselmann, George Segal, Claes Oldenburg, Roy Lichtenstein, Mon Levinson, Robert Kulicke, Nicholas Krushenick, Helen Frankenthaler, Jim Dine, and Richard Anuszkiewicz. Later publications included artwork by Andy Warhol, Mary Bauermeister, Ad Reinhardt, Robert Motherwell, Sol LeWitt, Jim Dine, and many others. The portfolio, "Ten Landscapes-Roy Lichtenstein (1967), was published in collaboration with Abrams Original Editions. Esman was contracted to work at Abrams Original Editions for a short period of time in the late 1970s. Esman and her Tanglewood Press Inc. were featured in the exhibition, The Great American Pop Art Store: Multiples of the sixties (1997-2000), University Art Museum, California State University, Long Beach, California.

Esman held a drawings exhibition of artwork borrowed from the Leo Castelli Gallery in 1972 in a space she rented for Tanglewood Press Inc.; she credited this as the beginning of Rosa Esman Gallery. Esman continued exhibiting in that location for the next several years, including a solo show of folded drawings by Sol LeWitt and Modern Master Drawings: Avery, Stuart Davis, De Kooning, Hoffman, Motherwell (1973). Esman moved her operation in 1975 to a building in midtown near the galleries of Tibor de Nagy and Virginia Zabriskie. Artists and printmakers shown at Esman Gallery during 1970s include Christo, Bill Fares, Tom Noskowski, Ursula Von Rydingsvard, Hannah Tierney, and Eileen Gray. In 1979, Esman began an exhibition series of Russian avant-garde art, The Russian Revolution in Art, 1-5 (1979-1983), featuring artwork by Kasmir Malevich, Alexander Rodchenko, Lyubov Popova, and many others of the Russian avant-garde. Esman moved the gallery to SoHo in 1980. In the 1980s, Esman began showing European outsider artists Pascal Verbena and Henry Darger and held a group exhibition of outsider artists in 1986, Outsiders: Art Beyond the Norm. Other exhibitions in the 1980s included Art by Architects (1980), Architecture by Artists (1981), Curator's Choice: A Tribute to Dorothy Miller (1982). Later exhibitions featured artists Joseph Zito, Sofia Dymshits-Tolstaya, Eric Snell, and Carl Goldhagen; and group shows of Dada art, twentieth-century photography, and constructivism. After closing Rosa Esman Gallery in 1992, Esman entered a partnership at Ubu Gallery with Adam Boxer and Alfred Jarry.

Rosa Mencher Esman was born in New York, New York in 1927. She studied government at Smith College in Northhampton, Massachusetts. She went abroad to Europe her junior year, visiting museums in Geneva, Florence, and Paris. After college, she worked several jobs including a position in the art book department of Harper and Brothers and as an office administrator for Rene d'Harnocourt at the Museum of Modern Art, New York. In 1957, she and a friend opened Tanglewood Gallery in Stockbridge, Massachusettes, showing artwork by artist-friends, utilizing the Museum of Modern Art lending service, and borrowing from the Downtown Gallery. The Tanglewood Gallery exhibited artists Milton Avery, Karl Schrag, Tom Wesselman, Alexander Calder, George Morrison, Robert Indiana, Richard Anuszkiewicz, Mervin Jules, and George L. K. Morris, among others. The gallery operated until circa 1960.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rosa Esman conducted by James McElhinney, June 9-16, 2009.
Provenance:
The collection was donated by Rosa Esman in 2003 and 2014 and in 2023 by the Esate of Rosa Esman via Abigail Esman, co-executor.
Restrictions:
Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. 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.
Topic:
Women art dealers  Search this
Pop art  Search this
Art, Russian -- 20th century  Search this
Outsider art  Search this
Function:
Art galleries, Commercial -- New York (State)
Citation:
Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosaesmg
See more items in:
Rosa Esman Gallery and Tanglewood Press Inc. records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90b5afc25-4ac5-4700-9d90-a03c3ac29007
EDAN-URL:
ead_collection:sova-aaa-rosaesmg
Online Media:

Mike

Artist:
Robert Arneson, American, b. Benecia, California, 1930–1992  Search this
Medium:
Fired and glazed ceramic
Dimensions:
27 3/4 × 19 5/8 × 21 1/8 in. (70.5 × 49.8 × 53.6 cm)
Type:
Sculpture
Date:
1977
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase, 1977
Accession Number:
77.243
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Pop Art (West Coast)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2832bcd6c-384f-477e-aa11-45a776a028bb
EDAN-URL:
edanmdm:hmsg_77.243

Gotcha

Artist:
Robert Arneson, American, b. Benecia, California, 1930–1992  Search this
Medium:
Acrylic, oilstick, ink, and pencil on paper
Dimensions:
53 1/4 X 83 3/4 IN. (135.2 X 212.7 CM.)
Type:
Drawing
Date:
MARCH 17, 1983
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase, 1985
Accession Number:
85.10
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Pop Art (West Coast)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py231b82a8e-899a-4340-aea5-7e2a430f664d
EDAN-URL:
edanmdm:hmsg_85.10

Triptych

Artist:
Bruce Conner, American, b. McPherson, Kansas, 1933–2008  Search this
Medium:
Mixed media on fiberboard
Dimensions:
48 1/4 x 111 7/8 in. (122.6 x 284.2 cm)
Type:
Collage
Date:
1964
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase, 1987
Accession Number:
87.17
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Pop Art (West Coast)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py24cd27670-4608-48b0-8120-14eacbf47980
EDAN-URL:
edanmdm:hmsg_87.17

Girl with Ice Cream Cone

Artist:
Wayne Thiebaud, American, b. Mesa, Arizona, 1920–2021  Search this
Medium:
Oil on canvas
Dimensions:
48 1/8 x 36 1/4 in. (122.2 x 92.1 cm)
Type:
Painting
Date:
1963
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Joseph H. Hirshhorn Bequest Fund, Smithsonian Collections Acquisition Program, and Museum purchase, 1996
Accession Number:
96.19
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Pop Art (American)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2b0f91b11-4c97-4f19-912c-0fe683a5c183
EDAN-URL:
edanmdm:hmsg_96.19

Rupert García, Artist

Associated Title:
Chicano Male Unbonded Series
Artist:
Harry Gamboa Jr., born 1951  Search this
Sitter:
Rupert García, born 29 Sep 1941  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 32.5 × 21.6 cm (12 13/16 × 8 1/2")
Sheet: 35.5 × 27.8 cm (14 × 10 15/16")
Type:
Photograph
Date:
2012
Topic:
Costume\Dress Accessory\Eyeglasses  Search this
Exterior\Cityscape  Search this
Rupert García: Male  Search this
Rupert García: Visual Arts\Artist\Printmaker  Search this
Rupert García: Literature\Writer  Search this
Rupert García: Visual Arts\Artist\Painter  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; acquisition made possible through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Object number:
C/NPG.2016.73
Restrictions & Rights:
Usage conditions apply
Copyright:
© Harry Gamboa, Jr.
See more items in:
National Portrait Gallery Collection
Exhibition:
20th Century Americans: 2000 to Present
On View:
NPG, South Gallery 341
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm408d861c2-8a09-4b8e-b97c-5dfbe69f2b1d
EDAN-URL:
edanmdm:npg_C_NPG.2016.73

Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Heresies Collective, Inc.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
88.9 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2010
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 88.9 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 35.4 linear foot unprocessed addition to this collection donated in 2015, 2021 and 2023 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley numerous notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence." Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 35.4 linear foot unprocessed addition to this collection donated in 2015, 2021 and 2023 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley numerous notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-113; 35.4 linear feet)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015, 2021 and 2023.
Restrictions:
Use of original papers 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. 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.
Occupation:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Oral history interview with Brice Marden

Interviewee:
Marden, Brice, 1938-  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Boston University -- Students  Search this
Andre, Carl, 1935-  Search this
Chaet, Bernard  Search this
Geldzahler, Henry  Search this
Katz, Alex, 1927-  Search this
Kay, Reed  Search this
Kertess, Klaus  Search this
Pollack, Reginald  Search this
Rauschenberg, Robert, 1925-2008  Search this
Schueler, Jon, 1916-  Search this
Vicente, Esteban, 1903-2001  Search this
Extent:
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1972 Oct. 3
Scope and Contents:
Interview of Brice Marden conducted 1972 Oct. 3, by Paul Cummings, for the Archives of American Art. Marden speaks of his early family life and schools in Briarcliff, N.Y.; the development of his interest in art; his art and theater activities at Florida State Southern College; Boston University and the Boston art scene in the 1950s.
He comments on the impact of a summer in California on his painting style, living in Paris and New York, and changes in his work, including rectangles, one-color panels, paintings over silk-screen proofs, oil and wax. Marden also speaks of his first one-man exhibition, working as Robert Rauschenberg's assistant, his exhibit in Paris, teaching at the School of Visual Arts, his drawings, lithographs and grid drawings, his use of color, paintings as statements and influences on his work. He recalls Henry Geldzahler, Reed Kay, Bernard Chaet, Jon Schueler, Reginald Pollack, Alex Katz, Esteban Vicente, Carl Andre and Klaus Kertess.
Biographical / Historical:
Brice Marden (1938) is a painter from New York, N.Y.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 2 hrs., 47 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State)  Search this
Topic:
Pop art  Search this
Postmodernism  Search this
Painters -- New York (State) -- Interviews  Search this
Painting -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.marden72
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw932fb8a8c-2adf-4cde-921c-6dea3770c6bf
EDAN-URL:
ead_collection:sova-aaa-marden72
Online Media:

Lucy R. Lippard papers, 1930s-2010, bulk 1960-1990

Creator:
Lippard, Lucy R.  Search this
Subject:
Chicago, Judy  Search this
Andre, Carl  Search this
Stevens, May  Search this
Pearson, Henry  Search this
Darboven, Hanne  Search this
Henes, Donna  Search this
Hammond, Harmony  Search this
LeWitt, Sol  Search this
Edelson, Mary Beth  Search this
Judd, Donald  Search this
Johnson, Ray  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Alliance for Cultural Democracy  Search this
Studio International (Firm)  Search this
University of Colorado  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Addison Gallery of American Art  Search this
Women's Caucus for Art  Search this
Heresies Collective, Inc.  Search this
Type:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2010, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)7895
(DSI-AAA_SIRISBib)210062
AAA_collcode_lipplucy
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210062
Online Media:

Mel Ramos papers

Creator:
Ramos, Mel, 1935-2018  Search this
Names:
Alloway, Lawrence, 1926-1990  Search this
Lichtenstein, Roy, 1923-1997  Search this
Thiebaud, Wayne  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Works of art
Interviews
Date:
1959-1984
Summary:
The papers of California pop artist and teacher Mel Ramos measure 0.6 linear feet and date from 1959 to 1984. The collection documents Ramos's career as an artist through correspondence with Lawrence Alloway, Dwan Gallery, Roy Lichtenstein, David Stuart, and Tom Wesselman, among others; a few inventories, invoices, and loan agreements; documentation of his work with the San Francisco Art Institute; and exhibition announcements and catalogs. Writings include two manuscripts on Ramos and the Pop Art movement, a one-page interview of Ramos, and poetry by Robin Skelton. Of interest in the collection, are files containing photographs, photo-collages, and clippings used for paintings such as "Elephant Seal," "Virnaburger," and "Manet's Olympia."
Scope and Contents:
The papers of California pop artist and teacher Mel Ramos measure 0.6 linear feet and date from 1959 to 1984. The collection documents Ramos's career as an artist through correspondence with Lawrence Alloway, Dwan Gallery, Roy Lichtenstein, David Stuart, and Tom Wesselman, among others; a few inventories, invoices, and loan agreements; documentation of his work with the San Francisco Art Institute; and exhibition announcements and catalogs. Writings include two manuscripts on Ramos and the Pop Art movement, a one-page interview of Ramos, and poetry by Robin Skelton. Of interest in the collection, are files containing photographs, photo-collages, and clippings used for paintings such as "Elephant Seal," "Virnaburger," and "Manet's Olympia."
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Biographical / Historical:
Mel Ramos (1935-2018), born Melvin John Ramos, was a painter, pop artist, and teacher in California. Ramos was born in Sacramento, California. In 1955 he married Leta Helmers, who served as a model for many of his early paintings. Ramos received his M.A. from Sacramento State College in 1958 and taught a Mira Loma High School. In 1963 his work was included in Six More, a major exhibition of Pop Art at the Los Angeles County Museum. One year later he had his first solo show in New York at Bianchini Gallery. In 1965, he began showing his art at David Stuart Gallery in Los Angeles. Ramos also had a long career (1966-1997) as a professor at California State University, East Bay.
Related Materials:
Also found at the Archives of American Art is an interview of Mel Ramos conducted on May 15, 1981, by Paul Karlstrom.
Provenance:
The collection was donated by Mel Ramos in July 1985.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- California -- Oakland  Search this
Topic:
Painting, Modern -- 20th century -- California  Search this
Pop art  Search this
Hispanic American artists  Search this
Genre/Form:
Works of art
Interviews
Citation:
Mel Ramos papers, 1959-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ramomel
See more items in:
Mel Ramos papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9396dffb6-c3c3-4a98-b59e-8a5a41d1a345
EDAN-URL:
ead_collection:sova-aaa-ramomel
Online Media:

Mel Ramos Papers

Collection Creator:
Ramos, Mel, 1935-2018  Search this
Extent:
0.6 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1959-1984
Scope and Contents:
The papers of California pop artist and teacher Mel Ramos measure 0.6 linear feet and date from 1959 to 1984. The collection documents Ramos's career as an artist through correspondence with Lawrence Alloway, Dwan Gallery, Roy Lichtenstein, David Stuart, and Tom Wesselman, among others; a few inventories, invoices, and loan agreements; documentation of his work with the San Francisco Art Institute; and exhibition announcements and catalogs. Writings include two manuscripts on Ramos and the Pop Art movement, a one-page interview of Ramos, and poetry by Robin Skelton. Of interest in the collection, are files containing photographs, photo-collages, and clippings used for paintings such as "Elephant Seal," "Virnaburger," and "Manet's Olympia."
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Mel Ramos papers, 1959-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ramomel, Series 1
See more items in:
Mel Ramos papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e704b614-2e35-491c-8922-b58e82205415
EDAN-URL:
ead_component:sova-aaa-ramomel-ref36

Interview with Madeleine Martin

Creator:
Martin, Madeleine, 1922-1991  Search this
McChesney, Mary Fuller  Search this
Subject:
Martin, Madeleine  Search this
Smith, Hassel Wendell  Search this
California School of Fine Arts (San Francisco, Calif.)  Search this
Type:
Sound Recording
Place:
San Francisco, Calif.
Date:
1965
Citation:
Madeleine Martin and Mary Fuller McChesney. Interview with Madeleine Martin, 1965. Mary Fuller McChesney papers, 1949-2011, 1949-2011. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA)15110
See more items in:
Mary Fuller McChesney papers, 1949-2011, 1949-2011
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15110

Oral history interview with John Hultberg

Interviewee:
Hultberg, John, 1922-2005  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Club (New York, N.Y.)  Search this
Extent:
1 Sound tape reel (Sound recording: (2 hours), 7 in.)
39 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1968 Nov. 11
Scope and Contents:
An interview of John Hultberg conducted 1968 Nov. 11, by Paul Cummings, for the Archives of American Art. Hultberg speaks of his family background; his education at the California School of Fine Arts, and some of his teachers; the California art scene in the 1940s; his early paintings; abstract expressionism; landscape painting and other subject matter which interests him; filmmaking; the Club; minimal and pop art.
Biographical / Historical:
John Hultberg (1922-2005) was a painter from New York, N.Y.
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.
Topic:
Abstract expressionism  Search this
Painters -- New York (State) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hultbe68
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95113730e-63b1-46d0-8dd2-742b31fefa65
EDAN-URL:
ead_collection:sova-aaa-hultbe68

Oral history interview with John Hultberg, 1968 Nov. 11

Interviewee:
Hultberg, John, 1922-  Search this
Interviewer:
Cummings, Paul  Search this
Subject:
Club (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with John Hultberg, 1968 Nov. 11. Archives of American Art, Smithsonian Institution.
Topic:
Abstract expressionism  Search this
Painters -- New York (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12322
(DSI-AAA_SIRISBib)212363
AAA_collcode_hultbe68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212363

Rosa Esman Gallery and Tanglewood Press Inc. records, circa 1922-2014, bulk 1972-1994

Creator:
Rosa Esman Gallery  Search this
Subject:
Esman, Rosa  Search this
Rodchenko, Aleksandr  Search this
Darger, Henry  Search this
Warhol, Andy  Search this
Gray, Eileen  Search this
Tanglewood Press  Search this
Citation:
Rosa Esman Gallery and Tanglewood Press Inc. records, circa 1922-2014, bulk 1972-1994. Archives of American Art, Smithsonian Institution.
Topic:
Women art dealers  Search this
Pop art  Search this
Art, Russian -- 20th century  Search this
Outsider art  Search this
Theme:
Women  Search this
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)11559
(DSI-AAA_SIRISBib)246842
AAA_collcode_rosaesmg
Theme:
Women
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_246842
Online Media:

Exhibition, The Great American Pop Art Store: Multiples of the Sixties (1997-2000), Traveling Show, California State University, Long Beach and Elsewhere

Collection Creator:
Rosa Esman Gallery  Search this
Container:
Box 13, Folder 16
Type:
Archival materials
Date:
1995-1997
Collection Restrictions:
Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. 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.
Collection 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.
Collection Citation:
Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Rosa Esman Gallery and Tanglewood Press Inc. records
Rosa Esman Gallery and Tanglewood Press Inc. records / Series 5: Tanglewood Press Inc.
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c680726d-3930-4e70-bb37-43279de8655e
EDAN-URL:
ead_component:sova-aaa-rosaesmg-ref196

Andy Warhol

Collection Creator:
Finch College. Museum of Art  Search this
Varian, Elayne H.  Search this
Container:
Box 17, Folder 59
Type:
Archival materials
Date:
1967-1968
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
See more items in:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art / Series 4: Exhibition Files / "Projected Art" (1966-1967) / Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97e0acf10-7115-40c9-a1be-3babd483fcf0
EDAN-URL:
ead_component:sova-aaa-finccoll-ref1113
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  • View Andy Warhol digital asset number 1

1948-C

Artist:
Clyfford Still, American, b. Grandin, North Dakota, 1904–1980  Search this
Medium:
Oil on canvas
Dimensions:
80 7/8 × 68 3/4 in. (205.4 × 174.6 cm)
Type:
Painting
Date:
(1948)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Joseph H. Hirshhorn Purchase Fund, 1992
Accession Number:
92.8
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Abstract Expressionism (First Generation)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py285c95887-a3aa-4bb3-aa45-5cbddb840ceb
EDAN-URL:
edanmdm:hmsg_92.8

Autumn Wind

Artist:
Jess, American, b. Long Beach, California, 1923–2004  Search this
Medium:
Oil on linen
Dimensions:
46 1/8 X 37 7/8 IN. (117.0 X 96.2 CM.)
Type:
Painting
Date:
1951
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Mr. and Mrs. Federico Quadrani, 1996
Accession Number:
96.33
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Pop Art (West Coast)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py21a5fe252-1041-486f-9755-959ad1facb4b
EDAN-URL:
edanmdm:hmsg_96.33

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