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Cleve Gray papers, 1933-2005

Creator:
Gray, Cleve, 1918-2004  Search this
Subject:
Richter, Hans  Search this
Marin, John  Search this
Lipchitz, Jacques  Search this
Pollock, Jackson  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Duchamp, Marcel  Search this
Dillenberger, Jane  Search this
Gabo, Naum  Search this
Ernst, Jimmy  Search this
Davis, Jim  Search this
Calder, Alexander  Search this
Barzun, Jacques  Search this
Weber, Nicholas Fox  Search this
Smith, David  Search this
Villon, Jacques  Search this
Pratt Institute  Search this
Rhode Island School of Design  Search this
Neuberger Museum of Art  Search this
Jacques Seligmann & Co  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Princeton University  Search this
Berry-Hill Galleries  Search this
Type:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnam War, 1961-1975 -- Protest movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9567
(DSI-AAA_SIRISBib)211768
AAA_collcode_grayclev
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211768
Online Media:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990

Creator:
Lisle, Laurie  Search this
Subject:
O'Keeffe, Georgia  Search this
Nevelson, Louise  Search this
Type:
Sound recordings
Interviews
Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Topic:
Women art historians  Search this
Women authors  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)10762
(DSI-AAA_SIRISBib)214373
AAA_collcode_lisllaur
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214373

Nancy Holt Estate records, 1835, circa 1900-2014

Creator:
Holt, Nancy, 1938-2014  Search this
Subject:
Smithson, Robert  Search this
Lippard, Lucy R.  Search this
John Weber Gallery  Search this
James Cohan Gallery  Search this
Dia Art Foundation  Search this
Type:
Interviews
Diaries
Sound recordings
Video recordings
Drawings
Citation:
Nancy Holt Estate records, 1835, circa 1900-2014. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women sculptors  Search this
Earthworks (Art)  Search this
Women photographers  Search this
Women filmmakers  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22063
AAA_collcode_holtnanc
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22063
Online Media:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Creator:
Lisle, Laurie  Search this
Names:
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1902-1990
Summary:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).
Scope and Contents:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The O'Keeffe portion of the collection consists of biographical papers, recordings, correspondence, and printed material. Biographical material includes academic records, maps and ephemera regarding O'Keeffe's various residences, and legal records concerning law suits and her will. The correspondents in this series include artists, gallery representatives and collectors, and exhibition organizers. Printed material consists of newspaper clippings, magazines, and exhibition announcements for both her and her husband, Alfred Stieglitz. Also included in the printed material is a file pertaining to Laurie Lisle's book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980).

The research material on Louise Nevelson consists of 97 audiocassettes featuring interviews with Louise Nevelson, some members of the Nevelson family, artists, dealers, and peers. The recordings were gathered in preparation for Lisles biography on Nevelson, Louise Nevelson: A Passionate Life (1990).
Arrangement:
Collection is arranged as two series.

Series 1: Research Files on Georgia O'Keeffe, 1902-1990 (1 linear foot; box 1)

Series 2: Interviews of and Related to Louise Nevelson, 1975-1988 (2.4 Linear feet; shoeboxes 2-7)
Biographical / Historical:
Laurie Lisle is an art historian and author in Sharon, Connecticut. Lisle is originally from Providence, Rhode Island and attended college at Ohio Wesleyan University. After college she held positions at The Providence Journal and Newsweek magazine. She has published five books covering the topics of art history, education, sociology, and her own life. Lisle is married to painter and printmaker Robert Kipniss.

Georgia O'Keeffe (1887-1986) was born in Sun Prairie, Wisconson in 1887. She was an artist who is mostly known for painting flowers, New York Skyscrapers, and New Mexico landscapes. O'Keeffe began high school at Sacred Heart Academy in Madison, Wisconsin, but ultimately graduated from Chatham Episcopal Institute in Virginia after her family moved to Williamsburg, Virginia in 1902. O'Keeffe went on to study at the School of Art Institute of Chicago, Art Students League, Teachers College of Columbia University, and taught art at high schools in Texas and at Chatham Episcopal Insitute, Columbia College, and became the chair of the art department at West Texas State Normal College. O'Keeffe's art was ultimately promoted by Alfred Stieglitz who, although eventually marrying O'Keeffe in 1924, first exhibited her artwork at his esteemed 291 gallery in New York City. O'Keeffe's fame as an artist took off from there. O'Keeffe was a member of the American Academy of Arts and Letters; she received the Presidential Medal of Freedom in 1977 and the National Medal of Arts in 1985; and in 1993 was inducted into the National Women's Hall of Fame.

Louise Nevelson (1899-1988) was born in Kiev, Russia in 1899. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985.
Related Materials:
The Archives of American Art also houses the Louise Nevelson papers, circa 1903-1979.
Provenance:
This collection was donated by Laurie Lisle in two separate installments. The material on Georgia O'Keeffe was donated in 1991, and the material on Louise Nevelson was donated in 2004.
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:
Art historians -- Connecticut  Search this
Authors -- Connnecticut  Search this
Topic:
Women art historians  Search this
Women authors  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lisllaur
See more items in:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e8f2773f-cdd3-4d29-9ecb-ab2f66faef8f
EDAN-URL:
ead_collection:sova-aaa-lisllaur
Online Media:

Claudia DeMonte and Ed McGowin papers

Creator:
DeMonte, Claudia, 1947-  Search this
McGowin, Ed, 1938-  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
1960-2018
Summary:
The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.
Scope and Contents:
The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Correspondence includes letters and postcards to and from family, friends, colleagues, and art institutions.

Writings includes a file of poetry written by DeMonte, manuscripts of books written by DeMonte, and a series of notebooks. Some of the notebooks are a combination of notes and sketches.

Scrapbooks consist of eight scrapbooks consisting of mixed material such as notes, photographs, sketches, and printed material.

Professional material consists of awards and certificates, a large number of calendars, commision work including an art project for the University of Northern Iowa completed by both DeMonte and McGowin, and a number of VHS and Betamax cassettes documenting DeMonte's career and interviews in connection with her Women of the World exhibition.

Printed material consists of newspaper clippings, magazine articles, exhibition announcements and catalogs, exhibition posters, and newsletters.

Artwork consists of a file of drawings and some sketchbooks.

Photographic material consists of photographs and slides of DeMonte, her artwork, and some of her exhibitions. There is also a file of photographs of DeMonte and McGowin at the White House with First Lady Laura Bush, and there are personal photographs of DeMonte and McGowin traveling and with family and friends.
Arrangement:
The collection is arranged into seven series.

Series 1: Correspondence, 1967-2013 (1.7 linear feet; Boxes 1-2)

Series 2: Writings, 1975-2013 (0.5 linear feet; Boxes 2-3)

Series 3: Scrapbooks, 1967-2009 (1.0 linear feet; Box 3, 9-10)

Series 4: Professional Activity Files, 1964-2013 (1.7 linear feet; Boxes 3-5, 9)

Series 5: Printed Material, 1960-2018 (1.9 linear feet; Boxes 5-7)

Series 6: Artwork, circa 1973 (0.1 linear feet; Box 7)

Series 7: Photographic Material, circa 1977-2010 (0.3 linear feet; Boxes 7-8)
Biographical / Historical:
Claudia DeMonte (1947- ) was born and raised in Astoria, New York City. She has more than 100 one-person shows and 600 group exhibitions nationally and internationally, including exhibitions at the Corcoran Museum, Modern Art Museum of Fort Worth, Mississippi Museum, Tucson Museum, Flint Institute of Art, Museum of the Southwest, etc.

Her work is in numerous museum permanent collections, including the Brooklyn Museum of Art, Stamford Museum, Boca Raton Museum, and in major corporate collections such as those of Hyatt Regency Hotels, Exxon, Citibank and Siemens. Her public commissions have come from the New York City Department of Cultural Affairs, Brooklyn Library System, Queens Supreme Court, Prudential Life Insurance, the State of New Mexico, and New York City School Construction Authority.

DeMonte is also the curator of "Women of the World: A Global Collection of Art." This traveling exhibition, with accompanying books, includes works of women from 177 countries dealing with the images of women.

DeMonte's work is heavily influenced by her travels to over 80 countries, her interest in the roles of women in contemporary society and Outsider Art, a collection compiled with her husband, artist Ed McGowin.

For 33 years, DeMonte has served on the faculty of the University of Maryland, where she was named Distinguished Scholar Teacher and Professor Emerita. In 2006, She was awarded an Honorary Doctorate from the College of Santa Fe.

DeMonte presently lives with her husband in New York City and Kent, Connecticut.

Ed McGowin (1938- ) was born in 1938 in Hattiesburg, Mississippi and grew up in Mississippi and Alabama, receiving the M.A. from the University of Alabama. He has had one-person exhibitions at the Corcoran Gallery in Washington, D.C.; the Baltimore Museum; and the Museum of Modern Art of the City of Paris, France. Since 1979, McGowin has executed major outdoor commissions for numerous public and private organizations, often collaborating with his wife, Claudia DeMonte.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Claudia DeMonte conducted by Liza Kirwin between February 13 and April 24, 1991; and the Ed McGowin papers, 1962-1998.
Provenance:
The Claudia DeMonte and Ed McGowin papers were donated in 1994 by Claudia DeMonte and in 2020 by Claudia DeMonte and Ed McGowin.
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 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:
Sculptors -- New York (State) -- New York  Search this
Mixed-media artists -- New York (State) -- New York  Search this
Educators -- Maryland -- College Park  Search this
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Women educators  Search this
Genre/Form:
Video recordings
Citation:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.democlau
See more items in:
Claudia DeMonte and Ed McGowin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98cf90804-0751-4bb3-b276-8f730e83692b
EDAN-URL:
ead_collection:sova-aaa-democlau

Dorothy Dehner papers

Creator:
Dehner, Dorothy, 1901-1994  Search this
Names:
Philadelphia Art Alliance  Search this
Willard Gallery  Search this
Graham, John, 1887-1961  Search this
Matulka, Jan, 1890-1972  Search this
Smith, David, 1906-1965  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Sketchbooks
Date:
1920-1987
bulk 1951-1987
Summary:
The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.
Scope and Content Note:
The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Comprising a series of biographical material are personal papers such as notes on Dehner's biography and career, a list of things taken from Bolton Landing, and material relating to David Smith including a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.

Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research on David Smith, herself, and other artists of her era, and her many other creative activities, including her various writing efforts.

Interviews include sound recordings of four interviews with Dehner, and a recording of an interview conducted with her for a documentary on David Smith. Also found is a transcription of an interview for which there is no recording.

Writings shed light on other aspects of Dehner's creativity and concerns. Dehner's writings include poems, such as one dated from high school and drafts of poems published in Tracks); and various pieces on John Graham. These include versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art, and as an article in Leonardo). Also found are writings on David Smith, including articles recalling Dehner's first meeting with him, and on Smith's 1940 work "Medals for Dishonor;" lectures and speeches; and various writings on art and other topics. Writings by others include essays on Dehner by Joan Marter and Judith McCandless.

Dehner's business and financial records document transactions with various galleries and art organizations and include records of loans, exhibitions, and sales through files for the Parsons-Dreyfuss Gallery, Philadelphia Art Alliance, Willard Gallery, and others. The series also includes scattered records relating to personal business matters and finances, such as Dehner's lists of artwork loaned, exhibited, and sold, receipts, tax records, and exhibition visitor books.

Printed material includes exhibition catalogs and announcements for Dehner's group and solo shows, and clippings on Dehner and a few other artists including David Smith. Artwork consists of two etchings, and photographs include photographs of Dehner, her second husband Ferdinand Mann, John Graham, and various works of art. Also found is an abstract photograph by David Smith, dating from circa 1934.
Arrangement:
The Dorothy Dehner papers are arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1935-1982 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1927-1987 (Boxes 1-3; 2.2 linear feet)

Series 3: Interviews and Transcripts, 1963-1981 (Boxes 3-4; 0.5 linear feet)

Series 4: Writings, 1920-1987 (Box 3; 0.25 linear feet)

Series 5: Business and Financial Records, 1940-1987 (Box 3; 0.25 linear feet)

Series 6: Printed Material, 1940-1987 (Boxes 3, 5; OV 6; 0.5 linear feet)

Series 7: Art Work, circa 1930s-circa 1960s (Box 5, OV 6; 0.05 linear feet)

Series 8: Photographs, 1930s-1986 (Box 5; 0.15 linear feet)
Biographical Note:
Dorothy Dehner was an abstract sculptor of the New York school who was also an accomplished painter, printmaker, author, and educator.

Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.

Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.

At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and had a profound influence on Dehner and Smith and their work. Other young artists they befriended at this time included Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.

During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing, and in 1948, she had her first one-woman show at Skidmore College.

Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery in 1952, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and printmaking. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).

In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957. Dehner continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups exhibitions at museums and galleries across the country, and was acquired for both public and private collections.

In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. Two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.

Dehner continued to work into her nineties, and passed away in 1994.
Related Material:
Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D298 (portions), D298A, 1269 (portions) and 1372, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material. Loaned materials were returned to the lender after filming and are not described in the collection Container Listing.
Provenance:
The Dorothy Dehner papers were donated from 1967-1987 in increments by Dorothy Dehner. Dehner also loaned material for microfilming between 1967 and 1977, some of which was subsequently donated. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.
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:
Sculptors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Women printmakers  Search this
Women authors  Search this
Genre/Form:
Sound recordings
Interviews
Sketchbooks
Citation:
Dorothy Dehner papers, 1920-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dehndoro
See more items in:
Dorothy Dehner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94755f855-b54f-4a52-a95c-a8c0d6e92ba7
EDAN-URL:
ead_collection:sova-aaa-dehndoro
Online Media:

Maren Hassinger papers

Creator:
Hassinger, Maren  Search this
Names:
Maryland Institute, College of Art  Search this
Nengudi, Senga, 1943-  Search this
Extent:
11.3 Linear feet
4.55 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Video recordings
Diaries
Date:
1955-2018
Summary:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.
Scope and Contents:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.
Arrangement:
This collection is arranged as nine series.

Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)

Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)

Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)

Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)

Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)

Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)

Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)

Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)
Biographical / Historical:
Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.

Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.

During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.

Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.
Provenance:
The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.
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 or audiovisual recordings in this collection must use access copies. 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:
Performance artists -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Educators -- Maryland -- Baltimore  Search this
Topic:
African American artists  Search this
Women artists  Search this
Women sculptors  Search this
Women educators  Search this
African American art -- African influences  Search this
African American educators  Search this
African American sculptors  Search this
Genre/Form:
Sound recordings
Video recordings
Diaries
Citation:
Maren Hassinger papers, 1955-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hassmare
See more items in:
Maren Hassinger papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cd224705-e329-48a4-bf88-db31ad8ebd4e
EDAN-URL:
ead_collection:sova-aaa-hassmare
Online Media:

Joyce Treiman papers

Creator:
Treiman, Joyce  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Sound recordings
Video recordings
Date:
1942-1990
Scope and Contents:
Biographical material, undated and 1980; correspondence with galleries, museums, publishers, artists, and critics, 1951-1990, including Leonard Baskin, Richard Diebenkorn, Grant Holcomb, Bella Fishko, Theodore Wolff, Ernest Fiene, and others; business and financial records, 1955-1979; writings and notes, including personal journals and illustrated travel journals, undated and 1968-1989; artworks, including a pen and ink drawing and 3 sketchbooks, 1970-1977; five scrapbooks, 1942-1960, containing articles, bulletins, and clippings; exhibition catalogs and announcements, undated and 1940-1980s; clippings and articles undated and 1955-1986, photographs and slides of Treiman and her work, undated and 1960-1981;
2 U-matic video interviews of Treiman, including "Joyce Treiman: Painter," interview with Bob Pelfrey, Apr. 1978, 37 min., at Barnstall Municipal Gallery, L.A., and a Univ. of Minn. Media Resources production, "Undercurrents in American Art: Joyce Treiman," 1981, 7 min.; a motion picture film (silent, color, 22 min., also available on VHS videocassette), "Joyce Treiman, 1955-1958" shows Treiman at work and many close-up shots of paintings; a sound tape of Irving Block's senior seminar, UCLA, 1985; a 26 p. transcript of an interview conducted by Lucy Sargeant, 1980; and a file on the exhibition and symposium "Personal Realities in American Painting," Minneapolis, Minn, 1981.
Biographical / Historical:
Painter, sculptor; Chicago, Ill. and Los Angeles, Calif.
Provenance:
Donated by Joyce Treiman, 1973-1990.
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.
Occupation:
Painters -- California  Search this
Sculptors -- California  Search this
Topic:
Painting, American -- California  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Drawings
Sketchbooks
Sound recordings
Video recordings
Identifier:
AAA.treijoyc
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aa0f92b8-cbb4-4ec0-bf65-7bc5d654e018
EDAN-URL:
ead_collection:sova-aaa-treijoyc

Louise Nevelson papers, circa 1903-1982

Creator:
Nevelson, Louise, 1899-1988  Search this
Type:
Photographs
Interviews
Sketches
Scrapbooks
Citation:
Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.
Topic:
Works of art  Search this
Sculpture -- Exhibitions  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9093
(DSI-AAA_SIRISBib)211286
AAA_collcode_neveloui
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211286
Online Media:

Emmy Lou Packard Papers, 1900-1990

Creator:
Packard, Emmy Lou, 1914-1998  Search this
Subject:
Covarrubias, Miguel  Search this
Edmunds, John  Search this
Rivera, Diego  Search this
Reynolds, Malvina  Search this
Refregier, Anton  Search this
Lange, Dorothea  Search this
Kahlo, Frida  Search this
O'Higgins, Pablo  Search this
O'Gorman, Juan  Search this
American Civil Liberties Union  Search this
Public Works of Art Project  Search this
Type:
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Citation:
Emmy Lou Packard Papers, 1900-1990. Archives of American Art, Smithsonian Institution.
Topic:
Printmakers -- California -- San Francisco  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration, Mexican  Search this
Latino and Latin American artists  Search this
Women artists  Search this
Women muralists  Search this
Women printmakers  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5519
(DSI-AAA_SIRISBib)211816
AAA_collcode_packemmy
Theme:
Latino and Latin American
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211816
Online Media:

Oral history interview with Liliane Lijn, 1972 Oct. 29

Interviewee:
Lijn, Liliane, 1939-  Search this
Interviewer:
Cummings, Paul  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Liliane Lijn, 1972 Oct. 29. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)11900
(DSI-AAA_SIRISBib)212851
AAA_collcode_lijn72
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212851

Oral history interview with Liliane Lijn

Interviewee:
Lijn, Liliane, 1939-  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
98 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1972 Oct. 29
Scope and Contents:
An interview of Liliane Lijn conducted 1972 Oct. 29, by Paul Cummings, for the Archives of American Art. She discusses growing up in New York City; her early education at Hickory Ridge School; living in Switzerland as a teenager; studying at Sorbonne and the École du Louvre; exhibiting work in Paris, New York, and London; sculptural works with plastics and unusual materials; use of light, projections, and reflections in her sculptures; her "Poem Machines," her influences, including physics and Buddhism; her partner Takis (Panayiotis Vassilakis); and sculpture commissions in the United Kingdom.
Biographical / Historical:
Liliane Lijn (1939- ) is an sculptor and painter from New York, New York. She has lived in London, England since 1966.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 58 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.
Topic:
Art, Modern -- 20th century  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lijn72
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94678e72f-08da-4a4e-85d8-12db0f1654e1
EDAN-URL:
ead_collection:sova-aaa-lijn72

Nancy Holt Estate records

Creator:
Holt, Nancy, 1938-2014  Search this
Names:
Dia Art Foundation  Search this
James Cohan Gallery  Search this
John Weber Gallery  Search this
Lippard, Lucy R.  Search this
Smithson, Robert  Search this
Extent:
circa 65.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Diaries
Sound recordings
Video recordings
Drawings
Date:
1835
circa 1900-2014
Summary:
The Nancy Holt Estate records measure circa 65.4 linear feet and date from 1835, and circa 1900-2014, with the bulk of the material dating from 1960-2000. The records offer extensive documentation of Holt's career and include biographical material, personal and professional correspondence, writings, calendars and notebooks, Holt's project files including for unrealized projects, general business and professional files, subject files including source material, and printed material documenting Holt's professional activities from the 1960s to 2013. Also included are files Holt maintained related to her stewardship of Robert Smithson's estate and other records related to his life and work, and the John Weber Gallery records concerning Robert Smithson. These consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks.

The collection total also includes 30 linear feet of unprocessed records including 18 linear feet of Holt's photographic material; 1 linear feet of Holt's preliminary project plans and sketches; 2 linear feet of financial records; and 9 linear feet of Holt's annotated library.
Scope and Contents:
The Nancy Holt Estate records measure circa 65.4 linear feet and date from 1835, and circa 1900-2014, with the bulk of the material dating from 1960-2000. The records offer extensive documentation of Holt's career and include biographical material, personal and professional correspondence, writings, calendars and notebooks, Holt's project files including for unrealized projects, general business and professional files, subject files including source material, and printed material documenting Holt's professional activities from the 1960s to 2013. Also included are files Holt maintained related to her stewardship of Robert Smithson's estate and other records related to his life and work, and the John Weber Gallery records concerning Robert Smithson. These consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks.

The collection total also includes 30 linear feet of unprocessed records including 18 linear feet of Holt's photographic material; 1 linear feet of Holt's preliminary project plans and sketches; 2 linear feet of financial records; and 9 linear feet of Holt's annotated library.

Biographical material includes some vital records for Holt such as birth and marriage certificates, as well as resumes, biographical notes, and academic and family history records. Also found are records related to Smithson's death and information Holt gathered about Smithson's childhood and military service in circa 2005.

Correspondence files document many personal friendships including with artists and writers such as Carl Andre, Robert Fiore, Dee Dee Halleck, Lucy Lippard, Stanley Marsh, Serge Paul, May Stevens, Dennis Wheeler, and others. The series includes some personal family correspondence with Holt's aunts Dorothy Lopez and Ethel Tate, as well as copies of two letters and a postcard sent to Holt by Robert Smithson in 1961 and 1968, and many greeting and holiday cards sent to Holt from the 1970s to the end of her life. Over five linear feet of professional correspondence documents many aspects of Holt's career and includes correspondence with galleries, museums, writers, and researchers interested in Holt's work or requesting permissions for publication and duplication of images and other records. Arranged in rough chronological order spanning from the early 1970s to 2014, these files also provide a chronological point of access to material about specific projects including Dark Star Park, Rock Rings, Sky Mound, and many others.

Holt's writings include many artist statements on specific works, and notes revealing something of the development of her ideas. These are further supplemented by her notebooks and her calendars which provide another point of access to her activities throughout her career beginning in the 1970s. A series of interviews includes transcripts and two sound recordings primarily of interviews of Holt by various people. Also found are transcripts and related material pertaining to a conversation between Holt, Robert Smithson, and Lucy Lippard about Eva Hesse.

Holt's project files document over fifty of her realized and unrealized projects from the late 1970s to the late 1990s including earthworks and land art, film and video, publications, and gallery installations. They include Holt's proposals, correspondence and memoranda, background records such as site studies and reports, Holt's plans and photographs showing the development of her ideas, and printed material such as publicity about her projects and reviews of her work. Noticeably missing from the files is substantial documentation of Sun Tunnels. The project files are supplemented by Holt's business and professional files with include some project-related material such as records of maintenance work carried out on specific sites, contractual records which may duplicate those found in the project files, and some reference material. Other business and professional files include exhibition records, grant material, documentation of loans and permissions, inventories of Holt's work, and legal records including real estate agreements for land purchased in Utah and Maine by Holt and Smithson.

Holt's subject files include primarily printed material such as a clippings file of subjects of interest to Holt. A separate series of printed material includes announcements, catalogs, invitations, and programs related to exhibitions, installations, film and video screenings, and other events and documents press coverage Holt's work over the course of her career. Also found are extensive clippings and articles about her work published in newspapers, art journals, and other publications.

Artwork by others consists of four items including a computer portrait of Holt by an unknown artist. Records documenting Holt's stewardship of Robert Smithson's estate and legacy includes agreements and contracts, authentications for some artwork, inventories and invoices for Smithson's work from John Weber Gallery and James Cohan Gallery, appraisal records for Smithson's library, permissions for reproductions and use of his work, and records related to the maintenance of specific works. The records include documentation of donations to museums and other art organizations, including Holt's gift of Spiral Jetty to the DIA art foundation which is also the owner and steward of Sun Tunnels. Also found are transcripts of interviews with Smithson, drafts and related material for writings about Smithson, and printed material about his work including announcements, catalogs, clippings, posters, and other publicity. Additionally, the John Weber Gallery records concerning Robert Smithson consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks, and incorporate some slides from the James Cohan Gallery. James Cohan worked for John Weber before establishing his own gallery in 2001.
Arrangement:
The Nancy Holt Estate records are arranged as 11 series.

Series 1: Biographical Material, 1912-2014 (0.6 linear feet; Box 45, OV 64)

Series 2: Correspondence, circa 1966-2014 (7.5 linear feet; Boxes 45-52, 63)

Series 3: Writings, Calendars, and Notebooks, 1947-2013 (2.6 linear feet; Boxes 40-42, 52-53, OVs 43-44, 65)

Series 4: Interviews, 1973-2007 (0.3 linear feet; Box 53)

Series 5: Project Files, circa 1900-2014 (bulk 1970-2000) (12.8 linear feet; Boxes 3-10, OVs 11-31, RDs 32-39)

Series 6: Business and Professional Files, 1967-2013 (2.5 linear feet; Boxes 53-55, 63, OVs 64, 66-67)

Series 7: Subject Files, 1835, circa 1960s-circa 2013 (1.9 linear feet; Boxes 55-57, 63, OVs 65-66)

Series 8: Printed Material, 1964-2013 (2 linear feet; Boxes 57-59, 63, OV 65, RD 68)

Series 9: Artwork by Others, circa 1960s-circa 2006 (0.1 linear feet; Box 63)

Series 10: Robert Smithson Estate and Legacy, circa 1961-2013 (3.1 linear feet; Boxes 59-62, OV 66)

Series 11: John Weber Gallery Records Concerning Robert Smithson, circa 1960-circa 2001 (2 linear feet; Boxes 1-2)
Biographical / Historical:
Nancy Holt (1938-2014) was an environmental and installation artist, sculptor, filmmaker, and photographer, based in New York, New York. She was best known for her large-scale public land art installations including her seminal work Sun Tunnels (1973-1976) located in the Great Basin Desert, Utah. Her work engaged with the natural environment and the celestial realm, tracing the rotation of the earth and the movement of the sun and stars. Holt was also fascinated by mechanical systems such as those used for heating, drainage, and ventilation, and her functional sculptural installations explored the relationship between architecture and the built environment.

Holt was born in Worcester, Massachusetts, grew up in New Jersey, and graduated from Tufts University in 1960 with a degree in biology. She moved to New York City later that year where she met the artist Robert Smithson, to whom she was married from 1963 until Smithson's death in 1973.

Holt's landmark work Sun Tunnels was executed in 1973-1976 in Utah's Great Basin Desert, where Holt and Smithson had purchased surrounding land specifically to ensure an unimpeded view of the horizon. Holt went on to produce many site-specific outdoor works including 30 Below (1980), Dark Star Park (1984), Solar Rotary (1995), and Up and Under (1998). Her exploration of what she termed Systems Works included Catch Basin (1982), Flow Ace Heating (1985), and Spinwinder (1991).

Holt's photography was essential in the development of her ideas. In Missouri Ranch Locators: Vision Encompassed (1972) she used photography in her development of "seeing devices," creating eye-level steel pipes to direct viewers to a specific site in the surrounding landscape, and developing a concept that was central to Sun Tunnels and other works. Her book Ransacked, Aunt Ethel: An Ending (1980) documented through text and photographs the abuse and theft her aunt was subjected to at the end of her life. In Time Outs (1985) Holt used photographs of football games taken from a television screen to create a book born out of her childhood love of TV sporting events.

Holt's work can be found in the collections of major institutions including the Museum of Modern Art and the Whitney Museum of American Art in New York, the Utah Museum of Fine Arts, and the Museum für Gegenswartkunst, Germany. Her permanent installations can be found at public institutions including Miami University Art Museum, Southern Connecticut State University, University of Massachusetts, Dartmouth, Western Washington University, and University of South Florida.

In 2012 Nancy Holt was made a Chevalier of the of the Ordre des Arts et des Lettres by the French Government. In 2013 she was presented with a Lifetime Achievement Award by the International Sculpture Center in New York. Holt received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa.

Holt lived in Galisteo, New Mexico, from 1995-2013. She died in New York City in 2014.
Related Materials:
The Archives of American Art also holds the Robert Smithson and Nancy Holt papers, an interview with Nancy Holt conducted 1992 July 6 by Scott Gutterman for the Archives of American Art, an interview with Nancy Holt conducted 1993 August 3 by Joyce Pomeroy Schwartz for the Archives of American Art, and the James Cohan Gallery records relating to Robert Smithson.
Provenance:
Bequest of Nancy Holt, 2014.
Restrictions:
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 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.
Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Environmental artists -- New York (State) -- New York  Search this
Installation artists -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Sculptors -- New Mexico -- Galisteo  Search this
Installation artists -- New Mexico -- Galisteo  Search this
Environmental artists -- New Mexico -- Galisteo  Search this
Photographers -- New Mexico -- Galisteo  Search this
Filmmakers -- New Mexico -- Galisteo  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Earthworks (Art)  Search this
Women photographers  Search this
Women filmmakers  Search this
Genre/Form:
Interviews
Diaries
Sound recordings
Video recordings
Drawings
Citation:
Nancy Holt Estate records, 1835, circa 1900-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.holtnanc
See more items in:
Nancy Holt Estate records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95e0b7a8b-3fdb-4cd3-91fb-a6bec00cc668
EDAN-URL:
ead_collection:sova-aaa-holtnanc
Online Media:

Marion Sanford and Cornelia Chapin papers

Creator:
Sanford, Marion  Search this
Names:
Chapin, Cornelia, 1893-1972  Search this
Hernández, Mateo, 1884-1949  Search this
Extent:
2.5 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Photographs
Motion pictures (visual works)
Scrapbooks
Video recordings
Interviews
Drawings
Date:
1929-1988
Summary:
The papers of sculptors and close companions Marion Sanford and Cornelia Chapin measure 2.5 linear feet and date from 1929-1988. The papers include scattered materials created by and about both women, including biographical materials, one folder of correspondence for each woman, a few writings and essays, newsclippings, exhibition catalogs, other printed materials, and four scrapbooks (three about Chapin and one about Sanford). Photographs are of Chapin only and of artwork of both women. There is also one phonograph album transferred onto cassette of a radio interview with Chapin and several motion picture films of Chapin's home movies shot in upstate New York and Paris.
Scope and Content Note:
The papers of sculptors Marion Sanford and Cornelia Chapin measure 2.5 linear feet and date from 1929-1988. Sanford and Chapin were close companions and shared a studio in New York City. The papers include scattered materials created by and about both women, including biographical materials, one folder of correspondence for each woman, a few writings and essays, newsclippings, exhibition catalogs, other printed materials, and four scrapbooks (three about Chapin and one about Sanford). Photographs are of Chapin only and of artwork of both women. There is also one sound recording of a radio interview with Chapin and several motion picture films of Chapin's home movies shot in upstate New York and Paris.

Biographical material consists of scattered items documenting the careers of Marion Sanford and Cornelia Chapin. Included are a small amount of correspondence of both women, membership certificates, an index card file of Sanford's artwork, Chapin's written description of her sculpting process, and writings by others about Chapin. The sound recording is a radio interview of Chapin after she sculpted a bear for the National Zoo. Films include several home movies of Chapin from 1932-1936, showing Chapin at a summer home in Harpursville, NY, working in her studio, and working in Paris with teacher Mateo Hernandez.

Printed material includes exhibition announcements and catalogs for many group and solo shows of both women, news clippings about Chapin and Sanford, and a few reproductions of their artwork. Source files consist of postcards and clippings of various images that were most probably used as references or inspiration for their artwork.

The collection includes four scrapbooks compiled by Sanford and Chapin documenting their careers through news clippings, a few exhibition materials, and photographs of their artwork. There are three scrapbooks about Chapin, and one about Sanford. Also found are two additional scrapbooks on the subject of bas-relief and sculpture. Photographs include several of Cornelia Chapin in her studio and with her teacher Mateo Hernandez. There are numerous photographs of artwork by Chapin and Sanford. Artwork includes drawings of animals, architectural elements, coins, and people, by either Sanford or Chapin.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Material, 1930-1986 (Box 1, 6, 8; 0.8 linear feet)

Series 2: Printed Material, 1931-1972 (Box 1-2; 0.5 linear feet)

Series 3: Source Files, 1940s-1960s (Box 2-3; 0.4 linear feet)

Series 4: Scrapbooks, 1932-1949 (Box 3-7; 1.0 linear foot)

Series 5: Photographs, circa 1930-1962 (Box 4, 7; 0.2 linear feet)

Series 6: Artwork, 1929-circa 1960s (Box 4; 5 folders)
Biographical Note:
Marion Sanford was born in 1904 in Ontario, Canada and was raised in Warren, Pennsylvania. She studied painting at the Pratt Institute in New York, and worked for a period of time as a stage and costume designer. She developed an interest in sculpture, and studied the direct-carving method briefly at the Art Students League, but was largely self-taught. In 1937 she had her first exhibition of sculptures depicting women performing household chores and everyday tasks. She later created a series called "Women at Work" and her imagery of women would be the subject for which she would become best known, although she also completed bronze portraits and bas-reliefs. In 1941 and 1943 she worked as a Guggenheim Fellow, and became a member of the National Academy of Design, National Sculpture Society, and the National Association of Women Artists. Sanford won many awards and medals for her works and also created sculptures on commission, including a carved altar panel for the First Methodist Church in Warren, Pennsylvania. Marion Sanford died in 1987.

Cornelia Van Auken Chapin was born in 1893 in Waterford, Connecticut. After exploring other interests, including aeronautics, she decided to become a sculptor in the 1920s. She studied with Gail Corbett and in the early 1930s began exhibiting her sculptures of animals. In 1934 she moved to Paris, France and studied with Mateo Hernandez as his only student. Under Hernandez, she learned the technique of direct-carving from life in stone and wood and won the 2nd grand prize at the Paris Exposition in 1937. In 1936, Chapin was the only foreign and woman sculptor elected to the Societaire Salon d'Automne in Paris. The threat of World War II brought her back to the United States in 1939. Chapin won many awards for her sculptures and became a member of the National Academy of Design in 1945 and the National Sculpture Society. She was also one of the founding members of Artists' for Victory, Inc. and a participant in the women's artist group known as "The Philadelphia Ten," a unique and progressive group of women painters and sculptors who often exhibited together in the Philadelphia area.

In the late 1930s Chapin purchased a studio in New York City which had formally belonged to sculptor Gutzon Borglum. She shared the studio with her fellow sculptor Marion Sanford, and often modeled for Sanford's work. Sanford and Chapin remained close companions until Chapin's death in 1972.
Related Material:
Harvard University Library houses the the bulk of Cornelia Van Auken Chapin's papers, 1877-1959.
Provenance:
A portion of the Marion Sanford and Cornelia Chapin papers were donated by Marion Sanford in 1974. Additional materials were donated by Sanford's caretaker, Brenda Brenwell-Lejeune, in 1999.
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.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Topic:
Sculpture, Modern -- 20th century  Search this
Sculpture -- Technique  Search this
Bas-relief  Search this
Sculpture, American -- 20th century  Search this
Artists' studios  Search this
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Photographs
Motion pictures (visual works)
Scrapbooks
Video recordings
Interviews
Drawings
Citation:
Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sanfmari
See more items in:
Marion Sanford and Cornelia Chapin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93be7e8e5-5614-4fa3-89a8-bc4648207c0c
EDAN-URL:
ead_collection:sova-aaa-sanfmari
Online Media:

Oral history interview with Ruth Asawa and Albert Lanier, 2002 June 21-July 5

Interviewee:
Asawa, Ruth, 1926-2013  Search this
Interviewer:
Johnson, Mark Dean, 1953-  Search this
Subject:
Lanier, Albert  Search this
Karlstrom, Paul J.  Search this
Albers, Anni  Search this
Albers, Josef  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ruth Asawa and Albert Lanier, 2002 June 21-July 5. Archives of American Art, Smithsonian Institution.
Topic:
Asian American art  Search this
Asian American artists  Search this
Asian American sculptors  Search this
Japanese American art  Search this
Japanese American artists  Search this
Women artists  Search this
Women sculptors  Search this
Art -- Philosophy  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Theme:
Asian American  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)12222
(DSI-AAA_SIRISBib)230409
AAA_collcode_asawa02
Theme:
Asian American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_230409
Online Media:

Oral history interview with Ruth Asawa and Albert Lanier

Interviewee:
Asawa, Ruth  Search this
Lanier, Albert  Search this
Interviewer:
Johnson, Mark Dean, 1953-  Search this
Karlstrom, Paul J.  Search this
Names:
Black Mountain College (Black Mountain, N.C.)  Search this
Albers, Anni  Search this
Albers, Josef  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 21-July 5
Scope and Contents:
An interview of Ruth Asawa and her husband, Albert Lanier, 2002 June 21-July 5, conducted by Mark Johnson on June 21 and Paul Karlstrom on July 5, for the Archives of American Art, in the subjects' home/studio in San Francisco, California.
Asawa and Lanier shared their memories of Black Mountain College, Josef and Anni Albers (with whom they became close friends) and Buckminster Fuller. Part of their account of those years and the early stage of their marriage dealt with issues of race.
Biographical / Historical:
Ruth Asawa (1926-2013) was a Japanese American sculptor based in San Francisco, California. Albert Lanier is an architect from San Francisco, California. Interviewer Mark Johnson is head of the California Asian American Artists Biographical Survey and resides in San Francisco, California.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 20 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 administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- California -- San Francisco  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Asian American sculptors  Search this
Japanese American art  Search this
Japanese American artists  Search this
Women artists  Search this
Women sculptors  Search this
Art -- Philosophy  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.asawa02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw901e9c7bd-9336-4941-abff-5a01ea224ee4
EDAN-URL:
ead_collection:sova-aaa-asawa02
Online Media:

Audrey Flack papers

Creator:
Flack, Audrey  Search this
Names:
Arizona State University  Search this
Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this
Cooper Union for the Advancement of Science and Art  Search this
Guild Hall of East Hampton  Search this
Louis K. Meisel Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Janson, Anthony F.  Search this
Extent:
34.6 Linear feet
0.897 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Date:
1950-2022
Summary:
The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.
Scope and Contents:
The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)
Biographical / Historical:
Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.
Provenance:
The collection was donated by Audrey Flack in 2009 and 2022.
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:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Scrapbooks
Photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Citation:
Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.flacaudr
See more items in:
Audrey Flack papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c12179ce-d722-47e1-b806-32a27e29d8f3
EDAN-URL:
ead_collection:sova-aaa-flacaudr

Oral history interview with Suellen Rocca

Interviewee:
Rocca, Suellen, 1943-2020  Search this
Interviewer:
Stieber, Jason, 1973-  Search this
Names:
Chicago Art and Artists: Oral History Project  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Extent:
1 Item (digital video file (1 hr., 2 min.) Video, digital, wav)
Type:
Collection descriptions
Archival materials
Video recordings
Interviews
Date:
2016 May 26
Scope and Contents:
An interview with Suellen Rocca conducted 2016 May 26, by Jason Stieber, in Chicago, Ill, for the Archives of American Art's Chicago Art and Artists: Oral History Project.
Biographical / Historical:
Interviewee Suellen Rocca (1943- 2020) was an artist, curator, and educator in Romeoville, Ill. Interviewer Jason Stieber (1973- ) is the National Collector for the Archives of American Art.
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 administrators.
Restrictions:
For information on how to access this interview contact Reference Services.
Topic:
Hairy Who (Group of artists)  Search this
Art, American -- Illinois -- Chicago  Search this
Women artists  Search this
Women educators  Search this
Women museum curators  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Video recordings
Interviews
Identifier:
AAA.rocca16
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90c231313-e4c8-4ded-b9fa-d94af1467d09
EDAN-URL:
ead_collection:sova-aaa-rocca16

Oral history interview with Jackie Ferrara

Interviewee:
Ferrara, Jackie  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
Michigan State University -- Students  Search this
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Wayne State University -- Students  Search this
Addams, Charles, 1912-1988  Search this
Andre, Carl, 1935-  Search this
Beauchamp, Robert, 1923-  Search this
Bellamy, Richard  Search this
DeLap, Tony, 1927-2019  Search this
Eisenhauer, Lette  Search this
Ferrara, Don  Search this
Forst, Miles, 1923-  Search this
Frank, Mary, 1933-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gallo, Frank, 1933-  Search this
Graves, Nancy Stevenson, 1940-1995  Search this
Gross, Sally  Search this
Hesse, Eva, 1936-1970  Search this
Hofmann, Hans, 1880-1966  Search this
Judd, Donald, 1928-1994  Search this
LeWitt, Sol, 1928-2007  Search this
Marcus, Marcia, 1928-  Search this
Motherwell, Robert  Search this
Oldenburg, Claes, 1929-  Search this
Protetch, Max  Search this
Rockburne, Dorothea  Search this
Rosenquist, James, 1933-  Search this
Samaras, Lucas, 1936-  Search this
Smithson, Robert  Search this
Extent:
3 Items (Sound recording: 3 sound files (5 hr., 12 min.), digital, WMA files)
115 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 January 16-February 13
Scope and Contents:
An interview of Jackie Ferrara conducted 2009 January 16-February 13, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at the Ferrara's home, in New York, New York.
Ferrara speaks of growing up in Detroit, Michigan; her early interest in mathematics and its ever present role in her work; attending Michigan State University for one year; taking fashion drawing classes at Wayne State University and her supposed lack of drawing skills; an early interest in pottery and leather making; moving to New York City in 1951 on a night train from Detroit; working at the Henry Street Playhouse and its influential role on her art; her relationship with Robert Beauchamp and her friendship with many artists in Provincetown, Massachusetts; early works, including the cotton batting works and the rope works, most of which were destroyed; her dislike of traveling and her use of imagination for inspiration; participating in the performances and happenings of Claes Oldenburg; her friendship with Robert Smithson and his influence on her later works; working with Max Protetch; never teaching art because she herself did not attend art school; her creation process of her wood and stone pieces, including their conception in early drawings; having a positive attitude towards her pieces being rebuilt because of decay; quickly moving into public art in the late 1970s, early 1980s; living and working in the same loft in New York for over 40 years; the helpful role the women's movement played in her successful career though she did not participate; receiving art grants to enable her to work for a year or two without having to find an odd job to support herself; various public art projects around the country, how they came to be, creating the works and their significance to her. Ferrara also recalls Charlotte Tokayer, Don Ferrara, Alvin Nikolai, Richard Bellamy, Mary and Paul Frank, Miles and Barbara Forst, Sally Gross, Hans Hofmann, Robert Motherwell, Helen Frankenthaler, Nat Halprin, Lucas Samara, Letty Lou Eisenhauer, James Rosenquist, Marcia Marcus, Charles Addams, Eva Hesse, Frank Gallo, Tony DeLap, Dorothea Rockburne, Time Doyle, Sol LeWitt, Donald Judd, Carl Andre, Nancy Graves, Marty Greenbaum, Abe Sachs, Mel Bochner, Jan Groover, Alice Aycock, Alice Adams, Jackie Windsor, Scott Burton, Siah Armajani, Michelle Stuart, Lucy Lippard, Zaha Hadid, Max Hutcinson, Andrea Blum, and others.
Biographical / Historical:
Jackie Ferrara (1929- ) is a sculptor. Ferrara works with the built environment in her designs for courtyards and architectural structures.
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 administrators.
Restrictions:
Audio: ACCESS RESTRICTED; Use requires written permission.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Draftsmen (artists) -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ferrar09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9efd0b315-7933-452d-945c-e6f5dc917f90
EDAN-URL:
ead_collection:sova-aaa-ferrar09
Online Media:

Oral history interview with Suellen Rocca, 2016 May 26

Interviewee:
Rocca, Suellen, 1943-2020  Search this
Interviewer:
Stieber, Jason, 1973-  Search this
Subject:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Chicago Art and Artists: Oral History Project  Search this
Type:
Video recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Suellen Rocca, 2016 May 26. Archives of American Art, Smithsonian Institution.
Topic:
Hairy Who (Group of artists)  Search this
Art, American -- Illinois -- Chicago  Search this
Women artists  Search this
Women educators  Search this
Women museum curators  Search this
Women painters  Search this
Women sculptors  Search this
Record number:
(DSI-AAA_CollID)21700
(DSI-AAA_SIRISBib)398507
AAA_collcode_rocca16
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_398507

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