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Ankrum Gallery records

Creator:
Ankrum Gallery  Search this
Names:
Art Dealers Association of America  Search this
Black Arts Council (Washington, D.C.)  Search this
California Arts Council  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Krannert Art Museum  Search this
Laguna Art Museum (Laguna Beach, Calif.)  Search this
Paramount Pictures  Search this
San Diego Museum of Art  Search this
Staempfli Gallery (New York, N.Y.)  Search this
Storm King Art Center  Search this
Almaraz, Carlos  Search this
Andrews, Benny, 1930-2006  Search this
Ankrum, Joan  Search this
Bauer, Richard, 1944-  Search this
Block, Irving  Search this
Broderson, Morris, 1928-2011  Search this
Caryl, Naomi  Search this
Casey, Bernie  Search this
Duveneck, Frank, 1848-1919  Search this
Feitelson, Lorser, 1898-1978  Search this
Groth, Bruno  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Herschler, David  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirshhorn, Olga  Search this
Homer, Jessie  Search this
Jackson, Suzanne, 1944-  Search this
Johnson, Buffie  Search this
Lundeberg, Helen, 1908-1999  Search this
Mesches, Arnold, 1923-  Search this
Miller, Henry, 1891-  Search this
Palm Springs Desert Museum  Search this
Schuler, Melvin  Search this
Secunda, Arthur  Search this
Shores, Kenneth, 1928-  Search this
Varda, Jean  Search this
Zev  Search this
Extent:
41.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1900-circa 1990s
bulk 1960-1990
Summary:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
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 Ankrum Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ankrgall
See more items in:
Ankrum Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ankrgall
Online Media:

Stendahl Art Galleries records

Creator:
Stendahl Art Galleries  Search this
Names:
Couvoisier Galleries  Search this
Demotte, inc. (New York, N.Y.)  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Wildenstein and Company (New York, N.Y.)  Search this
Archipenko, Alexander, 1887-1964  Search this
Beltran-Masses, Federico, b. 1885  Search this
Calder, Alexander, 1898-1976  Search this
Cantú, Federico, 1908-1989  Search this
Charlot, Jean, 1898-1979  Search this
De Creeft, José, 1884-1982  Search this
Eddy, Jerome  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Gelhaar, Emil  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gilbert, Arthur Hill, 1894-1970  Search this
Guthrie, George B.  Search this
Hansen, Armin C. (Armin-Carl), 1886-1957  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kent, Rockwell, 1882-1971  Search this
Kleitsch, Joseph, 1885-1931  Search this
Knight, Aston, 1873-1948  Search this
Kronberg, Louis, 1872-1965  Search this
Laurence, Sydney, 1868-1940  Search this
Loeffler, Gisella, 1900-  Search this
Montenegro, Roberto  Search this
Mérida, Carlos, 1891-1984  Search this
Noguchi, Isamu, 1904-1988  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958  Search this
Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this
Pearson, Ralph M., 1883-1958  Search this
Picasso, Pablo, 1881-1973  Search this
Ritschel, William, 1864-1949  Search this
Rivera, Diego, 1886-1957  Search this
Rose, Ethel Boardman, 1871-1946  Search this
Rose, Guy, 1867-1925  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Siqueiros, David Alfaro  Search this
Stendahl, Earl L.  Search this
Szecsi, Ladislas  Search this
Wendt, William, 1865-1946  Search this
Zuloaga, Ignacio, 1870-1945  Search this
Extent:
7.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Scrapbooks
Date:
1907-1971
Summary:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Stendahl Art Galleries records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- New Guinea  Search this
Hispanic American art  Search this
Landscape painting  Search this
Prints  Search this
Art, American  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Gallery records
Scrapbooks
Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stenartg
Online Media:

California Art Club guest register and scrapbooks, 1916-1961

Creator:
California Art Club  Search this
Subject:
Alvarez, Mabel  Search this
Anderson, Antony  Search this
Barnsdall, Aline  Search this
Borg, Carl Oscar  Search this
Cook, Alma Mae  Search this
Deutsch, Boris  Search this
Kosa, Emil Jean  Search this
Miller, Evelyna Nunn  Search this
Millier, Arthur  Search this
Modra, Theodore B.  Search this
Reiffel, Charles P.  Search this
Sheets, Millard  Search this
St. Maur, Elaine  Search this
Vysekal, Edouard A.  Search this
Type:
Cartoons (humorous images)
Drawings
Scrapbooks
Sketches
Topic:
Art -- California -- Los Angeles  Search this
Art -- Societies, etc. -- California -- Los Angeles  Search this
Art criticism -- California -- Los Angeles  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Visitors' books  Search this
Record number:
(DSI-AAA_CollID)9878
(DSI-AAA_SIRISBib)212380
AAA_collcode_caliart
Theme:
Audio - Visual
Communities, Organizations, Museums
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212380

California Art Club guest register and scrapbooks

Creator:
California Art Club  Search this
Names:
Alvarez, Mabel, 1891-1985  Search this
Anderson, Antony  Search this
Barnsdall, Aline, 1882-1946  Search this
Borg, Carl Oscar, 1879-1947  Search this
Cook, Alma Mae  Search this
Deutsch, Boris, 1892 or 5-1978  Search this
Kosa, Emil Jean, 1903-1968  Search this
Miller, Evelyna Nunn  Search this
Millier, Arthur, 1893-  Search this
Modra, Theodore B., 1873-1930  Search this
Reiffel, Charles P., 1862-1942  Search this
Sheets, Millard, 1907-1989  Search this
St. Maur, Elaine  Search this
Vysekal, Edouard A., 1890-1939  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Cartoons (humorous images)
Drawings
Scrapbooks
Sketches
Date:
1916-1961
Summary:
The California Art Club guest register and scrapbooks measure 1.5 linear feet and date from 1916 to 1961. Included are guest registers spanning 1927 to 1931; a Year Book 1916 of the California Art Club containing images of member artwork and essays; and eleven scrapbooks with clippings, exhibition materials, club bulletins, and place settings.
Scope and Contents:
The California Art Club guest register and scrapbooks measure 1.5 linear feet and date from 1916 to 1961. Included are guest registers spanning 1927 to 1931; a Year Book 1916 of the California Art Club containing images of member artwork and essays; and eleven scrapbooks with clippings, exhibition materials, club bulletins, and place settings.

The scrapbooks contain local Los Angeles area newspaper clippings and magazine articles on social events, elections, art forums, club bulletins, and club activities in Los Angeles. Also included is art criticism by critics such as Arthur Millier, Alma May Cook, and Elaine St. Maur, as well as artist obituaries; exhibition announcements and invitations; press releases; and cartoons, sketches, and drawings. These scrapbooks record the events around the club and the Los Angeles art scene, as well as the people and artists involved including Aline Barnsdall, Antony Anderson, Evelyna Nunn Miller, Charles Reiffel, Edouard Vysekal, Theodore B. Modra, Boris Deutsch, Millard Sheets, Mabel Alvarez, Carl Oscar Borg, and Emil J. Kosa.
Arrangement:
Due to the small size of this collection, the materials are arranged as one series.

Series 1: California Art Club Guest Register and Scrapbooks, 1916-1961 (Boxes 1-5; 1.5 linear feet)
Biographical / Historical:
The largest and most influential Los Angeles art organization during the early 20th century, the California Art Club was organized in 1909 from the Painters' Club. The group holds exhibitions, member talks, and other programs.
Provenance:
The California Art Club guest register and scrapbooks were donated to the Archives of American Art by Henry Ketting Olivier, a past president of the California Art Club, in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Art critics -- California -- Los Angeles  Search this
Topic:
Art -- California -- Los Angeles  Search this
Art -- Societies, etc. -- California -- Los Angeles  Search this
Art criticism -- California -- Los Angeles  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Visitors' books  Search this
Genre/Form:
Cartoons (humorous images)
Drawings
Scrapbooks
Sketches
Citation:
California Art Club guest register and scrapbooks, 1916-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.caliart
See more items in:
California Art Club guest register and scrapbooks
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-caliart

Dwan Gallery records

Creator:
Dwan Gallery  Search this
Names:
Dwan Gallery (Los Angeles, Calif.)  Search this
Dwan Gallery (New York, N.Y.)  Search this
Anastasi, William, 1933-  Search this
Andre, Carl, 1935-  Search this
Arakawa, Shusaku, 1936-  Search this
Arman, 1928-2005  Search this
Dwan, Virginia  Search this
Flavin, Dan, 1933-  Search this
Goodnough, Robert, 1917-  Search this
Guston, Philip, 1913-1980  Search this
Kienholz, Edward, 1927-  Search this
Klein, Yves, 1928-1962  Search this
Kline, Franz, 1910-1962  Search this
LeWitt, Sol, 1928-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Morris, Robert, 1931-2018  Search this
Oldenburg, Claes, 1929-  Search this
Parker, Raymond, 1922-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Raysse, Martial, 1936-  Search this
Reinhardt, Ad, 1913-1967  Search this
Richenburg, Robert  Search this
Rivers, Larry, 1925-  Search this
Saint-Phalle, Niki de, 1930-  Search this
Scarpitta, Salvatore, 1919-  Search this
Smithson, Robert  Search this
Snelson, Kenneth, 1927-2016  Search this
Weber, John, 1932-2008  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Date:
1959-circa 1982
bulk 1959-1971
Summary:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.
Scope and Contents:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.

Artists that held exhibitions at the Dwan Gallery in New York and Los Angeles include: Robert Goodnough, Robert Richenburg, Larry Rivers, Philip Guston, Yves Klein, Salvatore Scarpitta, Arakawa, Martial Raysse, Ad Reinhardt, Arman, Franz Kline, Edward Kienholz, Claes Oldenburg, Niki de Sainte Phalle, Joan Mitchell, Robert Rauschenberg, Robert Morris, Dan Flavin, Raymond Parker, Kenneth Snelson, Carl Andre, Sol LeWitt, Robert Smithson, and Anastasi. Also, the exhibition files are nearly comprehensive and include: Language to be Looked at and/or Things to be Read annual series (1967-1970), Boxes (1964), Earth Works (1968), My Country 'tis of Thee (1962) and 10 (1967 and 1968). Many of the multiple artist shows were created and organized by gallery director John Weber and/or Virginia Dwan. Many of these exhibition files include full-sized posters and panoramic photos showing installations.

Also found are records created by a consulting firm hired by the Dwan Gallery to inventory the exhibition files prior to donation to the Archives of American Art. These guides appear at the beginning of each series and outline a chronology of exhibitions held at each branch.
Arrangement:
The collection is arranged into two series:

Series 1: Los Angeles Exhibition Files, 1959-1967, after 1981 (Box 1-2, 5, OV6, OV8; 1.3 linear feet)

Series 2: New York Exhibition Files, 1965-1971, after 1982 (Box 2-4, OV7; 1.0 linear feet)
Biographical / Historical:
In 1959, Virginia Dwan opened her first gallery on 1091 Broxton Avenue in the Westwood Village neighborhood of Los Angeles, California. Her independent wealth allowed her to open a gallery without worrying about business and sales. Three years after opening, the Dwan Gallery moved into a new Westwood Village space especially designed to express the gallery's contemporary aesthetic. In 1965, Virginia Dwan moved to New York City and founded an east coast branch of the Dwan Gallery at 29 West 57th Street.

Early exhibitions at the Dwan Gallery showed Abstract Expressionist artists and works of art from New York which Dwan consigned from other galleries. After traveling to New York and France, Virginia Dwan's interests and tastes manifested in exhibitions by 1961 with Yves Klein. Through Klein, Dwan made connections to other Nouveaux Réalistes artists that the gallery featured in solo and group shows. Later exhibitions featured Land and Minimilist artists. Dwan recognized that many of her shows were not considered salable but continued to show the avant-garde. She saw the gallery as an opportunity to expose the public to different styles of art.

Virginia Dwan maintained a close and personal relationship with many of her artists. She allowed large stipends to gallery artists and invited them to spend time at her home in Malibu, California. When working with artists concentrating on found objects, Dwan would accompany them on scavenger hunts and shopping trips. In the case of Robert Smithson and other Land Art artists, she traveled to offsite locations to visit works of art in progress. Dwan relied on her longtime gallery director, John Weber to interact with collectors as she preferred to maintain her connection with the artists.

The Dwan Gallery Los Angeles closed in mid-1967 but the New York branch remained open. By 1971, Virginia Dwan felt pressure to support her thirteen artists through a period of economic insecurity. She decided to close the gallery secretly and only informed her artists at the last minute. The final exhibition at Dwan Gallery New York closed in June of 1971.
Related Materials:
Also found within the Archives of American Art is an interview with Virginia Dwan conducted March 21 through June 1, 1984 by Charles Stuckey.
Separated Materials:
Dwan Gallery exhibition catalogs that were donated to the Archives in 1989 were transferred to the Smithsonian Institution American Art and National Portrait Gallery Library.

Bard College's Center for Curatorial Studies and Art in Contemporary Culture holds Dwan Gallery materials related to exhibitions in the Library and Archives.
Provenance:
The Dwan Gallery records were donated in 1996 by Virginia Dwan, the former owner of the gallery.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Dwan Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- New York (State) -- New York -- Exhibitions  Search this
Art -- California -- Los Angeles -- Exhibitions  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Earthworks (Art)  Search this
Minimal art  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Artists -- United States  Search this
Genre/Form:
Photographs
Slides (photographs)
Citation:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dwangall
See more items in:
Dwan Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dwangall
Online Media:

The Arctic Circle records

Creator:
The Arctic Circle (Gallery: Los Angeles, Calif.)  Search this
Source:
Witt, Ellen, 1917-2007  Search this
Witt, Bert  Search this
Names:
Arluk, George, 1949-  Search this
Ashevak, Karoo, 1940-  Search this
Pitseolak, Peter, 1902-1973  Search this
Pudlo, 1916-1992  Search this
Former owner:
Witt, Bert  Search this
Witt, Ellen, 1917-2007  Search this
Extent:
634 Slides (photographs)
152 Photographs
1.6 Linear feet
Culture:
Inuit (Canadian Eskimo)  Search this
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Articles
Slides
Brochures
Clippings
Place:
Arctic Region -- photographs
Cape Dorset (Nunavut)
Baker Lake (Nunavut)
Date:
1967-1987
bulk 1971-1986
Summary:
The Arctic Circle records include materials gathered by Bert and Ellen Witt for their private gallery of Inuit art The Arctic Circle. These materials include native artists information which is organized by community, reference material organized topically, slides from the gallery's annual print collections as well as photographs of scupltures and textiles displayed in the gallery. Much of the reference material used by the gallery pertains to native communities in the Nunavet Territory of Canada such as Cape Dorset and Baker Lake as well as other small communities throughout the Northwest Territiories. Additionally photographs taken by Bert and Ellen Witt's son Tony during a trip to Canada in 1973 are included in this collection.
Scope and Contents:
The Arctic Circle records include materials gathered by Bert and Ellen Witt for their private gallery of Inuit art The Arctic Circle. These materials include native artists information which is organized by community, reference material organized topically, slides from the gallery's annual print collections as well as photographs of scupltures and textiles displayed in the gallery. Much of the reference material used by the gallery pertains to native communities in the Nunavet Territory of Canada such as Cape Dorset and Baker Lake as well as other small communities throughout the Northwest Territiories. Additionally photographs taken by Bert and Ellen Witt's son Tony during a trip to Canada in 1973 are included in this collection.
Arrangement:
This collection is arranged into three series: Series 1: Papers, 1971-1980, Series 2: Reference Materials, 1967-1987, Subseries 2.1: Artists Listed by Community, 1971-1984, undated, Subseries 2.2: Reference Library, 1967-1987, undated, Series 3: Photographs, 1971-1987, Subseries 3.1: Gallery Objects, 1979-1987, Subseries 3.2: Witt Family Arctic Trip, 1973, Subseries 3.3: Other Photos, 1971, 1975

Series 1: Papers, 1971-1980

Series 2: Reference Materials, 1967-1987

Subseries 2A: Artists Listed by Community, 1971-1984, undated

Subseries 2B: Reference Library, 1967-1987, undated

Series 3: Photographs, 1971-1987

Subseries 3A: Gallery Objects, 1979-1987

Subseries 3B: Witt Family Arctic Trip, 1973

Subseries 3C: Other Photos, 1971, 1975
Biographical / Historical:
The Arctic Circle was founded in Los Angeles in 1970 as a private art gallery devoted entirely to the exhibition and sale of scupltures and graphics by Inuit artists of the Canadian arctic. Between 1970 and the late 1980's approximately six to eight exhibitions were mounted on themes illustrative of native life in the Canadian arctic. The gallery was created and founded by Bert and Ellen Witt and run out of their home on North La Jolla Avenue in Los Angeles, California. Bert Witt, sometimes accompanied by his wife Ellen and son Tony, traveled extensively in the Canadian arctic visiting many Inuit communities and forming personal aquaintances with native artists. Through the Artic Circle, Witt supported the Arctic co-operative movement by purchasing art through co-ops in each settlement he visited or through the co-op distribution points for the Northwest Territories and Arctic Quebec.
Provenance:
The archival material in this collection accompanied a donation to NMAI by Bert and Ellen Witt in 2001 that included sculptures, drawings, prints and textiles. An additional three photographs were donated by Bert Witt in 2004.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Inuit art -- 20th century -- Exhibitions  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Genre/Form:
Photographs
Articles
Slides
Brochures
Clippings
Citation:
Identification of specific item; Date (if known); Collection Title, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.004
See more items in:
The Arctic Circle records
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-004

Jancar Gallery records

Creator:
Jancar Gallery  Search this
Names:
Jancar/Kuhlenschmidt Gallery  Search this
Alf, Martha, 1930-  Search this
Chicago, Judy, 1939-  Search this
Cumming, Robert, 1943-  Search this
Day, Linda  Search this
Duane, Hildegarde  Search this
Hebrun, Micol  Search this
Jancar, Tom, 1950  Search this
Jones, Mary, 1953-  Search this
Korman, Harriet  Search this
Kuhlenschmidt, Richard  Search this
Meyer, Melissa  Search this
Mogul, Susan  Search this
Newton, Richard, 1948  Search this
Segalove, Ilene, 1950-  Search this
Thibeault, Marie  Search this
Extent:
2.5 Linear feet
23.8 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Electronic records (digital records)
Photographs
Sound recordings
Video recordings
Date:
circa 1972-2015
bulk 2006-2015
Summary:
The records of Jancar Gallery, located in Los Angeles, California, measure 2.5 linear feet and 23.80 GB and date from circa 1972 to 2015, with the bulk of the papers dating from 2006 to 2014. The collection includes exhibition and artist files; administrative and financial records; printed and digital material; and records of the Jancar/Kuhlenschmidt Gallery.
Scope and Contents:
The records of Jancar Gallery, located in Los Angeles, California, measure 2.5 linear feet and 23.80 GB and date from circa 1972 to 2015, with the bulk of the papers dating from 2006 to 2014. The collection includes exhibition and artist files; administrative and financial records; printed and digital material; and records of the Jancar/Kuhlenschmidt Gallery.

Exhibition and artist files make up the bulk of the collection. They include artist resumes; artist statements; exhibition planning materials; slides and photographs of work; exhibition announcements and catalogs; price lists; consignment agreements; correspondence; clippings; and digital media such as digital photographs and videos. Also included are materials related to the "narratives of the perverse" exhibition (circa 2008) and materials related to the gallery's exhibition history.

Artists documented within the exhibition and artist files include Martha Alf, Judy Chicago, Robert Cumming, Linda Day, Hildegarde Duane, Micol Hebron, Mary Jones, Harriet Korman, Melissa Meyer, Susan Mogul, Richard Newton, Ilene Segalove, and Marie Thibeault, among others.

Administrative and financial records include mailing list materials, invoices and agreements, and digital records.

The printed materials include exhibition announcements, exhibition catalogs, exhibition posters, clippings, and ephemera.

Also found in this collection is a selection of Tom Jancar's records related to the Jancar/Kuhlenschmidt Gallery, which Tom Jancar operated in Los Angeles with Richard Kuhlenschmidt from 1980 to 1982. These records are primarily administrative/financial records and printed material, and also include a file on artist David Askevold; some records are in digital format.
Arrangement:
The collection is arranged as four series.

Series 1: Exhibition and Artist Files, circa 1972-2015, bulk 2006-2015 (Box 1; 1 linear foot, ER01-ER46; 21.34 GB)

Series 2: Administrative and Financial Records, circa 1980s, 2006-2014 (Box 2; 0.3 linear feet, ER47-ER48; 0.128 GB)

Series 3: Printed and Digital Material, 2005-2014 (Box 2; 0.4 linear feet, OV 4, OV 5; ER49-ER52; 0.239 GB)

Series 4: Records of the Jancar/Kuhlenschmidt Gallery, circa 1977-1982 (Boxes 2-3; 0.6 linear feet, OV 6; ER53-ER56; 2.09 GB)
Biographical / Historical:
The Jancar Gallery (established 2006-closed 2016) was a Los Angeles, California art gallery operated by Tom Jancar. The gallery opened in a building on Wilshire Boulevard before relocating to its Chinatown location on Chung King Road in the summer of 2008. Jancar Gallery did not specialize in any particular kind of art, exhibitions included collage, painting, photography, sculpture, multimedia installation, etc., but it showed predominantly women artists for much of the time it was open. In a short 2014 interview with Christine Palma (possibly at the Photo LA art expo), Tom Jancar gives the statistic as 70-80% female artists showing at the gallery.

Tom Jancar has a BA in art history and an MFA in studio art from the University of California, Irvine. In 1980, he and Richard Kuhlenschmidt opened the Jancar/Kuhlenschmidt Gallery. That gallery closed in 1982. In 2006, he opened Jancar Gallery, which he operated until it closed in 2016.
Related Materials:
The Archives of American Art also holds the Richard Kuhlenschmidt Gallery records, 1980-1992. This collection includes materials related to the Jancar/Kuhlenschmidt Gallery.
Provenance:
The Jancar Gallery records were donated to the Archives of American Art by Tom Jancar.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of born-digital records with no duplicate access copies requires advance notice.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Performance artists  Search this
Women artists  Search this
Genre/Form:
Electronic records (digital records)
Photographs
Sound recordings
Video recordings
Citation:
Jancar Gallery records, circa 1972-2015, bulk 2006-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jancgall
See more items in:
Jancar Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jancgall
Online Media:

Oral history interview with Jean Milant

Interviewee:
Milant, Jean, 1943-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Names:
Cirrus Editions  Search this
Cirrus Gallery  Search this
Los Angeles Institute of Contemporary Art  Search this
Los Angeles Visual Arts (Organization)  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Tamarind Institute  Search this
University of New Mexico -- Student  Search this
University of Wisconsin  Search this
Antreasian, Garo Z., 1922-2018  Search this
Auder, Michel  Search this
Baldessari, John, 1931-  Search this
Blum, Irving, 1930-  Search this
Burden, Chris, 1946-  Search this
Card, Greg S., 1945-  Search this
Carson, Karen, 1943-  Search this
Cointet, Guy de, 1934-1983  Search this
Egelston, Robert  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goodman, Marian  Search this
Harrison, Newton, 1932-  Search this
Hill, Charles Christopher  Search this
Inch, Terry  Search this
Irwin, Robert, 1928-  Search this
Kanemitsu, Matsumi  Search this
Kauffman, Craig, 1932-2010  Search this
Leiber, Steven  Search this
Marron, Donald B.  Search this
Mizuno, Riko  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Overby, Robert, 1935-1993  Search this
Price, Kenneth, 1935-2012  Search this
Rivière, Alain, 1958-  Search this
Rosen, Gerry  Search this
Ruscha, Edward  Search this
Sturman, Eugene  Search this
Trowbridge, David, 1945-  Search this
Tyler, Kenneth E.  Search this
Viva, 1938-  Search this
Wayne, June, 1918-2011  Search this
Wood, Jonas, 1977-  Search this
de Beauvau-Craon, Minnie  Search this
Extent:
4 Items (Sound recording: 4 sound files (3 hr., 7 min.), digital, wav)
102 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Europe -- description and travel
France -- description and travel
New York (N.Y.) -- Description and Travel
Date:
2015 July 20
Scope and Contents:
An interview of Jean Milant, conducted 2015 July 20, by Hunter Drohojowska-Philp, for the Archives of American Art at Milant's home in Los Angeles, California.
Jean Milant discusses growing up in Milwaukee, Wisconsin and his French and German heritage; his introduction to art instruction in high school and further studies at the University of Wisconsin; his trips to Europe and New York City as an undergraduate art student; his time as a graduate student at the University of New Mexico, and his work at the Tamarind Institute printmaking program and his introduction to Los Angeles; his work at Tamarind with Ed Ruscha, Sam Francis, Ed Moses, and Ken Price, among others; the beginnings of Cirrus Gallery and Cirrus Editions and his search for backers for the two endeavors; his partnership with Terry Inch as a backer for Cirrus. Mr. Milant also describes the decision to move his gallery and printmaking shop to downtown Los Angeles in 1979; the support of Robert Egelston and the collector Donald Marron and other collectors who first subscribed to his print editions; his experiences in France with Minnie de Beauvau-Craon; the gallery and museum scene in Los Angeles in the early '70s and '80s; his efforts to promote Los Angeles as a vibrant center of art, including trips to Europe in the early '70s to show his artists; the creation of Ed Ruscha's prints using food; working with Bruce Nauman and John Baldessari to create prints; the creation of the Los Angeles Visual Arts group of L.A. art dealers; his involvement with the creation of the Los Angeles Institute of Contemporary Art in 1974; his work with the artist Guy de Cointet and Mr. Cointet's early performances at Cirrus Gallery; the opening of MOCA in 1984; his desire to create a think-tank institute to help create a viable future for art. Mr. Milant also recalls Garo Antreasian, Newton Harrison, June Wayne, Frank Gehry, Robert Irwin, Eugene Sturman, Matsumi Kanemitsu, Ken Tyler, Riko Mizuno, Irving Blum, Gerry Rosen, Robert Overby, David Trowbridge as well as Chris Burden, Greg Card, Karen Carson, Craig Kauffman, Marian Goodman, Alain Rivière, Charles Christopher Hill, Steven Leiber, Viva, Michel Auder, and Jonas Wood, among others.
Biographical / Historical:
Jean Robert Milant (1943- ) is an art dealer and publisher in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
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.
Topic:
Art -- Study and teaching  Search this
Art dealers -- California -- Los Angeles -- Interviews  Search this
Prints -- Technique  Search this
Publishers -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.milant15
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-milant15

David Stuart papers and gallery records

Creator:
Stuart, David, 1910-1984  Search this
Names:
David Stuart Galleries  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1910-1984
Scope and Contents:
Biographical material; personal correspondence; clippings; and files on artists, exhibitions, special projects and interests; eleven posters. The bulk of the material in the files are photographs of contemporary and pre-Columbian art. Subjects include: James Abbe, Arthur Addis, John Altoon, Oliver Andrews, Louis Armstrong, Jules Berman, the Cup Show, Erotic Art, "The Dirty Dozen," Sorel Etrog, Gemini G.E.L. Gallery, Marvin Harden, June Harwood, Alan Lapiner, Mahoboubian Gallery, Mayan Painting, Harvey Menist, Marilyn Monroe, William Palmer, John Pearson, the Teotihuacan Fresco and Garner Tullis.
Biographical / Historical:
Gallery owner; Los Angeles. Owned and operated David Stuart Galleries, which dealt in contemporary art. Stuart was also an expert in the field of Pre-Columbian art.
Provenance:
Donated 1985 by Jacqueline Anhalt Stuart.
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:
Gallery owners  Search this
Gallery directors  Search this
Topic:
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Indian art -- Central America -- Photographs  Search this
Art, American -- California  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Identifier:
AAA.stuadavi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stuadavi

Everett Ellin Gallery records relating to David Smith

Creator:
Everett Ellin Gallery  Search this
Names:
Ellin, Everett  Search this
Smith, David, 1906-1965  Search this
Extent:
66 Items ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1960-1963
Scope and Contents:
Records relating to sculptor David Smith, including correspondence with Smith; consignment records; and statements of accounts with the gallery.
Biographical / Historical:
Art gallery; Los Angeles, Calif. Owned by Everett Ellin. Represented David Smith in California.
Other Title:
David Smith (microfilm title)
Provenance:
Lent for microfilming in 1968 by Everett Ellin.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Gallery owners  Search this
Art dealers -- California -- Los Angeles  Search this
Topic:
Sculpture, Modern -- 20th century  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Identifier:
AAA.everelli
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-everelli

Heritage Gallery records

Creator:
Heritage Gallery  Search this
Names:
Gropper, William, 1897-1977  Search this
Horowitz, Benjamin, 1912-  Search this
Orozco, José Clemente, 1883-1949  Search this
Siqueiros, David Alfaro  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
White, Charles, 1918-1979  Search this
Extent:
13.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1944-2000
bulk 1960-1998
Summary:
The records of Los Angeles Heritage Gallery measure 13.8 linear feet and date from 1944-2000 with the bulk of the materials dating from 1960-1998. The majority of the collection consists of artists' files containing a wide variety of materials documenting the gallery's representation of its contemporary artists and gallery exhibitions, including biographical information, correspondence, and printed materials. About half of the artists' files are related to artist Charles White. Gallery records also include business correspondence, business records and additional printed materials.
Scope and Contents:
The records of Los Angeles Heritage Gallery measure 13.8 linear feet and date from 1944-2000 with the bulk of the materials dating from 1960-1998. The majority of the collection consists of artists' files containing a wide variety of materials documenting the gallery's representation of its contemporary artists and gallery exhibitions, including biographical information, correspondence, and printed materials. About half of the artists' files are related to artist Charles White. Gallery records also include business correspondence, business records and additional printed materials.

The bulk of the collection are artists' files which document the works and careers of Heritage Gallery artists through a wide variety of materials including biographical information, correspondence, scattered financial records, inventory lists and price lists, printed materials, and photographic materials. Especially rich are the folders of correspondence with Social Realist artist William Gropper, and materials related to artists José Clemente Orozco, David Alfaro Siqueiro, Moses Soyer and Raphael Soyer. Additionally, about half of the Artists' Files are related to African-American artist Charles White, for whom Horowitz was the sole representative of his artwork, but also a personal friend to White and his family.

Business correspondence and records contain incoming and outgoing correspondence with clients and galleries regarding artwork sales, consignments and exhibition loans; contracts, many with artists and lithographers; biographical information about Benjamin Horowitz; and other day-to-day business records.

Printed material documents exhibitions held at Heritage Gallery through exhibition announcement, catalogs, clippings, and posters, as well as a handful of printed materials for exhibitions held at other galleries and museums.
Arrangement:
The collection is arranged as 3 series.

Series 1: Artists' Files, 1944-2000, bulk 1960-1998 (11.6 linear feet; Boxes 1-12, 15-16, OV 17)

Series 2: Business Correspondence and Records, 1945-1997 (1.6 linear feet; Boxes 12-13)

Series 3: Printed Material, 1960s-1990s (0.6 linear feet; Boxes 13-14, 16)
Biographical / Historical:
Founder Benjamin Horowitz (1912-2004) was born in New York City and moved to Hollywood shortly before the outbreak of World War II. He began a career as a writer of detective fiction but was interrupted by the draft. Horowitz opened Heritage Gallery in the early 1960s on La Cienega Boulevard in Los Angeles, California. His early dedication to African-American artists, chief among them Charles White to whom he gave more than 51 one-person exhibitions, distinguished the gallery.

Horowitz was the co-founder of the Art Dealers Association of California and also worked as an appraiser.
Related Materials:
The Archives of American Art holds several collections related to Heritage Gallery and Benjamin Horowitz, including the William Gropper papers and the Charles Wilbert White papers. Also found in the Archives is an oral history interview with Benjamin Horowitz conducted by Molly Saltman as a part of "Art and Artists" interviews, 1965-1966.
Provenance:
The Heritage Gallery records were donated by Benjamin Horowitz, founder of the gallery, in two accessions in 1998 and 2000.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Heritage Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Citation:
Heritage Gallery records, 1944-2000, bulk 1960-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.herigall
See more items in:
Heritage Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-herigall

Heritage Gallery records, 1944-2000, bulk 1960-1998

Creator:
Heritage Gallery  Search this
Subject:
Orozco, José Clemente  Search this
Soyer, Moses  Search this
Siqueiros, David Alfaro  Search this
Horowitz, Benjamin  Search this
Soyer, Raphael  Search this
White, Charles  Search this
Gropper, William  Search this
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Record number:
(DSI-AAA_CollID)6191
(DSI-AAA_SIRISBib)216438
AAA_collcode_herigall
Theme:
African American
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216438
Online Media:

Art Space records

Creator:
Adelman, Lucy  Search this
Names:
18th Street Gallery  Search this
Constitutional Rights Foundation (1963-)  Search this
Texas Commerce Bank  Search this
Venice Art Walk  Search this
Venice Family Clinic (Venice, Los Angeles, Calif.)  Search this
Works Gallery  Search this
Chaffee, Marta  Search this
Colvill, Tracy  Search this
Gabrielson, Walter, 1935-  Search this
Hines, David  Search this
Lowry, Janice Ann, 1946-2009  Search this
Lubner, Lorraine  Search this
Lubner, Robert  Search this
Miura, Shigeo  Search this
Rush, Kent  Search this
Schairer, Mary  Search this
Starbuck, Marjorie, 1921-  Search this
Tomlinson, Robert  Search this
Walding, Clark  Search this
Extent:
13 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Date:
1971-1992
Summary:
The records of Los Angeles Art Space gallery measure 13 linear feet and date from 1971 to 1992. The majority of the collection consists of the gallery's exhibition files which contain correspondence, clippings, exhibition catalogs and announcements, slides, photos, invoices, price lists, loan records, and other materials. There is also correspondence with artists and organizations, financial and administrative records, and slides of artwork and exhibitions.
Scope and Contents:
The records of Los Angeles Art Space gallery measure 13 linear feet and date from 1971 to 1992. The majority of the collection consists of the gallery's exhibition files which contain correspondence, clippings, exhibition catalogs and announcements, slides, photos, invoices, price lists, loan records, and other materials. There is also correspondence with artists and organizations, financial and administrative records, and slides of artwork and exhibitions.

Most of the correspondence in the collection is from artists regarding exhibition opportunities, with other galleries and organizations about sales and collaborative exhibits and event, including with the 18th Street Gallery, the Constitutional Rights Foundation, Texas Commerce Bank, Venice Family Clinic regarding the Venice Art Walk, and The Works Gallery.

About two-thirds of the collection consists of extensive exhibition records for individual and group shows held at Art Space. Contents of files vary but may include correspondence, exhibition announcements and programs, price lists, sales records, loan agreements and other legal forms, artist resumes and statements, photographs and slides of artwork and exhibition installations, and other printed material. Particularly rich files exist for artists Marta Chaffee, David Hines, Walter Gabrielson, Janice Lowry, Lorraine Lubner, Robert Lubner, Kent Rush, Mary Schairer, Marg Starbuck, Robert Tomlinson, and Clark Walding.

Scattered financial and administrative files document the gallery's business dealings, and include price lists, a cost sharing agreement form, an inventory, business correspondence, invoices, and financial statements. Additionally, a substantial number of slides in this collection include images of artwork and of exhibitions held at Art Space. Artists Shigeo Miura and Tracy Colvill have particularly sizeable slide files. Most of the artists with slides are also represented in the exhibition files.
Arrangement:
The collection is arranged as 4 series.

Series 1: Correspondence, circa 1977-1991 (Box 1; 0.8 linear feet)

Series 2: Exhibition Files, 1972-1992 (Boxes 1-11; 9.45 linear feet)

Series 3: Financial and Administrative Records, circa 1977-1991 (Box 11; 0.35 linear feet)

Series 4: Slides, 1971-1992 (Boxes 11-13; 2.4 linear feet)
Biographical / Historical:
The Art Space gallery operated in Los Angeles from 1977 to 1991 and was owned by artist, philanthropist, and activist Lucy Adelman (1909-2007). Settling in Los Angeles in 1938, Adelman was also one of the founders of the Womanspace Gallery, a cooperative gallery for feminist activities established in 1972 in Los Angeles.

Located at 10550 Santa Monica Boulevard, Art Space's first show honored the work of women artists. Specializing in contemporary art, the gallery, according to Adelman, had two purposes: "[Art Space] is for artists, creative people who communicate through many different fields of expression...It will also be a meeting place for people who wish to acquaint themselves with different concepts and directions." The gallery held 118 exhibitions before closing its doors in 1991.

Adelman and her husband, Isadore, were involved in other activities and gave generously to the American Civil Liberties Union and the Venice Family Clinic, which honored them at its annual fund-raising Art Walk Festival in 1988. Lucy Adelman died in 1997.
Provenance:
The records were donated in 1992 by Lucy Adelman, the director of Art Space.
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 Art Space records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Artists -- California -- Los Angeles -- Exhibitions  Search this
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Slides (photographs)
Photographs
Citation:
Art Space records, 1971-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artspac
See more items in:
Art Space records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artspac
Online Media:

Irving Blum Gallery and Ferus Gallery announcements

Creator:
Irving Blum Gallery  Search this
Names:
Ferus Gallery (Los Angeles, Calif.)  Search this
Altoon, John, 1925-  Search this
Bachardy, Don, 1934-  Search this
Bell, Larry, 1939-  Search this
Bengston, Billy Al  Search this
Irwin, Robert, 1928-  Search this
Johns, Jasper, 1930-  Search this
Judd, Donald, 1928-  Search this
Kauffman, Craig, 1932-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Moses, Ed, 1926-  Search this
Noland, Kenneth, 1924-  Search this
Reinhardt, Ad, 1913-1967  Search this
Ruscha, Edward  Search this
Stella, Frank  Search this
Warhol, Andy, 1928-  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1961-1972
Summary:
The Irving Blum Gallery and Ferus Gallery announcements consist of 32 announcements for exhibitions at the Los Angeles Ferus Gallery (1957-1966) and its successor the Irving Blum Gallery (1966-circa 1972). Exhibition announcements are for many exhibitions of southern California contemporary and pop artists, as well as New York artists. Artists represented by announcements include John Altoon, Don Bachardy, Larry Bell, Billy Al Bengston, Robert Irwin, Jasper Johns, Donald Judd, Craig Kauffman, Roy Lichtenstein, Edward Moses, Kenneth Noland, Ad Reinhardt, Ed Ruscha, Frank Stella, and Andy Warhol, among others.
Scope and Content Note:
The Irving Blum Gallery and Ferus Gallery announcements consist of 32 announcements for exhibitions at the Los Angeles Ferus Gallery (1957-1966) and its successor the Irving Blum Gallery (1966-circa 1972). Exhibition announcements are for many exhibitions of southern California contemporary and pop artists, as well as New York artists. Artists represented by announcements include John Altoon, Don Bachardy, Larry Bell, Billy Al Bengston, Robert Irwin, Jasper Johns, Donald Judd, Craig Kauffman, Roy Lichtenstein, Edward Moses, Kenneth Noland, Ad Reinhardt, Ed Ruscha, Frank Stella, and Andy Warhol, among others.

Although these announcements are scattered, they provide insight to and documentation of the southern California LA art scene and the Beat era. The exhibition announcements themselves are quite unique.
Arrangement:
The collection is arranged as 2 series:

Series 1: Ferus Gallery Announcements, 1961-1965 (Box 1; 20 folders)

Series 2: Irving Blum Gallery Announcements, 1969-1972 (Box 1; 12 folders)
Historical Note:
In 1957, Walter Hopps (1932-2005) and Edward Kienholz (1927-1994) opened the contemporary art Ferus Gallery on North La Cienega Boulevard in Los Angeles, California. Kienholz sold his share to Irving Blum (b. 1930) one year later. Hopps left in 1962 to become curator and, later, director of the Pasadena Art Museum. Ferus Gallery closed in 1966 and Irving Blum maintained sole ownership and changed the gallery's name to Irving Blum Gallery.

Ferus Gallery was the first gallery in the Los Angeles area to show contemporary American art, and focused heavily on contemporary Southern California artists, such as John Altoon, Larry Bell, Billy Al Bengston, Wallace Berman, Robert Irwin, Craig Kauffman, Ed Kienholz, Ed Moses, Richard Ruben, among many others. Likewise, Ferus Gallery helped to solidify the reputations of many established New York artists, including Roy Lichtenstein, Jasper Johns, Frank Stella, Richard Diebenkorn, Andy Warhol, and others.

The inaugural exhibition at the Ferus Gallery was "Objects on the New Landscape Demanding of the Eye" (March 15 - April 11, 1957), a group show including the work of Frank Lobdell, Jay DeFeo, Craig Kauffman, Richard Diebenkorn, John Altoon and Clyfford Still. Los Angeles artists who had their first solo shows at the gallery included: Wallace Berman (1957), Billy Al Bengston (1958), Ed Moses (1958), Robert Irwin (1959), John Mason (1959), Kenneth Price (1960), Llyn Foulkes (1962), Larry Bell (1962) and Ed Ruscha (1963).

In 1957 the gallery was temporarily closed after LAPD officers arrested and charged Wallace Berman with obscenity over work in his exhibition. It was his first and last solo show.

In 1962 "Andy Warhol: Campbell's Soup Cans" was Andy Warhol's first solo pop art exhibition and the first exhibition of the Soup Cans. Five of the canvases sold for $100 each, but Blum bought them back to keep the set intact.

Irving Blum designed many of the exhibition announcements for the gallery with a graphic aesthetic.

In 2007, "The Cool School" was released, a documentary film about the Ferus Gallery and its eccentric artists.
Related Material:
Also found at the Archives of American Art is an oral history interview with Irving Blum conducted by Paul Cummings on May 31-June 23, 1977.
Provenance:
Mrs. Rochella Orchard donated the Ferus Gallery and Irving Blum Gallery announcements on February 22, 1979.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Irving Blum Gallery and Ferus Gallery announcements are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Citation:
Irving Blum Gallery and Ferus Gallery and announcements, 1961-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.irviblum
See more items in:
Irving Blum Gallery and Ferus Gallery announcements
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-irviblum
Online Media:

Nicholas Wilder Gallery records

Creator:
Nicholas Wilder Gallery  Search this
Names:
James Corcoran Gallery  Search this
Altoon, John, 1925-  Search this
Avedisian, Edward, 1936-2007  Search this
Bengston, Billy Al  Search this
Davis, Ron, 1937-  Search this
Francis, Sam, 1923-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goode, Joe, 1937-  Search this
Graham, Robert, 1938-  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Holland, Tom, 1936-  Search this
Martin, Agnes, 1912-2004  Search this
McCracken, John, 1934-2011  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Noland, Kenneth, 1924-  Search this
Olitski, Jules, 1922-  Search this
Price, Kenneth, 1935-2012  Search this
Twombly, Cy, 1928-  Search this
Wilder, Nicholas  Search this
Yokomi, Richard  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1944-1984
bulk 1968-1979
Summary:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968-1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards, photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.
Scope and Content Note:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968 to 1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards (the bulk of the collection), photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.

The majority of records date from the period after the gallery moved to La Cienega Boulevard to Santa Monica Boulevard in Los Angeles, California. Very few records pertaining to specific exhibitions or openings are included in this collection. However, there is one exhibition catalog and scattered gallery invitations which were used as scrap paper. Other materials include business records that contain financial materials and notes. Printed Materials contain popular newspapers and magazines that reflect Wilder's interests, invitations to other galleries, auction catalogs, and business cards. Correspondence includes scattered gallery correspondence, Wilder's personal correspondence and documents, and holiday cards.

The bulk of the collection consists of artist files which include inventory cards and transparencies of works of art. Information on the inventory cards and transparencies may specify: date of creation, date of accession, potential collectors, purchase records, and titles. Notable artists include: Joe Goode, Tom Holland, Robert Graham, Billy Al Bengston, Cy Twombly, Ken Price, Ed Moses, Ron Davis, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Agnes Martin, Edward Avedisian, John Altoon, Richard Yokomi, Sam Francis, Bruce Nauman, Hans Hofmann, and David Hockney. The majority of inventory cards reflect business at the gallery in the mid-late 1970s.

Financial records originating from the James Corcoran Gallery are included in this collection. The relationship between the two establishments is unclear although it seems that the James Corcoran Gallery moved into the space previously occupied by the Nicholas Wilder Gallery.
Arrangement:
The collection is arranged into four series:

Series 1: Business Records, 1968-1978, 1980-1984, circa 1970s (Box 1; 5 folders)

Series 2: Correspondence, 1974-1981, circa 1970s (Box 1; 4 folders)

Series 3: Printed Material, 1976-1980, circa 1970s (Box 1; 9 folders)

Series 4: Artist Files, 1944-1984, circa 1960s-1970s (Box 1-3; 2 linear feet)
Historical Note:
In April 1965, Nicholas Wilder (1937-1989) founded his contemporary art gallery at 814 North La Cienega Boulevard in Los Angeles, California. His interest in art started at Amherst College where he worked for the art department as a slide technician. While in graduate school at Stanford University, he worked at the Lanyon Gallery in Palo Alto, California. An initial offer of financial backing to open a gallery inspired a move to Los Angeles. Although that offer fell through, Wilder remained determined. In late 1964, Wilder sold shares of his future gallery to friends in order to secure funds. He bought the shares back shortly after opening.

The Nicholas Wilder Gallery's first show featured Edward Avedisian. The gallery expanded and featured artists from New York and California, including: Joe Goode, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Cy Twombly, Ed Moses, Ken Price, Agnes Martin, John Altoon, Sam Francis, Billy Al Bengston, and Hans Hofmann. The gallery helped start the careers of American artists such as Robert Graham, Tom Holland, Ron Davis, and Bruce Nauman. In 1970, the gallery moved to 8225 ½ Santa Monica Boulevard. Through its fourteen years of operation, the gallery held a new show every month. Wilder's openings represented a large source of pride and he ensured that every opening reception included a stocked bar for his clients.

Initially, the gallery succeeded through Wilder's talents and passion for art. At its peak, the Nicholas Wilder Gallery sold two million dollars worth of art per year. However, in the mid-1970s a change in attitude within the art world affected sales. According to Wilder, many artists no longer painted for expression but as a viable business venture. Furthermore, he claimed that buyers would not risk collecting works from a younger or less well-known artist. In addition to these factors, Wilder attributed the decline of his gallery to his extravagance and lack of business sensibilities. Eventually, the gallery faced financial problems and Wilder recognized the need to leave the business.

The Nicholas Wilder Gallery closed on December 31, 1979. Wilder informed his employees that he would close a year in advance and ensured that all of his artists found a new gallery for representation. He moved to New York after leaving his gallery and became an artist. Nicholas Wilder passed away in 1989 from AIDS-related causes.
Related Material:
Also found in the Archives of American Art is an oral history interview with Nicholas Wilder conducted by Ruth Bowman on July 18, 1988.

Nicholas Wilder Gallery records, 1927-1980, are also located at the Getty Research Institute.
Provenance:
The Nicholas Wilder Gallery records were donated to the Archives of American Art in 1998 by Matthew Curtis Klebaum, a friend of Wilder's and a former employee of the James Corcoran Gallery.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Nicholas Wilder Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Art dealers -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Citation:
Nicholas Wilder Gallery records, 1944-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nichwild
See more items in:
Nicholas Wilder Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nichwild
Online Media:

Kanst Art Gallery records relating to Lillian Genth

Creator:
Kanst Art Gallery (Los Angeles, Calif.)  Search this
Names:
Genth, Lillian Mathilde, 1876-1953  Search this
Kanst, J. F.  Search this
Extent:
25 Items
Type:
Collection descriptions
Archival materials
Date:
1927-1930
Scope and Contents:
Correspondence between painter Lillian Genth and dealer J.F. Kanst, of the Kanst Art Gallery, Los Angeles, Calif., 1927-1928, including 9 letters and 2 telegrams from Genth to Kanst concerning her paintings on consignment at the Kanst Art Gallery, 4 carbons of letters from Kanst to Genth, and sales and shipping records. Also included ia a letter from Genth to Miss Orwig, May 29, 1930, concerning the shipment of a painting and a portrait of Genthe by Wayman Adam.
Biographical / Historical:
Art gallery, Los Angeles, Calif., also used name Kanst Art Galleries. Genth was a painter, New York, N.Y.
Provenance:
Transferred from the Library of the National Museum of Art, 1991.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Function:
Art galleries, Commercial -- California -- Los Angeles
Identifier:
AAA.kansart
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kansart

Oral history interview with Rosamund Felsen

Interviewee:
Felsen, Rosamund, 1934-  Search this
Interviewer:
Ayres, Anne, 1936-  Search this
Extent:
5 Sound discs (Sound recording, master (5 hrs.), digital, 2 5/8 in.)
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound discs
Pages
Sound recordings
Interviews
Date:
2004 Oct. 10-11
Scope and Contents:
An interview of Rosamund Felsen conducted 2004 October 10-11, by Anne Ayres, for the Archives of American Art, in Los Angeles, Calif.
Felsen discusses developing her gallery's stable of artists; forming a creative consciousness while working at Gemini GEL and being involved in high school theater; being unable to start a career because of the demand of raising four children; the influences of her older siblings; her marriages to Vern Hinderer and Sidney Felsen; engaging in the nascent 1960s Los Angeles art world; the founding of Gemini GEL with her husband, Sidney, and Stanley and Elyse Grinstein; her involvement with "political" artists like Jeffrey Vallance; working in the now defunct Pasadena Art Museum; that museum's downfall; starting a gallery with Timothea Stewart; her thoughts on other Los Angeles galleries of the 1970s; the influence of the Beatnik movement on L.A. art; the financial difficulties of exhibiting conceptual art; and the importance of art schools in forming a regional art scene. Felsen also mentions her ambivalent opinions of Feminist art; the exodus of a major portion of her gallery's artists; the importance of lawyers aiding artists; the characteristics of retrospective exhibitions on the Los Angeles art world; the differences between high art and design; her relationships with various collectors; socializing in the L.A. art world; the definitions of the terms "art world" and "taste"; the public's restricted access, because of admission prices and tastes, to contemporary art; how she splits funds after selling an artwork; the problems of dealing with artist's estates; the importance of her relationships with museum curators; and how she still retains enthusiasm for her work. Felsen also recalls Patrick Hogan, Lari Pittman, Michael Kelley, Man Ray, Tom Hanks, Jeffrey Vallance, Thomas Kincade, Laura Owens, Meg Cranston, Keith Sklar, Ralph Rugoff, Tim Ebner, Virginia Dwan, George Wanlass, and others.
Biographical / Historical:
Rosamund Felsen (1934- ) is a gallery owner in Los Angeles, Calif. Anne Ayres (1936- ) is a curator from Los Angeles, Calif.
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.
Topic:
Art -- Economic aspects  Search this
Art -- Political aspects  Search this
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.felsen04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-felsen04

Oral history interview with Nicholas Wilder

Interviewee:
Wilder, Nicholas  Search this
Interviewer:
Bowman, Ruth, 1923-  Search this
Names:
Artforum  Search this
Lanyon Art Gallery  Search this
Nicholas Wilder Gallery  Search this
Extent:
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1988 July 18
Scope and Contents:
An interview of Nicholas Wilder conducted 1988 July 18, by Ruth Bowman, for the Archives of American Art.
Wilder discusses his education; working for the Lanyon Art Gallery near San Francisco; opening the Nicholas Wilder Gallery in Los Angeles in 1965 and operating it until it closed in 1979; the Los Angeles art scene in the 60s and how it has changed; Charlie Cowles and the founding of ARTFORUM magazine; and artists his gallery handled including Bruce Nauman, Joe Goode and Tom Holland.
Biographical / Historical:
Nicholas Wilder (1937 or 1938-1989) was an art dealer and painter in Los Angeles, California and New York, N.Y.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 36 min.
Provenance:
These interviews are 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.
Topic:
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Art dealers -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilder88
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wilder88

Oral history interview with Manny Silverman

Interviewee:
Silverman, Manny  Search this
Interviewer:
Ayres, Anne, 1936-  Search this
Names:
Ernest Raboff Gallery  Search this
Johnson, Ray, 1927-1995  Search this
Tuchman, Maurice  Search this
Extent:
47 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 December 10-11
Scope and Contents:
An interview of Manny Silverman conducted 2004 December 10-11, by Ann Ayres, for the Archives of American Art, in Los Angeles, California.
Silverman discusses his Russo-Jewish parents and his childhood as an only child in Los Angeles; working as a social worker before starting at the Ernest Raboff Gallery as a research assistant; starting Art Services with Jerry Solomon; opening his own gallery on La Cienega Boulevard; his LA dealer contemporaries; moving his gallery to Almont Drive; Maurice Tuchman's exhibitions at LACMA; the critic's denigration of younger Abstract Expressionists; and ideas on how artists are influenced by other artists. Silverman also mentions the political aspects of museums; his tastes in assemblage artworks; becoming involved in the Ray Johnson estate and how he handles the estates of the deceased artists he displays; his belief in the precedence of the artist's creation, not the ideas leading to the work; his anti-intellectual view of his profession; the positives and negatives of running a gallery with a narrow focus on Abstract Expressionism; the importance of classical art training, even for unconventional artists; the painting habits of certain Abstract Expressionists; Sam Francis's poster for George McGovern's 1972 presidential campaign; his thoughts on various LA-based curators; the role of his wife in his gallery; his perceived overemphasis on the 1960s LA art scene; and society's values in regards to artwork. Silverman also recalls Paul Schimmel, Paul McCarthy, Rudi Gernreich, Philip Guston, Edward Dugmore, Klaus Kurtess, Paul Kantor, Joan Mitchell, Nicholas Wilder, Gerhard Richter, David Stuart, Shaun Regan, Al Ruppersberg, Russell Ferguson, and others.
Biographical / Historical:
Interviewee Manny Silverman (1941- ) is an art dealer from Los Angeles, California. Anne Ayres (1936- ) is a curator from Los Angeles, California.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 37 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.
Topic:
Curators -- California -- Los Angeles  Search this
Art -- Economic aspects  Search this
Abstract expressionism  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.silver04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-silver04

Oral history interview with Tobey C. Moss

Interviewee:
Moss, Tobey C., 1928-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Extent:
4 Items (sound files (2 hrs., 32 min.), digital, wav)
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2013 September 12
Scope and Contents:
An interview of Tobey C. Moss, conducted 2013 September 12, by Hunter Drohojowska-Philp, for the Archives of American Art at Moss' Gallery in Los Angeles, California.
Moss speaks of growing up in Chicago and moving to Los Angeles to attend UCLA; meeting and marrying her husband, Allen; serving as docent at the LA County Museum of Art; working for Zeitlin & Ver Brugge and then later Stephen White Gallery of Photography; opening her art gallery, Tobey C. Moss Gallery in 1979; her connection and relationships to many of the artists she displayed in her gallery.
Biographical / Historical:
Interviewee Tobey C. Moss (1928- ) is an art dealer in Los Angeles, California. Interviewer Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
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.
Topic:
Gallery directors -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.moss13
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moss13

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