The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
Quotes and excerpts must be cited as follows: Oral history interview with Helen Pashgian, 2012 July 11. Archives of American Art, Smithsonian Institution.
The A. Alfred Taubman papers measure 14.0 linear feet and date from circa 1964-2014. The majority of the collection documents Taubman's extensive art collection, which included works from many different time periods of European and American Art. The collection includes files for each individual work, including works donated or sold at various points. Files include correspondence, sales invoices and receipts, shipping documents, framing and conservation documents, loan agreements, printed materials, and photographic materials.
Additional material lent for microfilming on reel 1159 in 1976 includes subject files on ten sculptors from whom Taubman purchased sculpture for his company the Taubman Co. Files contain photographs of the artists' works; letters; a sketch; and four exhibition catalogs. Artists include Michelangelo Buonarrotti, Robert Cook, Aaronel de Roy Gruber, David Hayes, Milton Hebald, Wolf Kahn, Joseph Anthony McDonnell, M. Antoine Poncet, Paul von Ringelheim, and Francois Stahly.
Biographical / Historical:
A. Alfred Taubman (1924-2015) was a businessperson, collector, and philanthropist in Bloomfield Hills, Michigan.
Provenance:
A small portion of the papers were lent for microfilming in 1976 by A. Alfred Taubman. The bulk of the papers was donated in 2023 by the A. Alfred Taubman Restated Revocable Trust via William S. Taubman, Trustee.
Restrictions:
This collection is temporarily closed to researchers. 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.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Files kept by Smith on sculptors whom he contacted to do sculptures for his employer, the Taubman Company, Southfield, Mich. Files contain photographs, correspondence, some exhibition catalogs, and a few chronologies. Sculptors represented include Bruce Beasley, William Crutchfield, Josefa Filkosky, Richard Lippold, Jim Pallas, Buky Schwartz, Ernest Trova, Wen-Ying Tsai, and DeWain Valentine.
Biographical / Historical:
Architect; Southfield, Mich.
Provenance:
Lent for microfilming 1976 by James B. Smith.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."
The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.
Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.
Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.
Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.
Missing Title
Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)
Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)
Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)
Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)
Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)
Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)
Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.
Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.
Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.
Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- California -- San Francisco Search this
Art historians -- California -- San Francisco Search this
Authors -- California -- San Francisco Search this
Records related to a published catalog of the corporate art collection of Pacific Enterprises include galleys of artist biographies as they appeared in the book, a typescript glossary of terms related to artworks in the collection, and nine sound cassettes (microcassettes) containing artist interviews conducted by Michael Karp. Microcassettes have poor sound quality, and the artists being interviewed are not named or consistently identified in cassette labels. Those who have been identified are listed in the folder listing, below, in the order in which their interviews occur on the cassette. Interviews tend to be around 20 minutes in duration.
Artist files generally contain typescript artist biographies, resumes obtained from galleries or from the artist, photocopies of clippings and articles related to the artist, and sometimes contain exhibition printed material and photographs of artwork. Most of the biographies were written by Micahel Karp, but a few were written by Butterfield, including biographies for Arleo, Breschi, Ruth Duckworth, Kenneth Ferguson, David Gilhooly, Tom Marioni, Richard Shaw, Inez Storer, and Peter Voulkos. Note that files do not exist for every artist that was included in the Pacific Enterprises Catalog.
Arrangement:
Additional artist files maintained by Jan Butterfield can be found in the writings series under Publicity Writings when they contain writings produced by Butterfield for the artist, in the Personal Business Records series under Correspondence when they contain correspondence between Butterfield and the artist. Additional artist files containing only reproductions of artwork are found in the Photographs series.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.
An interview of Helen Pashgian conducted 2012 July 11, by Hunter Drohojowska-Philp, for the Archives of American Art, at Pashgian's studio, in Pasadena, California.
Pashgian speaks of her parents and their backgrounds; her father's businesses; her grandparents; the influence of great grandmother; her brother; attending grade and high school; attending Pomona College; swimming and athletics; spending time at the beach; the influence of light on water; art classes; learning to look at art; attending Pomona; teaching; living in New York and Boston; working at an advertising firm as a secretary; attending graduate school; working for the Fogg Museum; quitting teaching and moving back to California; experimenting with glazes; California light; La Cienega; taking her work to galleries to try to get a show; Rex Evans; Felix Landau; being a woman artist; meeting Mia Farrow; experimenting with resin; hemispheres; support of parents; Caltech; Nicholas Tschoegl; Jet Propulsion Lab; Great Sphere; stolen art; Jack Brogan; working in resin; Jack Brogan; James Turrell and growing up in California; Balboa Island summer camp; meeting Judy Chicago; being a woman artist; Laguna Beach; Crystal Cove; 'finish fetish"; color field painters; California artists showing in New York; Jill Kornblee Gallery; spheres; Phenomenal exhibition; Baroque period; show at UC Irvine; corporate art collections; plastics technology; working with companies and engineers; epoxy company in Visalia; plastic work; Works Gallery; the early '90s in Southern California; hiatus; working with a fabricator; Pomona College board; L.A. Master Chorale; father's health and growing old; Ace Gallery; new work. Pashgian also recalls Seymour Slive, Vincent Scully, HelenGretchen Van de Kamp, Christopher Ward, Larry Gagosian, DeWain Valentine, Richard Diebenkorn, Roger Kuntz, Peter Alexander, Dave Elder, Bob Bassler, Richard Feynman, Larry Bell, Frank Gehry, Robert Irwin, Mary Corse, Archie Turrell, Miriam Schapiro, Elizabeth Elgin, Brooke Alexander, Wayne Thiebaud, Roger Kuntz, Helen Frankenthaler, Ellsworth Kelly, Nicholas Wilder Gallery, Donald Judd, Melinda Wortz, Robert Morris, Richard Serra, Dan Flavin, Leo Castelli, Jill Kornblee, Phyllis Plous, Melinda Terbell, Stella Polaris Gallery, Mark Moore, Lance Willis, Kettleman Hills, Michael Govan, and others.
Biographical / Historical:
Helen Pashgian (1934- ) is a sculptor in Pasadena, California. Hunter Drohojowska-Philp is a writer and art historian in Los Angeles, California.
General:
Originally recorded as 4 digital wav files. Duration is 3 hr., 11 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:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Primarily research material compiled by Schriever for his work on art of the American West, Southwest and by American Indians. Included are papers relating to his efforts to publish writings and purchase work by Emil Bisttram.
Papers relating to Bisttram include: correspondence with Mayrion Bisttram; notes; typescript of Bisttram's "The Creative Process in the New Age" annotated by Schriever; lists of paintings to be reproduced; a clipping on Bisttram, 1984; a catalog for a Bisttram exhibition at the George Nix Gallery, Colorado Springs, Colo., 1973; and a color snapshot of a work by Bisttram.
ADDITION: Files of research material, primarily photocopies, on exhibitions and artists, containing clippings, catalogs, and some correspondence.
Biographical / Historical:
Collector, curator; New York, N.Y. and Denver, Colo. Curator for the Anshutz Corporation art collection.
Provenance:
Donated 1985 and 1990 by George Schriever.
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.
Correspondence, 1963-1980, exhibition records, 1966-1968, and photographs.
Biographical / Historical:
Art center, Los Angeles, Calif., adjoining the headquarters of Lytton Savings and Loan Association from 1961 to 1969. Exhibited emerging California art and artists (among them Bruce Conner, Robert Cremean, Claire Falkenstein, William T. Wiley, Jack Zajac) and was one of the earliest corporate art programs in the U.S.
Provenance:
Donated 1995 by Josine Ianco-Starrels, curator-director of the Lytton Center in the 1960s.
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.
