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Workers at the White House

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
For nearly two centuries, from the time of John Adams to the Festival program in 1992, the White House had been the home of American presidents. A powerful national symbol, it was a uniquely private and public place - at once a family residence, a seat of government, a ceremonial center, and an historic building and museum.

Over the years, hundreds of people worked behind the scenes to make the White House function, preparing family meals, serving elaborate State Dinners, polishing floors, tending the grounds, and welcoming visitors. In 1992, a household staff of 96 full-time domestic and maintenance employees - including butlers, maids, engineers, housemen, chefs, electricians, florists, ushers, doormen, carpenters, and plumbers - worked together under one roof to operate, maintain, and preserve the 132-room Executive Mansion.

In celebration of the 200th anniversary of the White House, the "Workers at the White House" program explored the skills and folklife of former White House workers - their occupational techniques, customs, values, experiences, and codes of behavior. It examined the distinctive ways in which the White House, as a unique occupational setting, shaped work experience. The living memory and first-hand experiences of the workers participating in the program spanned almost a century, and fifteen presidential administrations, from the presidency of William Taft to that of George H.W. Bush. Several had worked at the White House for over three decades, serving as many as ten first families. At the Festival, White House workers came together to share their life and work with the public. Through their stories, values, and experiences, they added a rich, human perspective to the historical record of a national institution.

Marjorie Hunt was Curator and Ann Dancy was Program Coordinator. Workers at the White House was made possible through the collaboration of the White House Historical Association which received funding from the National Endowment for the Humanities, and the support of the Johnson Foundation (Trust) and the Smithsonian Institution Special Exhibition Fund.
Fieldworkers:
Marjorie Hunt, Ann Dancy, Liesl Dees
Presenters:
Marjorie Hunt, Tim Lloyd, Worth Long
Participants:
Eugene Allen, 1919-2010, head butler, maitre d', Washington, D.C.

Mary Anderson, pantry worker, Hillcrest Heights, Maryland

Russell Armentrout, 1929-, head, Social Entertainment Office, Silver Spring, Maryland

Alphadine Arrington, 1925-, records and documentation, Gift Unit, Myrtle Beach, South Carolina

Bonner Arrington, 1922-, carpenter foreman, Myrtle Beach, South Carolina

Howard Arrington, 1927-2007, plumbing foreman, Edgewater, Maryland

Armstead Barnett, 1912-2003, butler, Washington, D.C.

Gerald Behn, 1916-1993, Secret Service agent, McLean, Virginia

William Bowen, 1919-, part-time butler, Washington, D.C.

Preston Bruce, 1908-1995, doorman, Washington, D.C.

Kenneth Burke, 1908-2000, inspector, White House Police, Bradenton, Florida

Sean Callahan, 1965-, stone cutter and carver, Silver Spring, Maryland

Peter "Billy" Cleland, 1921-2010, stone mason, Clinton, Maryland

Raymond Cleland, 1967-, stone cutter and carver, North Beach, Maryland

J. Woodson Ficklin, -2009, houseman, Largo, Maryland

John Wrory Ficklin, part-time pantry-man, Bowie, Maryland

Samuel Ficklin, 1923-2000, part-time butler, Washington, D.C.

Alonzo Fields, chief butler, maitre d', Medford, Massachusetts

Sanford Fox, head, Social Entertainment Office, Alexandria, Virginia

Russell Free, 1924-2000, engineer, Arlington, Virginia

Arthur Godfrey, 1921-2002, Secret Service agent, Temple Hills, Maryland

Henry Haller, executive chef, Potomac, Maryland

Robert Harmon, 1920-1999, part-time butler, Washington, D.C.

Benjamin Harrison, 1917-2003, houseman, Washington, D.C.

James Jeffries, Sr., part-time butler, Washington, D.C.

James Jeffries, Jr., part-time butler, Washington, D.C.

John H. Johnson, 1924-2004, butler, Washington, D.C.

James R. Ketchum, 1939-, curator, Washington, D.C.

Flossie Malachi, pantry worker, Washington, D.C.

Lillian Rogers Parks, seamstress, maid, Washington, D.C.

Nelson Pierce, 1925-, assistant usher, Arlington, Virginia

Patrick Plunkett, 1947-, stone cutter and carver, Takoma Park, Maryland

David Roberts, 1960-, stone cutter and carver, Rockville, Maryland

William F. Ruback, 1933-, assistant horticulturalist, South Bethany, Delaware

Lewis M. Simmons, 1932-, chief engineer, Myrtle Beach, South Carolina

William Stephenson, 1915-1999, part-time butler, Washington, D.C.

Philip Uhl, 1963-, stone cutter and carver, Silver Spring, Maryland

Norwood Williams, 1928-2003, mail messenger, part-time butler, Washington, D.C.

Elmer "Rusty" Young, 1925-1994, chief floral designer, Williamsburg, Virginia
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1992, Series 5
See more items in:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d0ba4da8-41a2-45ab-8aa3-c52571093308
EDAN-URL:
ead_component:sova-cfch-sff-1992-ref42

Oral history interview with Evangeline J. Montgomery

Interviewee:
Montgomery, Evangeline J.  Search this
Interviewer:
Elliott, Claude L.  Search this
Extent:
25 Items (WAV files (3 hours., 16 min.), digital, wav )
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
2021 June 15 - December 7
Scope and Contents:
An interview with Evangeline J. Montgomery conducted 2021 June 15-December 7, by Claude L. Elliott for the Archives of American Art, at Montgomery's home at the Hebrew Home of Greater Washington in Rockville, MD.
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C. Montgomery has advocated for racial justice and public equity across media. She is especially known for her metallurgical works and abstract lithographs as well as her work with the US State Department to foster arts education domestically and abroad.
Related Materials:
The Archives also holds the papers of Evangeline J. Montgomery.
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 open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Washington (D.C.)  Search this
Metal-workers -- Washington (D.C.)  Search this
Printmakers -- Washington (D.C.)  Search this
Topic:
African American artists  Search this
Women artists  Search this
African American printmakers  Search this
Women printmakers  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.montgo21
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c3bea9e1-6d68-40a2-a6c7-7907d601b25e
EDAN-URL:
ead_collection:sova-aaa-montgo21

Oral history interview with David Driskell

Interviewee:
Driskell, David C.  Search this
Interviewer:
Mills, Cynthia, 1947-2014  Search this
Extent:
73 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 March 18-April 7
Scope and Contents:
An interview of David C. Driskell conducted 2009 March 18-April 7, by Cynthia Mills, for the Archives of American Art, at Driskell's home, in Hyattsville, Maryland.
Biographical / Historical:
David C. Driskell (1931-2020) was a painter, curator, and educator in Washington, D.C. Cynthia Mills (1947-2014) was an art historian in Washington, D.C.
General:
Originally recorded as 7 sound files. Duration is 5 hr., 7 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.
Occupation:
Painters -- Washington (D.C.)  Search this
Museum curators -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Topic:
African American art -- African influences  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American art museum curators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.driske09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92931580a-9cd4-47a7-918e-e2501da724c4
EDAN-URL:
ead_collection:sova-aaa-driske09
Online Media:

Oral history interview with Charles Parkhurst

Interviewee:
Parkhurst, Charles  Search this
Interviewer:
Pennington, Estill Curtis  Search this
Extent:
16 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 October 27
Scope and Contents:
An interview of Charles Parkhurst conducted 1982 October 27, by Buck Pennington, for the Archives of American Art.
Biographical / Historical:
Charles Parkhurst (1913-2008) was an art administrator and curator in Washington, D.C.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 27 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art, American  Search this
Arts administrators -- Washington (D.C.) -- Interviews  Search this
Curators -- Washington (D.C.) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.parkhu82
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c8116b11-d616-4b9e-97f8-bfc9728d97a9
EDAN-URL:
ead_collection:sova-aaa-parkhu82
Online Media:

Oral history interview with Charles Parkhurst, 1982 October 27

Interviewee:
Parkhurst, Charles Percy, 1913-2008  Search this
Parkhurst, Charles Percy, 1913-2008  Search this
Interviewer:
Pennington, Estill Curtis  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Arts administrators -- Washington (D.C.) -- Interviews  Search this
Curators -- Washington (D.C.) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13100
(DSI-AAA_SIRISBib)212968
AAA_collcode_parkhu82
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212968
Online Media:

Oral history interview with Michael W. Monroe, 2018 January 22-March 1

Interviewee:
Monroe, Michael W., 1940-  Search this
Monroe, Michael W., 1940-  Search this
Interviewer:
Herman, Lloyd E., 1936-  Search this
Subject:
Bellevue Art Museum (Wash.)  Search this
Smithsonian American Art Museum. Renwick Gallery  Search this
Type:
Interviews
Sound recordings
Topic:
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Arts administrators -- Washington (D.C.) -- Interviews  Search this
Arts -- Management  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Curators -- Washington (D.C.) -- Interviews  Search this
Curators -- Washington (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17549
(DSI-AAA_SIRISBib)393144
AAA_collcode_monroe18
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_393144
Online Media:

Carolyn Kinder Carr papers, 1969-1973

Creator:
Carr, Carolyn Kinder  Search this
Carr, Carolyn Kinder  Search this
Topic:
Women museum curators  Search this
Women art critics  Search this
Art criticism  Search this
Theme:
Art Theory and Historiography  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)13358
(DSI-AAA_SIRISBib)254305
AAA_collcode_carrcaro
Theme:
Art Theory and Historiography
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_254305

Joe Shannon papers, circa 1980-2005

Creator:
Shannon, Joe, 1933-  Search this
Shannon, Joe, 1933-  Search this
Subject:
Fisher, Sandra  Search this
Arikha, Avigdor  Search this
Soyer, Raphael  Search this
Lerner, Abram  Search this
Kitaj, R. B.  Search this
Alvarado-Juárez, Francisco  Search this
McIlvain, Isabel  Search this
Topic:
Curators -- Washington (D.C.)  Search this
Record number:
(DSI-AAA_CollID)13694
(DSI-AAA_SIRISBib)276357
AAA_collcode_shanjoe
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_276357

James M. Goode papers, 1858-1982

Creator:
Goode, James M., 1939-  Search this
Goode, James M., 1939-  Search this
Subject:
Millet, Francis Davis  Search this
Amateis, Edmond Romulus  Search this
Topic:
Painting, Modern -- 19th century -- United States  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Curators -- Washington (D.C.)  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8981
(DSI-AAA_SIRISBib)211168
AAA_collcode_goodjame
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211168

Lynda Roscoe Hartigan research material on Perkins Harnly, 1979-1984

Creator:
Hartigan, Lynda Roscoe  Search this
Hartigan, Lynda Roscoe  Search this
Subject:
Harnly, Perkins  Search this
Index of American Design  Search this
National Museum of American Art (U.S.)  Search this
Type:
Interviews
Topic:
Interior decoration  Search this
Theme:
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)9825
(DSI-AAA_SIRISBib)212285
AAA_collcode_hartlynd
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212285

Oral history interview with Alice Denney, 1976 May 13

Creator:
Denney, Alice, 1922-  Search this
Hopps, Walter, 1932-  Search this
Denney, Alice, 1922-  Search this
Subject:
Rauschenberg, Robert  Search this
Type:
Sound recordings
Interviews
Topic:
Curators -- Washington (D.C.) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)9931
(DSI-AAA_SIRISBib)212478
AAA_collcode_dennalic
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212478

Eleanor Green letters, 1967-1968

Creator:
Green, Eleanor, 1929-  Search this
Green, Eleanor, 1929-  Search this
Subject:
Nordland, Gerald  Search this
Still, Clyfford  Search this
Di Suvero, Mark  Search this
Newman, Barnett  Search this
Topic:
Curators -- Washington (D.C.)  Search this
Women art historians  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)5716
(DSI-AAA_SIRISBib)208554
AAA_collcode_greeelea
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208554

Jacob Kainen papers

Creator:
Kainen, Jacob  Search this
Kainen, Ruth Cole.  Search this
Names:
Addison Gallery of American Art  Search this
Australian National Gallery  Search this
Baltimore Museum of Art  Search this
British Museum  Search this
Brooklyn Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran School of Art (Washington, D.C.)  Search this
Middendorf Gallery  Search this
National Gallery of Art (U.S.)  Search this
Smithsonian American Art Museum  Search this
Acton, David, 1953-  Search this
Agee, William C.  Search this
Berman, Avis  Search this
Broun, Elizabeth  Search this
Butler, Bryce  Search this
Cole, Phoebe  Search this
Fine, Ruth, 1941-  Search this
Fort Wayne Museum of Art  Search this
Frohlich, Newton, 1936-  Search this
Gilkey, Gordon  Search this
Gorky, Arshile, 1904-1948  Search this
Halasz, Piri  Search this
Harrison, Carol  Search this
Holden, Donald  Search this
Holladay, Wilhelmina Cole, 1922-  Search this
Hopps, Walter  Search this
Jackson, John Baptist, 1701-1780?  Search this
Jordon, Jim  Search this
Kalonyme, Louis  Search this
Lunn, Harry, 1933-1998  Search this
Morse, Peter  Search this
Nordland, Gerald  Search this
O'Connor, Francis V.  Search this
Pollack, Jerome  Search this
Powell, Richard J., 1953-  Search this
Purcell, Ann  Search this
Rand, Harry  Search this
Reynolds, Jock  Search this
Ries, Martin, 1926-  Search this
Solman, Joseph, 1909-2008  Search this
Steinberg, Leo  Search this
Taylor, Joshua Charles, 1917-  Search this
Taylor, Prentiss, 1907-1991  Search this
Tejera, V. ((Victorino))  Search this
Thornton, Valerie  Search this
Weber, Joanne  Search this
Extent:
33.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Transcripts
Videotapes
Visitors' books
Lectures
Prints
Greeting cards
Interviews
Scrapbooks
Date:
1905-2009
bulk 1940-2001
Summary:
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diaries, calendars, inventories, interview transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.
Scope and Content Note:
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diary and journal entries, calendars, inventories, interview and "dialog" transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.

Biographical materials include items concerning Kainen's career as a curator and artist, in addition to a useful bibliography, detailed biographical outline, and a copy of an FBI report compiled on him. Also included are five videocassette recordings of Kainen.

Alphabetical correspondence/subject files comprise the bulk of the collection and include both Jacob's and Ruth's correspondence with family, friends, colleagues, artists, art critics, curators, museums, arts organizations, galleries, and many others. There is a significant amount of correspondence with David Acton, the Addison Gallery of Art and Jock Reynolds, William Agee, Australian National Gallery, Baltimore Museum of Art, Avis Berman, the British Museum, Brooklyn Museum, Elizabeth Broun and the Smithsonian American Art Museum, Bryce Butler, Pheobe Cole, the Corcoran Gallery and School of Art, Richard Field, Ruth Fine, Fort Wayne Museum of Art, Newton Frohlich, Gordon Gilkey and the Pacific Northwest College of Art, Arshile Gorky, Piri Halesz, Carol Harrison, Donald Holden, Wilhelmina Holladay, John Baptist Jackson, Jim Jordon, Lou Kantor, Harry Lunn Jr., Middendorf Gallery, National Gallery of Art, Peter Morse, Gerald Nordland, Francis O'Connor, Jerome Pollack, Richard Powell, Ann Purcell, Harry Rand, Martin Ries, Joseph Solman, Leo Steinberg, Prentiss Taylor, Victorino Tejera, Valerie Thornton, Joanne Weber, and numerous family members.

Writings are by and about Jacob Kainen. Kainen's writings include articles, lectures, exhibition catalog essays, notes, travel notebooks, short stories, poems, and written statements about his artistic motivations and justifications. There are writings about Kainen by Avis Berman, Ruth Cole Kainen, and others. The bulk of the numerous diary entries are from Ruth Cole Kainen's diaries, many of which concern Jacob and their family. There are also annotated and revised diary entries. There is one folder of diary entries and one folder of journal entries by Jacob Kainen and two dismantled journal-like notebooks. The papers include daily calendars and travel itineraries from 1972 through 2001.

The papers include transcripts of formal interviews and informal conversations with Jacob Kainen. Transcripts are of informal dinner, telephone, and general conversations between friends, colleagues, artists, and Ruth Cole Kainen. Included are conversations with Avis Berman, Walter Hopps, Harry Rand, Joshua Taylor, and several others. Many of these transcripts were also annnotated by Jacob and Ruth Kainen. Also found are numerous transcripts of more formal interviews with Kainen by art historians, art critics, and students.

There are inventories, appraisals, and lists of sold and not sold paintings, as well as color photographs of some of Kainen's works of art. Also found are inventories of the Kainens' art collection. Printed materials include Kainen's exhibition catalogs and announcements, clippings of articles by and about Jacob Kainen, and an exhibition guestbook.

Photographs are of Kainen with his family and friends, at exhibition openings, and working in his studios. Works of art by others includes handmade greeting cards, limited edition prints, and portfolios given to Jacob Kainen. Nine scrapbooks containing news clippings and exhibition publications document the entirety of Kainen's career as an artist.
Arrangement:
The Jacob Kainen papers are arranged into 11 series.

Missing Title

Series 1: Biographical Material, 1938-2001 (Boxes 1, 32; 0.8 linear feet)

Series 2: Correspondence/Subject Files, 1936-2003 (Boxes 1-12, 32-33; 11.8 linear feet)

Series 3: Writings, circa 1920s-2002 (Boxes 12-13, 33; 1.6 linear feet)

Series 4: Diaries, circa 1952-2002 (Boxes 13-18, 33-38; 10.0 linear feet)

Series 5: Calendars, 1953-2008 (Boxes 18-20, 38; 1.7 linear feet)

Series 6: Transcripts, circa 1975-1994 (Boxes 20-21, 38; 1.4 linear feet)

Series 7: Inventories, 1927-2001 (Boxes 21-22; 1.0 linear feet)

Series 8: Printed Material, 1938-2003 (Box 22, 38, OV 31; 0.6 linear feet)

Series 9: Photographs, 1905-2000 (Boxes 22-25, 38, OV 31; 3.3 linear feet)

Series 10: Works of Art by Others, 1942-2000 (Boxes 25-26, OV 31; 1.2 linear foot)

Series 11: Scrapbooks, 1936-1998 (Boxes 27-30, 38; 1.3 linear feet)
Biographical Note:
Jacob Kainen (1909-2001) was a painter, printmaker, and curator who worked primarily in Washington, D.C.

Born on December 7, 1909 in Waterbury, Connecticut, Jacob Kainen moved with his family to New York City in 1918. Kainen studied at the Pratt Institute in Brooklyn from 1927 until 1930, and at the Art Student's League. In the early 1930s, Kainen became involved in social causes and formed close friendships with the early abstractionists, including John Graham, Arshile Gorky, and Stuart Davis. He joined the Artists' Union and a contributor to its journal, Art Front, along with Stuart Davis and Harold Rosenberg. Jacob's participation in the Artists' Union was later investigated by the FBI.

From 1935 until 1942, Kainen worked for the Graphic Arts Division of the Works Progress Administration in New York City and began exhibiting with the New York School. It was during this period that he married Bertha Friedman. Jacob and Bertha had two sons together, Dan and Paul, and divorced in 1968.

In 1942, Kainen made a life-changing decision to leave New York City and move to Washington, D.C. to accept what he thought would be a temporary position as a scientific aide in the Division of Graphic Arts at the Smithsonian Institution. Kainen quickly became Assistant Curator and Curator in 1946. He served as Curator for twenty years, completely reshaping the department and building the graphic arts collection. His print exhibitions brought the work of S.W. Hayter, Josef Albers, Adja Yunkers, Louis Lozowick, Karl Schrag, José Guerrero, Louis Schanker, Werner Drewes, and Boris Margo to Washington audiences - graphic work that might not have been shown that early in the area.

1947 marked the opening of the Washington Workshop Center for the Arts, where Kainen served as a teacher and guide to several important artists, helping to make the workshop a magnet for new talent and instrumental in furthering the careers of several artists. Although Kainen taught Gene Davis and Alma Thomas and introduced Morris Louis to Leon Berkowitz, he never considered himself a member of the "Washington Color School."

In 1949, the Corcoran Gallery of Art held a retrospective of Kainen's prints and three years later Kenneth Noland organized Kainen's first painting retrospective at Catholic University. Kainen's paintings from the 1940s illustrated a shift away from social realism toward abstract expressionism. In 1956, Jacob Kainen received a grant from the American Philosophical society to conduct research in Europe for his monograph on the English woodcut artist, John Baptist Jackson. He traveled to Europe again in 1962 to study paintings and prints from the Mannerist Period.

From 1966 until 1970, Kainen worked as the Curator of prints and drawings at the National Collection of Fine Arts (now the Smithsonian American Art Museum). He married Ruth Cole in February of 1969. Kainen retired from the Smithsonian a year later to devote himself full-time to his art, but continued to serve as a special consultant to the Smithsonian American Art Museum for nineteen years. In 1971 and 1972, Kainen taught painting and the history of printmaking at the University of Maryland. A retrospective of Kainen's paintings was held in 1993 at the National Museum of American Art (SAAM).

Throughout his artistic career, Kainen experimented with different mediums and explored different styles, yet he identified himself as a painter. Jacob Kainen participated in at least twenty-five one man shows and several group exhibitions. His works are in collections across the United States and abroad, including the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the British Museum. He worked in his studio up until the time of his death on March 19, 2001 at his home in Chevy Chase, Maryland.
Related Material:
Found among the holdings of the Archives of American Art is an oral history interview of Jacob Kainen conducted by Avis Berman in 1982 for the Archives' "Mark Rothko and His Times" oral history project. Also found are microfilm copies of Bertha Kainen's correspondence with Avis Berman regarding Berman's essay about Jacob Kainen.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 565, 2147-2149, and 2200) including correspondence, writings by Kainen, and papers relating to the Smithsonian Institution Loyalty Board's investigation of Jacob Kainen from 1942-1954. Most, but not all, of the loaned materials were included in later gifts. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Jacob and Ruth Kainen first lent the Archives of American Art material for microfilming from 1973-1981, the bulk of which was included in the later gifts. Papers were then donated in multiple accretions between 1981-2007 by Jacob and Ruth Kainen, and in 2009 from the estate of Ruth Kainen via executor Teresa Covacevich Grana. Also in 2003, eight photographs of Jacob and Ruth Kainen were transferred from the National Portrait Gallery to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Washington (D.C.)  Search this
Curators -- Washington (D.C.)  Search this
Art teachers -- Washington (D.C.)  Search this
Topic:
Painting, Modern -- Washington (D.C.)  Search this
Painting, Abstract -- Washington (D.C.)  Search this
Artists' studios -- Photographs  Search this
Art -- Collectors and collecting -- Washington (D.C.)  Search this
Printmakers -- Washington (D.C.)  Search this
Genre/Form:
Photographs
Diaries
Transcripts
Videotapes
Visitors' books
Lectures
Prints
Greeting cards
Interviews
Scrapbooks
Citation:
Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kainjaco
See more items in:
Jacob Kainen papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974ec158d-d417-4d06-931d-44a4af17ab27
EDAN-URL:
ead_collection:sova-aaa-kainjaco
Online Media:

Oral history interview with Michael W. Monroe

Interviewee:
Monroe, Michael W.  Search this
Creator:
Herman, Lloyd E.  Search this
Names:
Bellevue Art Museum (Wash.)  Search this
Smithsonian American Art Museum. Renwick Gallery  Search this
Extent:
8 Items (sound files (3 hr., 59 min.) Audio, digital, wav)
71 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2018 January 22-March 1
Scope and Contents:
An interview with Michael W. Monroe conducted 2018 January 22-March 1, by Lloyd Herman, for the Archives of American Art, at the home of Michael Monroe and at the home of Lloyd Herman, in Seattle, Washington.
Monroe speaks of his childhood in Racine, Wisconsin; his Danish immigrant community and early exposure to Danish design; early experiences of art-making; his art and teaching education at the University of Wisconsin in Milwaukee; experiences with Midwestern art museums in adolescence and young adulthood; his graduate art education at the Cranbrook Academy of Art; his work as gallery director at SUNY Oneonta in the early 1970s; his approach to evaluating and curating craftwork; his curatorial tenure and close collaboration with Herman at the Renwick Gallery; securing the Renwick's Albert Paley gates; his lifestyle in the Washington, DC area; the American craft movement's shift towards the marketplace, social media, and quick do-it-yourself methods; organizing the "Craft Multiples" traveling exhibition; the beginning of the Renwick's collections policy; organizing "Celebration: A World of Art and Ritual;" organizing the White House Collection of Crafts and its eventual transfer to the Clinton Presidential Library; his continued involvement with the craft world after retirement from the Renwick; his tenure as executive director of the Bellevue Arts Museum; his mentorship of young craft artists; and his sense of the past and future of American crafts. Monroe also recalls Sylvester Jerry, Cherry Barr Jerry, Robert Verizer, Robert Kidd, George Ortman, Julius Schmidt, Richard DeVore, Steve Frykholm, Jon Eric Riis, Arturo Sandoval, Gretchen Bellinger, Bernadette Monroe, Robert Arneson, David Gilhooly, William Harper, Wendell Castle, Françoise Grossen, Claire Zeisler, Sarah Booth Conroy, Sheila Hicks, Dale Chihuly, Arthur Mason, Jane Mason, Betty Ford, Joan Mondale, Rosalynn Carter, Barbara Bush, Hillary Clinton, Paul Gottlieb, Peter Joseph, Matthew Kangas, Mark Haley, Nora Atkinson, and others. Herman recalls Susan Mellon, Joshua Taylor, Paul Gardner, Charles Eldredge, Elizabeth Broun, Paul Smith, Rose Slivka, Diane Douglas, Janet Kardon, William Morris, and others.
Biographical / Historical:
Michael W. Monroe (1940- ) is director emeritus of the Bellevue Arts Museum in Bellevue, Washington. Lloyd Herman (1936- ) is the founding director (emeritus) of the Renwick Gallery in Washington, D.C. who resides in Seattle, Washington.
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:
The transcript and recording are open for research. Contact Reference Services for more information.
Occupation:
Arts administrators -- Washington (State) -- Interviews  Search this
Topic:
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Arts administrators -- Washington (D.C.) -- Interviews  Search this
Arts -- Management  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Curators -- Washington (D.C.) -- Interviews  Search this
Curators -- Washington (State) -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.monroe18
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw962a4c55d-eb2d-49eb-bf85-a031dfe33257
EDAN-URL:
ead_collection:sova-aaa-monroe18
Online Media:

Lynda Roscoe Hartigan papers

Creator:
Hartigan, Lynda Roscoe  Search this
Names:
Smithsonian American Art Museum  Search this
Hemphill, Herbert Waide  Search this
Rosenak, Chuck  Search this
Rosenak, Jan  Search this
Extent:
25.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
circa 1970- circa 2000
Scope and Contents:
The Lynda Roscoe Hartigan papers measure 25.8 linear feet and date from circa 1970-circa 2000. The material documents Hartigan's career as curator at the Smithsonian American Art Museum (SAAM). Included are project, exhibition and subject files relating to the Herbert Waide Hemphill Jr. and the Chuck and Jan Rosenak collections at SAAM, exhibitions at SAAM, Folk Art, and Black Art. Material includes correspondence, interviews, audio visual material, photographs, negatives, slides, writings and printed material.
Biographical / Historical:
Lynda Roscoe Hartigan (1950- ) is deputy director for collections and research and chief innovation officer at the Royal Ontario Museum, Toronto, Canada. Hartigan was formally chief curator at the Smithsonian American Art Museum, Washington, D.C. and developed the museum's American folk art and African American art collections.
Provenance:
Donated in 2020 by Lynda Roscoe Hartigan.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Museum curators -- Washington (D.C.)  Search this
Museum curators -- Canada -- Toronto  Search this
Topic:
Folk art  Search this
African American art  Search this
African American artists  Search this
Women museum curators  Search this
Genre/Form:
Interviews
Identifier:
AAA.hartilynd
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ff6de8e0-39e4-468b-9679-c269b933bedb
EDAN-URL:
ead_collection:sova-aaa-hartilynd

Judith Zilczer papers

Creator:
Zilczer, Judith  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Whitney Museum of American Art  Search this
Benton, Thomas Hart, 1889-1975  Search this
Coady, Robert J., 1881-1921  Search this
Dasburg, Andrew, 1887-1979  Search this
Dawson, Manierre, 1887-1969  Search this
Hartley, Marsden, 1877-1943  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Linder, Richard  Search this
Munson, Gorham Bert, 1896-1969  Search this
Quinn, John, 1870-1924  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1910-1995
bulk 1973-1995
Summary:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.
Scope and Contents:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

This collection documents the correspondence and research of Judith Zilczer pertaining to her doctoral dissertation, The Aftermath of the Armory Show, 1913-1918, where she examines the arguments of both artists and critics over the question of abstraction in art during the early period of the twentieth century. Research files include information on Sadakichi Hartmann, Thomas H. Benton, Manierre Dawson, Andrew Dasburg, John Quinn, Alfred Stieglitz, Michael Brenner, Robert J. Coady and Gorham Munson. Project files document Synchromism, the Forum Exhibit and the Hartley Symposium at the Whitney Museum of American Art and the Richard Lindner Exhibition at the Hirshhorn Museum. Written transcripts include "Robert J. Cody, Man of the Soil" and "Musical Analogy". Researchers should note that this collection does not include a copy of her doctoral thesis.
Arrangement:
The collection is arranged as 2 series.

Series 1: Project Files, 1910-1995 (Box 1; 21 folders)

Series 2: Writings, circa 1980s (Box 1; 3 folders)
Biographical / Historical:
Judith Zilczer (1948-) was an art historian, author, and Curator Emerita of the Hirshhorn Museum and Sculpture Garden in Washington D.C. She organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948-1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she wrote her thesis on The Aftermath of the Armory Show 1913-1918. She has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr. Zilczer has written and lectured widely on modern and contemporary art and is a leading authority on the art of Willem de Kooning.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Paul Allen Reed conducted by Judith Zilczer, April 29, 1994.

Additionally, Papers relating to art commissioned for the Ronald Reagan Building and International Trade Center, 1992-1998, donated by Judith Zilczer, can be found at Archives of American Art.

The Smithsonian Institution Archives in Washington, D.C. holds a large collection of Judith K. Zilczer Papers, 1975-2003.
Provenance:
Creator Judith Zilczer donated her papers to the Archives of American Art in 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art historians -- Washington (D.C.)  Search this
Authors -- Washington (D.C.)  Search this
Curators -- Washington (D.C.)  Search this
Topic:
Art, Abstract  Search this
Art, Modern -- 20th century  Search this
Synchromism (Art)  Search this
Genre/Form:
Photographs
Citation:
Judith Zilczer papers, 1910-1995, bulk 1973-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zilcjudt
See more items in:
Judith Zilczer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91d3ed8fb-2459-49cf-9a13-836bd7628aa0
EDAN-URL:
ead_collection:sova-aaa-zilcjudt
Online Media:

Mary Swift papers

Creator:
Swift, Mary  Search this
Names:
Mehring, Howard, 1931-1978  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Video recordings
Interviews
Date:
1973-2004
Summary:
The papers of photographer and curator Mary Swift measure 8.2 linear feet and date from 1973-2004. The bulk of the collection contains photographs that Swift took while working for the Washington Review. The images consist of photographs, contact sheets, and negatives of artists and art events in Washington, D.C. Also included are some personal papers; two video recordings of art events in Washington, D.C.; research material and a manuscript from Swift's M.A. thesis "Howard William Mehring, 1931-1978: Washington Color Painter" from George Washington University; and approximately 130 sound recordings of interviews conducted by Swift and panel discussions.
Scope and Contents:
The papers of photographer and curator Mary Swift measure 8.2 linear feet and date from 1973-2004. The bulk of the collection contains photographs that Swift took while working for the Washington Review. The images consist of photographs, contact sheets, and negatives of artists and art events in Washington, D.C. Also included are some personal papers; two video recordings of art events in Washington, D.C.; research material and a manuscript from Swift's M.A. thesis "Howard William Mehring, 1931-1978: Washington Color Painter" from George Washington University; and approximately 130 sound recordings of interviews conducted by Swift and panel discussions.
Arrangement:
This collection is arranged as four series.

Series 1: Personal Papers, 1973-1984 (Box 1, 2 Folders)

Series 2: "Howard William Mehring 1931-1978: Washington Color Painter", circa 1977-1978 (Box 1, 12 Folders)

Series 3: Photographs, circa 1977-2004 (Box 1-6, OV 7, 5.5 linear feet)

Series 4: Sound and Video Recordings, 1977-1995 (Boxes 6, 8-14, 2.3 linear feet)
Biographical / Historical:
Mary Swift (1929-) is a photographer and curator in Washington, D.C. She received her B.A. from Vassar College in 1950 with a major in English History. Swift then moved to London for her husband's work, and did not return to the United States until the 1960s. She received her M.A. from Catholic University's Speech and Drama Department in 1968, and an M.A. in Art History from George Washington University in 1978.

In October 1977, Swift became a production assistant for the Washington Review, a bi-monthly broadsheet on DC cultural life, while finishing her master's thesis at George Washington University. She was promoted to associate editor in 1978, and became managing editor of the arts section in 1980.

While at the Washington Review, Swift also worked as a curator and curatorial assistant on exhibitions in Washington, D.C. She worked as a curatorial assistant for Howard Mehring: A Retrospective Exhibition (1977-1978) at the Corcoran Gallery of Art; as a co-curator with Walter Hopps for the exhibition, Eminent Washington Artists: Benjamin Abramowitz, Sarah Baker, Leon Berkowitz, Robert Gates, Sy Gresser, Lois Milou Jones, Jacob Kainen, Alfred McAdams, James McLaughlin, Howard Mehring, Marjorie Phillips, John Robinson, Alma Thomas (1980), at the Art Barn Gallery; and curated, Drawings: 13 Washington Sculptors; Christenberry, Dickson, Fleps, Haley, Knights, Krebs, Lombardo, Mahoney, Puryear, Rudd, Schwebler, Staton, Truitt (1980), at the Diane Brown Gallery.

The professional appointments Swift held include exhibitions coordinator for the International Sculpture Conference in 1980 as well as board of director memberships at the Washington Gallery of Art, Charles Weidman Dance Company, the Washington Review, and the Washington Project for the Arts. Additionally, Swift was involved with her alma mater, Vassar College, in the capacity of Vice present for Programs of the Vassar Club of Washington, and Chairman of the Washington Friends of the Vassar Art Gallery.

Mary Swift's contributions to the Washington Review include photographs, reviews of art exhibitions, and interviews with artists such as choreographer Lucinda Childs and painter Robert Indiana. The exhibition catalogues Swift contributed to include Breton Morse, Paintings 1960-1978 (1978), Sy Gresser—Sculpture (1978), Howard Mehring: A Retrospective Exhibition (1977-1978), and Hands of Artists (1981)

Photographs from Swift's collection were displayed in an exhibition, Mary Swift's Washington (2005), held at Flashpoint Gallery.
Provenance:
This collection was donated in two installments in 2016 and 2018 by Mary Swift via her children, Isabel Swift Byron and William Swift.
Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Curators -- Washington (D.C.)  Search this
Photographers -- Washington (D.C.)  Search this
Genre/Form:
Sound recordings
Video recordings
Interviews
Citation:
Mary Swift Papers, 1974-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.swiftmar
See more items in:
Mary Swift papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91faa9aea-9cc2-4186-8c4c-d7e7b0d3e13f
EDAN-URL:
ead_collection:sova-aaa-swiftmar

Joe Shannon papers

Creator:
Shannon, Joe  Search this
Names:
Alvarado-Juárez, Francisco, 1950-  Search this
Arikha, Avigdor, 1929-  Search this
Fisher, Sandra  Search this
Kitaj, R. B.  Search this
Lerner, Abram  Search this
McIlvain, Isabel  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1980-2005
Scope and Contents:
Letters, writings, exhibition and symposium files regarding the career of Joe Shannon as an exhibition designer, painter, and curator. Letters are from R. B. Kitaj, Sandra Fisher, Abram Lerner, Avigdor Arikha, Francisco Alvarado-Juárez, Isabel McIlvain, Raphael Soyer and others. Writings include drafts of published and unpublished articles, lectures, and reviews by Shannon. Exhibition files regard exhibitions curated by Shannon including "Edwin Dickinson: Selected Landscapes," "R. B. Kitaj," and "Representation Abroad." Also included is a file concerning the symposium "Aspects of Realism," sponored by La Napoule Art Foundation.
Biographical / Historical:
Exhibition designer, painter, curator; Washington, D.C.
Provenance:
Donated in 2007 by Joe Shannon.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- Washington (D.C.)  Search this
Topic:
Curators -- Washington (D.C.)  Search this
Identifier:
AAA.shanjoe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98c130f11-ceef-4fe6-8abe-a283f5aa606e
EDAN-URL:
ead_collection:sova-aaa-shanjoe

Evangeline J. Montgomery papers

Creator:
Montgomery, Evangeline J.  Search this
Names:
Andrews, Benny, 1930-2006  Search this
Jones, Lois Mailou, 1905-1998  Search this
Saar, Betye  Search this
Waddy, Ruth G. (Ruth Gilliam), 1909-2003  Search this
Extent:
26.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Date:
1928-2018
Summary:
The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Scope and Contents:
The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)

Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)

Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)

Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)

Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)

Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34

Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)

Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)

Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.

Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.

Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.

As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.
Provenance:
The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Washington (D.C.)  Search this
Art museum curators -- California  Search this
Printmakers -- Washington (D.C.)  Search this
Metal-workers -- Washington (D.C.)  Search this
Metal-workers -- California  Search this
Printmakers -- California  Search this
Topic:
African American artists  Search this
African American art museum curators  Search this
Black Arts movement  Search this
Women artists  Search this
Women museum curators  Search this
Women printmakers  Search this
Genre/Form:
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Citation:
Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.montevan
See more items in:
Evangeline J. Montgomery papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9915d0dc7-2f94-41bd-9b8b-d04432f7df32
EDAN-URL:
ead_collection:sova-aaa-montevan
Online Media:

Abram Lerner papers

Creator:
Lerner, Abram  Search this
Names:
Hirshhorn Museum and Sculpture Garden  Search this
Hirshhorn, Joseph H.  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sound recordings
Radio programs
Lectures
Date:
circa 1930-2006
Summary:
The papers of art historian, curator and painter, Abram Lerner measure 2.3 linear feet and date from circa 1930 to 2006. The collection is comprised primarily of documents related to Lerner's tenure at the Hirshhorn Museum and Sculpture Garden, including the years leading up to the museum's opening in 1974. Also included are professional files and correspondence following Abram Lerner's departure from the museum in 1984, as well as exhibition files, photographic materials and watercolor and sketchbooks reflecting his career as an artist.
Scope and Contents:
The papers of art historian, curator and painter, Abram Lerner measure 2.3 linear feet and date from circa 1930 to 2006. The collection is comprised primarily of documents related to Lerner's tenure at the Hirshhorn Museum and Sculpture Garden, including the years leading up to the museum's opening in 1974. Also included are professional files and correspondence following Abram Lerner's departure from the museum in 1984, as well as exhibition files, photographic materials and watercolor and sketchbooks reflecting his career as an artist.

Correspondence is primarily professional in nature and includes correspondents James T. Demetrion and Joseph and Olga Hirshhorn, as well as artists Philip Evergood, Walter Rosenblum and Raphael Soyer. Also included are notebooks with outgoing hand-written drafts from after his tenure with the museum, from 1991 to 2003. Writings include primarily lectures and tours related to the Hirshhorn collection and modern sculpture and painting, in addition to some early student and creative work, an interview with Lerner, and writings by others including an artist statement for Lerner written by Milton W. Brown. Some lectures are represented by audio recordings on sound cassette.

The professional files series includes an 1958 exhibition file related to Lerner's painting career, files related to the Hirshhorn bequest exhibition and a Henry Moore exhibition at the Hirshhorn Museum, records regarding an unpublished manuscript tentatively titled 50 Sculptors, as well as advisory roles and other professional materials including a planner from 1983. Printed material includes materials reserved for a scrapbook, especially regarding the Hirshhorn Museum and Sculpture Garden, various memorabilia and published audio recordings including an Acoustiguide and a Channel 13 program regarding David Smith. Photographic material includes photographs of Abram Lerner, Joseph Hirshhorn and the Hirshhorn Museum building, staff, artwork, and events during his tenure. Also included are numerous photographs of Raphael Soyer portrait paintings. Artwork includes two watercolor and sketchbooks from circa 1940 and 1954.
Arrangement:
This collection is arranged as six series:

Series 1: Correspondence, circa 1935-2004 (0.4 linear feet; Box 1)

Series 2: Writings, circa 1930-1984 (0.6 linear feet; Box 1)

Series 3: Professional Files, circa 1958-2006 (0.5 linear feet; Box 2)

Series 4: Printed Material , circa 1933-1999 (0.2 linear feet; Box 2)

Series 5: Photographic Material, circa 1950-1999 (0.4 linear feet; Boxes 2, 3)

Series 6: Artwork, circa 1940-1959 (0.2 linear feet; Boxes 2, 3)
Biographical / Historical:
Abram Lerner (1913-2007) was an art historian, curator, and painter in Washington, DC. Born to Russian immigrants in New York City, Lerner received a bachelor's degree in art history from New York University in 1934. Lerner worked as an apprentice muralist in the Works Progress Administration (WPA), and after pursued a career as an exhibiting artist through the 1950s. In 1955 while working as a director at an art gallery he met Joseph Hirshhorn, who he came to work for on his art collection. Eventually this relationship led to Lerner becoming the founding director of the Hirshhorn Museum and Sculpture Park, Smithsonian Institution, in 1974. After ten years as director Lerner retired to his seasonal home in Southampton, NY in 1984. He lived there with his wife Pauline, who he was married to from 1943, until she passed away in 2003. Lerner passed away from heart failure in his home in Canaan, CT in 2007.
Related Materials:
Also found at the Archives of American art is an oral history interview with Abram Lerner, 1975 Dec. 9-1976 Jan. 27, conducted by Paul Cummings. The Smithsonian Institution Archives maintains the Joseph H. Hirshhorn Papers, circa 1926-1982, and the Hirshhorn Museum and Sculpture Garden Collection Archive is maintained by the curatorial department of the museum.
Provenance:
Donated 2018 by Aline Libassi, Abram Lerner's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of audio visual recordings with no duplicate 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:
Museum curators -- Washington (D.C.)  Search this
Museum directors -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Genre/Form:
Sketchbooks
Sound recordings
Radio programs
Lectures
Citation:
Abram Lerner Papers, circa 1930-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lernabra
See more items in:
Abram Lerner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99d31933d-8e54-4796-bb4e-6aee8be81c38
EDAN-URL:
ead_collection:sova-aaa-lernabra

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