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Anne Bowen Parsons collection of interviews on art

Interviewer:
Parsons, Anne Bowen  Search this
Names:
Artists' Union (New York, N.Y.)  Search this
Club (New York, N.Y.)  Search this
Federal Art Project  Search this
Baker, Mildred, 1905-  Search this
Barnet, Will, 1911-2012  Search this
Benson, Emanuel, 1904-1971  Search this
Brooks, James, 1906-1992  Search this
Burlin, Paul, 1886-1969  Search this
Cavallon, Giorgio, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Ernst, Jimmy, 1920-1984  Search this
Geist, Sidney  Search this
Gottlieb, Adolph, 1903-1974  Search this
Greene, Balcomb, 1904-1990  Search this
Gwathmey, Robert, 1903-1988  Search this
Hacker, Seymour  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Kadish, Reuben, 1913-1992  Search this
Krasner, Lee, 1908-1984  Search this
Lasker, Joe  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Jack, 1915-2010  Search this
Marca-Relli, Conrad, 1913-2000  Search this
McNeil, George, 1908-1995  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Morris, George L. K., 1905-1975  Search this
Nakian, Reuben, 1897-1986  Search this
Pavia, Philip, 1915-2005  Search this
Schanker, Louis, 1903-1981  Search this
Shahn, Ben, 1898-1969  Search this
Stamos, Theodoros, 1922-1997  Search this
Thaw, Eugene Victor  Search this
Tworkov, Jack  Search this
Vicente, Esteban, 1903-2001  Search this
Extent:
30 Items (transcripts)
Type:
Collection descriptions
Archival materials
Interviews
Date:
1967-1968
Scope and Contents:
The interviews are of artists, educators, art administrators, and dealers. Topics covered include the Federal Art Project, the Artists' Union, the Club, the influence of French emigre artists, and political activism among artists. The transcripts range from 1 to 4 pages in length.
Interviewees include: Mildred Baker, Will Barnet, Emanuel Benson, James Brooks, Paul Burlin, Giorgio Cavallon, Willem de Kooning, Jimmy Ernst, Sidney Geist, Adolph Gottlieb, Balcomb Greene, Robert Gwathmey, Seymour Hacker, Carl Holty, Harry Holtzman, Reuben Kadish, Lee Krasner, Joe Lasker, Ibram Lassaw, Jack Levine, Conrad Marca-Relli, George McNeil, Dorothy Canning Miller, George L.K. Morris, Reuben Nakian, Phillip Pavia, Louis Schanker, Ben Shahn, Theodoros Stamos, Eugene Victor Thaw, Jack Tworkov, and Esteban Vincente.
Provenance:
Donated in 1985 by Anne Bowen Parsons' son, Randall T. Parsons.
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:
Artists -- Interviews  Search this
Art dealers -- Interviews  Search this
Art teachers -- Interviews  Search this
Painters -- Interviews  Search this
Topic:
Art, American  Search this
Art and state  Search this
Museum curators -- Interviews  Search this
Museum directors -- Interviews  Search this
Printmakers -- Interviews  Search this
Publishers -- Interviews  Search this
Sculptors -- Interviews  Search this
Genre/Form:
Interviews
Identifier:
AAA.parsanne
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cebc01b2-2b58-431a-ad17-ddb4c9da09fe
EDAN-URL:
ead_collection:sova-aaa-parsanne

Oral history interview with George McNeil

Interviewee:
McNeil, George, 1908-1995  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
American Abstract Artists  Search this
Art Students League (New York, N.Y.) -- Students  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Pratt Institute. Art School -- Students  Search this
United States. Work Projects Administration  Search this
Cavallon, Giorgio, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Gorky, Arshile, 1904-1948  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Kline, Franz, 1910-1962  Search this
Levy, Edgar  Search this
Manso, Leo  Search this
Matulka, Jan, 1890-1972  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Tworkov, Jack  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
18 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 June 3
Scope and Contents:
An interview of George McNeil conducted by Dorothy Seckler for the Archives of American Art. McNeil speaks of his childhood and his family; becoming interested in art during high school; attending Pratt Institute, and not being satisfied there; deciding to drop out of Pratt after attending a lecture from Vaclav Vytlacil; going to the Metropolitan Museum every day drawing and analyzing paintings; meeting Arshile Gorky while at the Metropolitan Museum; attending the Art Students League; studying with Hans Hofmann; the start of the American Abstract Artists; his involvement in the WPA's mural project; attending Teachers College at Columbia before joining the Navy; re-entering the New York art scene during the forties and liking it very much; meeting and being influenced by Pollock; his views on the state of painting; how his work has evolved; the various stages in the way a painting developed for him; how The Club and the Eighth Street Club has influenced him; the ideas discussed at The Club, and how he feels surrealism was not a big influence on them; Jackson Pollock's influence on abstract expressionism; artists he admires or has admired; and his thoughts on the contemporary art scene. He recalls Vaclav Vytlacil, Arshile Gorky, Jan Matulka, David Smith, Dorothy Dehner, Edgar Levy, Leo Manso, Burgoyne Diller, Irene Rice Pereira, Hans Hofmann, Jo Hopper, Giorgio Cavallon, Linda Lindaberg (Cavallon), Mercedes Kahls, George Byron Brown, Albert Swinden, Willem de Kooning, Jackson Pollack, Franz Kline, Jack Tworkov, Ad Reinhardt, Mark Rothko, and many others.
Biographical / Historical:
George McNeil (1908-1995) was a painter and a printmaker in Brooklyn, N.Y.
General:
Originally recorded on 2 sound tapes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 49 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Art, American  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Painting  Search this
Surrealism  Search this
Mural painting and decoration  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcneil65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b6fc63b-c3c0-47b0-b1df-174fd019ac4e
EDAN-URL:
ead_collection:sova-aaa-mcneil65
Online Media:

Oral history interview with Peter Agostini

Interviewee:
Agostini, Peter  Search this
Interviewer:
Roberts, Colette, 1910-  Search this
Names:
Columbia University -- Faculty  Search this
United States. Works Progress Administration  Search this
Bontecou, Lee, 1931-  Search this
Chamberlain, John, 1927-2011  Search this
Chryssa, 1933-2013  Search this
Cornell, Joseph  Search this
Cézanne, Paul, 1839-1906  Search this
De Chirico, Giorgio, 1888-  Search this
De Kooning, Willem, 1904-1997  Search this
Demuth, Charles, 1883-1935  Search this
Di Suvero, Mark, 1933-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Dubuffet, Jean, 1901-1985  Search this
Duchamp, Marcel, 1887-1968  Search this
Ferber, Herbert, 1906-1991  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Giacometti, Alberto, 1901-1966  Search this
Greenberg, Clement, 1909-1994  Search this
Hague, Raoul, 1905-1993  Search this
Hare, David, 1917-1992  Search this
Hartley, Marsden, 1877-1943  Search this
Hopper, Edward, 1882-1967  Search this
Judd, Donald, 1928-1994  Search this
Kaprow, Allan  Search this
Kienholz, Edward, 1927-  Search this
Kline, Franz, 1910-1962  Search this
Kohn, Gabriel, 1910-1975  Search this
Kolbe, Georg, 1877-1947  Search this
La Tour, Onya, 1896-1976  Search this
Lachaise, Gaston, 1882-1935  Search this
Lassaw, Ibram, 1913-2003  Search this
Lippold, Richard, 1915-2002  Search this
Lipton, Seymour, 1903-1986  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Maillol, Aristide, 1861-1944  Search this
Manship, Paul, 1885-1966  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Marin, John, 1870-1953  Search this
Marisol, 1930-2016  Search this
Matisse, Henri, 1869-1954  Search this
Melville, Herman, 1819-1891  Search this
Mondrian, Piet, 1872-1944  Search this
Morris, Robert, 1931-2018  Search this
Nakian, Reuben, 1897-1986  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Oldenburg, Claes, 1929-  Search this
Poe, Edgar Allan, 1809-1849  Search this
Pollock, Jackson, 1912-1956  Search this
Pompon, François, 1855-1933  Search this
Reinhardt, Ad, 1913-1967  Search this
Rivera, Diego, 1886-1957  Search this
Roszak, Theodore, 1907-1981  Search this
Rothko, Mark, 1903-1970  Search this
Samaras, Lucas, 1936-  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Segal, George, 1924-2000  Search this
Sheeler, Charles, 1883-1965  Search this
Smith, David, 1906-1965  Search this
Smith, Tony, 1912-1980  Search this
Spaventa, George, 1918-  Search this
Stankiewicz, Richard, 1922-1983  Search this
Sugarman, George, 1912-1999  Search this
Tobey, Mark  Search this
Whitman, Walt, 1819-1892  Search this
Zorach, William, 1887-1966  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1968
Scope and Contents:
An interview of Peter Agostini conducted in 1968, by Colette Roberts, for the Archives of American Art at 151 Avenue B, New York, New York.
Mr. Agostini speaks of his childhood spent living throughout the five boroughs of New York; his interactions with clients of his father's acting employment agency; his early education in Catholic school and the creative freedom allotted by the nuns; his first feelings of isolation as an artist at the age of seven; the development of a sense of communication as the result of the loss of his mother at the age of three and time spent at a school for orphans; his early realization and vision of artistic destiny; his religious interests which lead to mysticism in his earlier work; his time spent working freely in the DaVinci Studio with Spaventa; the discovery by Hess of his works in Gallerie Grimaud; his attainment of the Longview Grant; his working experience throughout the Depression as part of the WPA casting plaster mannequins while working indirectly with Pollack as well as Marca Relli; his subsequent move to designing department store windows (use of Mondrian-like forms and lines); his feelings of his position as an observer; the importance of communication through art (communication without words); his rejection of the Abstract Expressionist group and choice of independence; the influence of the sculpture of Kolbe and Bache in the thirties; Clement Greenberg's distaste for his work; his feelings about the relative failure to sell his work due its unusual edginess and mystery; his role in the introduction of the work of contemporary European artists (Chausserian, Gauthier, Modrian) to the American group; his description of his own work as "traditionless"; his feelings of self-importance as one of the most original sculptors in the art world; his influence on the younger generation, particularly Marisol; the enslavement to originality that the younger generation faces; his attitudes towards American Art forms and their lack of rebellious spirit; the virtues of the American writers, such as Poe, Whitman, and Melville as American "knapsack" writers; his personal technique which places an emphasis on the "skin" or volume of something; his attempt to create quiet art, or art that merely indicates features; his frustration with teaching and the problems of regurgitated knowledge; the role of Meyer Shapiro in his teaching career at Columbia; the formation of the Club and its similarity to the Cubist's café scene; his opinions on the relationship of sex and sensuality in American art; his personal struggles, including the loss of his second wife and two of his brothers, in addition to the estrangement of his only daughter by his first wife; his feelings on the role of psycho analysis and personal history in a work of art; his present works which feature the "swell." For the majority of the second half of the interview Ms. Roberts asks Mr. Agostini to express his opinions on the work of: Kline; DeKooning; Duchamp; Oldenburg; La Tour; DeChirico; Maillol; Pompon; Rothko; Chardin; Cezanne; Giacometti; Reinhardt; Chryssa; Tony Smith; Segal; Lachaise; Zorach; Manship; Flannagan; Kelly; Lassaw; David Smith; Hare; Lipton; Ferber; Lippold; Roszak; Nakian; Noguchi; Hague; Kohn; di Suvero; Chamberlain; Kaprow; Sugarman; Stankiewicz; Bontecou; Scarpitta; Cornell; Keinholz; Rivera; Judd; Robert Morris; O'Keeffe; Samaras; Mark Tobey; Marin; Pollock; Hartley; Dove; Macdonald-Wright; Demuth; Sheeler; Hopper; Mirot; Matisse; DuBuffet.
Biographical / Historical:
Peter Agostini (1913-1993) was a sculptor from New York, New York.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 28 digital wav files. Duration is 10 hrs., 37 min.
Transferred from 4 3" reels.
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:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.agosti68
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94f33a1ab-e475-4a6f-8b0b-f9822b288239
EDAN-URL:
ead_collection:sova-aaa-agosti68
Online Media:

Oral history interview with Joseph H. Hirshhorn

Interviewee:
Hirshhorn, Joseph H.  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Smithsonian Institution  Search this
Avery, Milton, 1885-1965  Search this
Burliuk, David, 1882-1967  Search this
De Kooning, Willem, 1904-1997  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Lerner, Abram  Search this
Extent:
2 Sound tape reels (Sound recording, 5 in.)
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1976 Dec. 16
Scope and Contents:
An interview of Joseph H. Hirshhorn conducted 1976 Dec. 16, by Paul Cummings, for the Archives of American Art.
Hirshhorn discusses his childhood; working as a stockbroker; his first art acquisition of two Durer engravings; buying Barbizon paintings; his relationship with the A.C.A. Gallery, Milton Avery, David Burliuk, the Collectors Club, Willem de Kooning, Louis M. Eilshemius, Lloyd Goodrich, Edith Gregor Halpert, Abram Lerner, Louise Nevelson, and others. Hirshhorn also describes the alternative plans he considered before giving his collection to the Smithsonian Institution.
Biographical / Historical:
Joseph H. Hirshhorn (1889-1981) was an art collector from New York, N.Y. Hirshhorn agreed to donate his collection of modern and contemporary art to the Smithsonian in 1966. The Hirshhorn Museum and Sculpture Garden opened in 1974.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art -- Collectors and collecting -- New York (State) -- Interviews  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hirshh76
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91ea51a56-99ac-4474-abdf-2285d89cddc8
EDAN-URL:
ead_collection:sova-aaa-hirshh76
Online Media:

Oral history interview with Rosalyn Drexler

Interviewee:
Drexler, Rosalyn  Search this
Interviewer:
Lyon, Christopher  Search this
Names:
Garth Greenan Gallery  Search this
Hunter College -- Students  Search this
Kornblee Gallery  Search this
Reuben Gallery  Search this
Alloway, Lawrence, 1926-1990  Search this
Baraka, Amiri, 1934-2014  Search this
Barthelme, Donald  Search this
Basquiat, Jean-Michel, 1960-1988  Search this
Bruce, Lenny  Search this
Carmines, Al  Search this
Cornell, Joseph  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Dine, Jim, 1935-  Search this
Doyle, Tom  Search this
Drexler, Sherman  Search this
Geldzahler, Henry  Search this
Gilman, Richard, 1923-2006  Search this
Hess, Thomas B.  Search this
Hesse, Eva, 1936-1970  Search this
Hirshhorn, Joseph H.  Search this
Karp, Ivan C., 1926-2012  Search this
Katz, Alex, 1927-  Search this
Kent, Allegra  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Kroll, Jack  Search this
Marx, Chico, 1887-1961  Search this
Monroe, Marilyn, 1926-1962  Search this
Neel, Alice, 1900-1984  Search this
Newman, Barry  Search this
Perelman, S. J. (Sidney Joseph), 1904-1979  Search this
Rosenberg, Harold, 1906-1978  Search this
Samaras, Lucas, 1936-  Search this
Sontag, Susan, 1933-2004  Search this
Teer, Barbara Ann, 1937-2008  Search this
Warhol, Andy, 1928-1987  Search this
Youskevitch, Igor, 1912-1994  Search this
Extent:
82 Pages (Transcript)
5 Items (Sound recording: 5 sound files (3 hr., 26 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 May 17-June 2
Scope and Contents:
An interview with Rosalyn Drexler conducted 2017 May 17 and June 2 by Christopher Lyon, for the Archives of American Art, at Garth Greenan Gallery in New York, New York.
Drexler discusses her childhood in the Bronx; her experiences studying dance and music; her higher education at Hunter College; attending films and the Yiddish Theater; meeting her husband Sherman Drexler; her time as a professional wrestler; her memories of traveling to the South and encountering Jim Crow segregation; she describes learning about art from Sherman Drexler and her joint exhibition with Sherman; her early work in sculpture; participating in Happenings with Jim Dine; joining Anita Reuben's gallery; her debut as a playwright; her experience writing "I am the Beautiful Stranger;" the changing public perception of her and being classified as an artist; her decision to become a painter and appropriating images for her work; the influence of S. J. Perelman on her plays; her play about Joseph Cornell and ballerina Allegra Kent, and interviewing Allegra Kent; her recent artwork and preparing for her 2017 show at Garth Greenan Gallery; her artwork from the 1980s and 1990s; her comedy writing and sense of humor. Drexler also recalls Chico Marx, Jack Newfield, Igor Youskevitch, Ivan Karp, Anita Reuben, Lucas Samaras, Richard Gilman, Al Carmines, Amiri Baraka, Barbara Ann Teer, Franz Kline, Elaine De Kooning, Bill de Kooning, Andy Warhol, Jack Kroll, Lawrence Alloway, Tom Hess, Barney Newman, Harold Rosenberg, Susan Sontag, Joe Hirshhorn, Henry Geldzahler, Donald Barthelme, Kornblee Gallery, Eva Hesse, Tom Doyle, William Klein, Marilyn Monroe, Alex Katz, Alice Neel, Basquiat, Saturday Night Live, and Lenny Bruce, among others.
Biographical / Historical:
Rosalyn Drexler (1926- ) is a sculptor, playwright, and novelist in New York, New York. Christopher Lyon (1949- ) is a writer in Brooklyn, New York.
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:
Authors -- New York (State) -- New York  Search this
Playwrights -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women wrestlers  Search this
Segregation -- United States  Search this
Women artists  Search this
Women sculptors  Search this
Women painters  Search this
Happenings (Art)  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.drexle17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90bfba5d5-5e75-43b8-a9a5-bfc6e1c0120e
EDAN-URL:
ead_collection:sova-aaa-drexle17
Online Media:

Lee Hall papers

Creator:
Hall, Lee  Search this
Names:
Betty Parsons Gallery  Search this
Rhode Island School of Design  Search this
Ajay, Abe  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Parsons, Betty  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Drawings
Sketchbooks
Diaries
Video recordings
Date:
circa 1870s-2017
bulk 1975-2010
Summary:
The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.
Scope and Contents:
The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.

Biographical material includes business cards, résumé and biographical texts, travel documents, and awards. Correspondence is professional and personal in nature and includes some collected historic correspondence from unknown authors. Correspondence regarding specific writing projects is found in the Writings series. The Writings series includes journals and notebooks focusing primarily on Hall's travels and study of Classics including the Greek language. The Writing Projects subseries includes titles intended for publication as well as college papers, essays, and lectures. Published titles are often accompanied by book proposals, contracts, research material, interviews, and correspondence. Also included are writings by others including reviews regarding Hall's art career. Studio records include artwork inventories, loan paperwork, and the mechanical for an exhibition catalog. Printed material includes exhibition invitations for Lee Hall's art career, exhibition catalogs for Hall's exhibitions and that of Betty Parsons, and general printed material regarding Elaine de Kooning, as well as press clippings on various topics. Photographic materials include images of Lee Hall and her circle of friends including Betty Parsons, images of Hall in her studio, installation images of Hall's exhibitions at the Betty Parsons Gallery, and extensive photographs of Hall's travels to the Mediterranean, primarily to Greece and Turkey. The Artwork series includes sketches, watercolors and other small paintings by Lee, as well as illustrated manuscripts for children's book titles.
Arrangement:
The collection is arranged in seven series:

Series 1: Biographical Material, circa 1970-2010 (0.2 Linear Feet; Boxes 1, 7)

Series 2: Correspondence, circa 1870-2016 (0.3 Linear Feet; Box 1)

Series 3: Writings, circa 1920-2010 (4.0 Linear Feet; Boxes 1-5)

Series 4: Studio Records, circa 1973-2010 (0.2 Linear Feet; Box 5)

Series 5: Printed Material, circa 1914-2016 (0.4 Linear Feet; Boxes 5, 7)

Series 6: Photographic Material, circa 1940-2017 (1.7 Linear Feet; Boxes 5-9)

Series 7: Artwork, circa 1950-2010 (0.6 Linear Feet; Boxes 6-7, Oversize 10)
Biographical / Historical:
Lee Hall (1935-2017) was a painter, author, and arts administrator who served as president of the Rhode Island School of Design from 1975-1983. Born in Lexington, North Carolina and raised in Florida following her parents' divorce, Lee Hall later returned to her birth state to attend the Woman's College of the University of North Carolina. She received her bachelor of fine arts in 1955, studying under the abstract painter John Opper. She eventually earned a masters degree in art education and a PhD in creative arts, both from New York University. Hall's paintings shared an Abstract Expressionist sensibility common with many of her peers at the Betty Parsons Gallery, imparted on the figurative tradition of landscape painting. Hall showed her paintings at the Betty Parsons Gallery from the late seventies until 1982 when the gallery closed following Parsons' death, after which she ceased exhibiting her work almost entirely until the last decade of her life. Hall maintained a studio at her home in South Hadley, Massachusetts throughout her life. A few years before Parson's death Hall had agreed to write Parsons' biography, finally released in 1991, on the condition that she and papers were made available for intensive research. Hall published titles on a wide variety of subjects including a comprehensive survey of American clothing (1992), and perhaps most notably the controversial biography of painters Elaine and Willem de Kooning (1993).
Separated Materials:
Three linear feet of Betty Parsons papers donated as part of the Lee Hall papers were transferred to the collection of Betty Parsons Gallery records and personal papers, also located at the Archives of American Art.
Provenance:
Donated in 2018 by the Lee Hall Estate via Carolyn Crozier and Deborah Jacobson, co-executors.
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:
Painters -- Massachusetts  Search this
Authors -- Massachusetts  Search this
Arts administrators -- Rhode Island  Search this
Genre/Form:
Interviews
Drawings
Sketchbooks
Diaries
Video recordings
Citation:
Lee Hall Papers, circa 1870s-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halllee
See more items in:
Lee Hall papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91d411a6e-e1cb-42cd-97de-96d9f710d658
EDAN-URL:
ead_collection:sova-aaa-halllee
Online Media:

Thomas Hess papers

Creator:
Hess, Thomas B.  Search this
Names:
Mark Rothko Foundation  Search this
Bess, Forrest, 1911-1977  Search this
Campbell, Lawrence  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gottlieb, Adolph, 1903-1974  Search this
Guston, Philip, 1913-1980  Search this
Kline, Franz, 1910-1962  Search this
Milles, Carl, 1875-1955  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
Reinhardt, Ad, 1913-1967  Search this
Rivers, Larry, 1925-2002  Search this
Rosenberg, Harold, 1906-1978  Search this
Rothko, Mark, 1903-1970  Search this
Schapiro, Meyer, 1904-  Search this
Schuyler, James  Search this
Smith, David, 1906-1965  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
10.01 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Drawings
Greeting cards
Illustrated letters
Paintings
Cartoons (humorous images)
Photographs
Collages
Date:
1939-1978
Summary:
The papers of New York editor and art critic Thomas Hess measure 10.01 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.

There is a .01 linear foot unprocessed addition to this collection donated in 2022 that includes a six page typed manuscript, "Think, American Painting," undated, by Thomas Hess and the book American Realists and Magic Realists, The Museum of Modern Art, 1943, signed by Hess.
Scope and Contents:
The papers of New York editor and art critic Thomas Hess measure 10.01 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.

Biographical material includes a certificate, architectural plans, investment information, invoices, publisher and loan agreements, will for Paul Stamm, and resumes. Correspondence is with members of Hess' family including his wife and children, Philip Guston, Meyer Schapiro, David Smith, James Schuyler, Forrest Bess, Elaine de Kooning, Barnett Newman, Larry Rivers, Clyfford Still, Ad Reinhardt, and others.

Writings and notes consist of manuscripts and drafts by Hess for Art News, Le Monde, Vogue, New York magazine, and other publications; Hess' senior essay and class notes; notes on Ingres, Italian artists, and travels abroad; notebooks on art and literature; and scattered writings by others.

Artists and subject files contain primarily photographs of artwork, artists, and colleaguesare mostly photographs of artwork, artists, and colleagues. Some of the files also contain printed materials, writings, notes, and other documentation. The file on Willem de Kooning includes a sound recording of a conversation between Hess, de Kooning, and Harold Rosenberg. There are also significant files on Elaine de Kooning, Helen Frankenthaler, Adolph Gottlieb, Franz Kline, Carl Milles, Barnett Newman, Isamu Noguchi, Ad Reinhardt, Mark Rothko and the Mark Rothko Foundation Inc.

Printed materials include brochures and flyers, clippings, magazines and newspapers, press releases, travel memorabilia, and a printed scarf. Photographs are of of Hess, his wife Audrey, other family members, works of art, travel, Larry Rivers and Ad Reinhardt, and other artists and colleagues. Artwork includes drawings, paintings, collages, cartoons, and holiday cards made by Hess and his children, along with artwork by others including Audrey and Lawrence Campbell, Ad Reinhardt, and unidentified artists.

There is a .01 linear foot unprocessed addition to this collection donated in 2022 that includes a six page typed manuscript, "Think, American Painting," undated, by Thomas Hess and the book American Realists and Magic Realists, The Museum of Modern Art, 1943, signed by Hess.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1945-1977 (0.3 linear feet; Box 1, OV 15)

Series 2: Correspondence, circa 1945-1978 (1.0 linear feet; Box 1-2, OV 11)

Series 3: Writings and Notes, circa 1940-1978 (2.5 linear feet; Box 2-5, OV 12)

Series 4: Artists and Subject Files, circa 1946-1978 (4.5 linear feet; Box 5-9, OVs 13, 15-16)

Series 5: Printed Materials, 1943-1978 (0.5 linear feet; Box 9, OV 11)

Series 6: Photographic Materials, 1949-circa 1960s (0.8 linear feet; Box 9-10, OV14)

Series 7: Artwork, 1939-1978 (0.4 linear feet; Box 10, OV 11)

Series 8: Unprocessed Addition, 1943 and undated (0.01 linear feet; Folder 17)
Biographical / Historical:
Thomas B. Hess (1920-1978) was an editor, art critic, and curator who worked in New York City. He was on the staff at Art News for 26 years (1946-72). Starting as an editorial associate, he was named managing editor in 1948, then executive editor in 1954; he assumed the top editorial post in 1965 upon the death of long-time editor Alfred Frankfurter. In his critical writing from the late 1940s on, he was an influential supporter of the Abstract Expressionists. He wrote widely on other topics as well. In 1972 he left Art News after an ownership change. He then became the art critic for New York magazine (1972-78), a large-circulation weekly reaching a much larger public. (He was also, in the late '60s, a correspondent for the French daily newspaper Le Monde.)

Over the years he undertook several major curatorial projects including traveling retrospectives for Willem de Kooning (1968-69) and Barnett Newman (1971), which he organized for the Museum of Modern Art. His "New York School Painting and Sculpture" appeared at the New York State Museum in Albany in 1977. Both MoMA exhibitions were accompanied by comprehensive monograph/catalogues: Willem de Kooning (1968) and Barnett Newman (1971). Hess's other books include Abstract Painting: Background and American Phase (1951, Viking); Willem de Kooning (1959, Braziller); De Kooning, Recent Paintings (1967, Walker & Co.); Barnett Newman (1969, Walker & Co.); De Kooning: Drawings (1972, New York Graphic); and The Art Comics and Satires of Ad Reinhardt (1975, De Luca Editore, Rome).

Hess became consultative chairman of the Metropolitan Museum of Art's Department of 20th-Century Art a few months before his death from a heart attack in July 1978, age 57. Already under way were a Clyfford Still retrospective and a smaller show of recent paintings and sculptures by Ellsworth Kelly. Both exhibitions, completed by Philippe de Montebello (the Met's then new director) and Lowery S. Sims (the Met's then acting 20th-century curator) respectively, took place the year after Hess's death.

Thomas Hess was born in Rye, New York, to Gabriel Lorie Hess, a lawyer, and Helen Baer. He attended school in the United States and Switzerland. He continued his education at Yale University majoring in French 17th-century art history and literature. After graduating in 1942, Hess worked for a short period at the Museum of Modern Art under Alfred H. Barr and Dorothy Miller, before entering World War II as a pilot. In 1944 he married Audrey Stern with whom he had three children, William, Philip, and Anne Helen.
Separated Materials:
Materials on legacy microfilm reel 5028 related to Barnett Newman are photocopies. The originals are located at the Barnett New Foundation in New York City.
Provenance:
The Thomas Hess papers were donated in multiple increments from 1985 to 1987 by Hess' children, Anne Helen, William, and Philip Hess, except for a file on Barnett Newman donated by Newman's widow, who presumably had borrowed it from Hess. In 2014, additional correspondence, writings, photographs, printed material, and cartoons, including some by Ad Reinhardt, were donated by Elizabeth Wolff, Hess' sister. A small addition was donated in 2022 by Anne Hess, Thomas Hess' daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Artists -- Italy  Search this
Editors -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Drawings
Greeting cards
Illustrated letters
Paintings
Cartoons (humorous images)
Photographs
Collages
Citation:
Thomas Hess papers, 1939-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hessthom
See more items in:
Thomas Hess papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cfd2536a-b35e-4030-9768-bfa094d6db9e
EDAN-URL:
ead_collection:sova-aaa-hessthom
Online Media:

Oral history interview with Arturo Rodríguez

Interviewee:
Rodríguez, Arturo, 1956-  Search this
Interviewer:
Martínez, Juan A.  Search this
Names:
De Kooning, Willem, 1904-1997  Search this
Extent:
63 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 November 14
Scope and Contents:
An interview of Arturo Rodríguez conducted 1997 November 14, by Juan A. Martínez, in Rodriquez's home/studio, Miami, Fla., for the Archives of American Art.
Rodriguez speaks of his birthplace, Ranchuelo, Cuba, his early interest in drawing, his move to Madrid at 16, and his self-directed art education. He discusses the intertwined relationship of literature, poetry, and music. He comments on Spanish realists such as Antonio Lopez Quintanilla and American expressionists Willem de Kooning and others. He also recalls his exhibitions and art collectors, particularly Judith and William Ladner. He describes his paintings as a combination of expressionism, realism, surrealism, abstraction, and a pessimistic vision of the human condition.
Biographical / Historical:
Arturo Rodríguez (1956- ) is a painter from Miami, Fla. Rodriguez is a self-taught artist born in Cuba. His wife is the painter, Demi.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 17 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:
Artists -- Florida -- Miami -- Interviews  Search this
Expatriate artists -- Florida -- Miami -- Interviews  Search this
Artists -- Cuba -- Interviews  Search this
Cuban American artists  Search this
Hispanic American artists  Search this
Cuban American art  Search this
Art, Modern -- 20th century -- Florida -- Miami  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.rodrig97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b113f4cd-5eff-4134-a012-6af0c155ab01
EDAN-URL:
ead_collection:sova-aaa-rodrig97
Online Media:

Merle Schipper Papers

Creator:
Schipper, Merle, 1922-2001  Search this
Names:
ArtScene (periodical)  Search this
Bengston, Billy Al  Search this
Biederman, Charles Joseph, 1906-2004  Search this
Calder, Alexander, 1898-1976  Search this
De Kooning, Willem, 1904-1997  Search this
Diebenkorn, Richard, 1922-1993  Search this
Guston, Philip, 1913-1980  Search this
Holty, Carl, 1900-1973  Search this
Hélion, Jean, 1904-1987  Search this
Mullican, Matt, 1951-  Search this
Noland, Kenneth, 1924-2010  Search this
Orr, Eric, 1939-1998  Search this
Smith, Kiki, 1954-  Search this
Spratling, William, 1900-1967  Search this
Tworkov, Jack  Search this
Extent:
12.1 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Prints
Transcripts
Drawings
Place:
France -- Paris -- Photographs
Los Angeles (Calif.) -- Social life and customs
Date:
circa 1930s-1999
Summary:
The papers of Los Angeles art historian, art critic, and writer Merle Schipper measure 12.1 linear feet and date from circa 1930s to 1999. The papers include biographical material, correspondence, writing and research project files, printed material, writings by others, photographs, and artwork.
Scope and Contents:
The papers of Los Angeles art historian, art critic, and writer Merle Schipper measure 12.1 linear feet and date from circa 1930s to 1999. The papers include biographical material, correspondence, writing and research project files, printed material, writings by others, photographs, and artwork.

Biographical material consists of a notebook planner and professional contact addresses, as well as Schipper's resume and bibliography. Scattered correspondence is both personal and professional with family and colleagues.

Over one-half of the collection consists of Schipper's writing, research, project, and exhibition files. There are drafts, essays, manuscripts, notes, and research documentation about California art and artists, an exhibition of craftsman William Spratling curated by Schipper, Schipper's dissertation and additional projects on Jean Helion, the exhibition Americans in Paris in the 1950s (1997), additional exhibitions, as well as transcripts of interviews with artists. The research files on Helion include an interview transcript with Willem de Kooning about Helion and correspondence with artists about Helion, including Charles Biederman, Alexander Calder, Philip Guston, Carl Holty, Jack Tworkov, and others. Additional exhibition files are found for Visions of Inner Space (1988) and Marmo: The New Italian Stone Age (1989). Artists interviewed by Schipper include Billy Al Bengston, Willem de Kooning, Richard Diebenkorn, Laddie John Dill, Kenneth Noland, Eric Orr, and others.

Extensive printed materials include clippings and copies of journals and periodicals containing Schipper's writings.

There are a few scattered writings by others about art and artists. Photographs are of Schipper, artists, artwork, and places, including Paris. Artwork includes one original poster print by Kiki Smith and one drawing by Matt Mullican.
Arrangement:
This collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, circa 1970s-1998 (5 folders; Box 1)

Series 2: General Correspondence, 1944-circa 1998 (0.3 linear feet; Box 1)

Series 3: Writing and Research Project Files, circa 1930s-1999 (7.8 linear feet; Boxes 1-9)

Series 4: Printed Material, 1933-1997 (3.1 linear feet; Boxes 9-12, OV14-16)

Series 5: Writings By Others, circa 1944-1991 (0.2 linear feet; Box 12)

Series 6: Photographs, circa 1960s-circa 1992 (0.6 linear feet; Boxes 12-13)

Series 7: Artwork, 1982-1992 (0.1 linear feet; Box 13, OV16)
Biographical / Historical:
Merle Schipper (1922-2001) was an art historian, writer, and art critic active in Los Angeles, California.

Born in Toronto, Canada, Merle Solway Schipper was naturalized in Los Angeles in 1950 and received a PhD in art history from the University of California, Los Angeles in 1974. Schipper was a familiar figure on the Los Angeles art scene. Her primary scholarly focus grew out of her dissertation research on Jean Helion, but much of her writing attention was devoted to Los Angeles artists and art world events. She was a regular contributor to many art periodicals, including ArtScene, Images and Issues, Artweek, ARTnews, and the Los Angeles Daily News.

As an independent curator, Schipper's research interests led to several exhibitions, including Americans in Paris: the 50s (1979) at California State University, Northridge, Visions of Inner Space (1988) co-curated with Lee Mullican at UCLA's Frederick S. Wight Art Gallery, Marmo: the New Italian Stone Age (1989), Being There/Being Here: Nine Perspectives in New Italian Art (1991), traveling exhibition sponsored by the Italian Cultural Institute, and an exhibition of William Spratling for the Craft and Folk Art Museum in 1997. Schipper also taught and lectured at UCLA, USC, CSU Northridge, and Claremont Graduate School.

Merle Schipper died in 2001.
Provenance:
The Merle Schipper papers were donated to the Archives of American Art in 2002 by the Merle Schipper Estate via Schipper's daughter Amy Schipper Howe.
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.

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 -- Los Angeles  Search this
Art historians -- California -- Los Angeles  Search this
Authors -- California -- Los Angeles  Search this
Topic:
Artists -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Interviews
Photographs
Prints
Transcripts
Drawings
Citation:
Merle Schipper papers, circa 1930s-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schimerl
See more items in:
Merle Schipper Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f9def13e-db14-404e-bdeb-bd0882698b5f
EDAN-URL:
ead_collection:sova-aaa-schimerl
Online Media:

Oral history interview with Salvatore Scarpitta

Interviewee:
Scarpitta, Salvatore, 1919-2007  Search this
Interviewer:
Cummings, Paul  Search this
Names:
American Academy in Rome  Search this
Castelli, Leo  Search this
De Kooning, Willem, 1904-1997  Search this
Guston, Philip, 1913-1980  Search this
Kline, Franz, 1910-1962  Search this
Levine, Jack, 1915-2010  Search this
Pollock, Jackson, 1912-1956  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1975 January 31.-February 3
Scope and Contents:
Interview of Salvatore Scarpitta conducted 1975 January 31.-February 3, by Paul Cummings, for the Archives of American Art. Scarpitta speaks of his family's background; growing up and going to school in California; moving to Italy and going to art school at 17; attending the American Academy; his experiences in Europe after the war broke out in 1940; being arrested and interned for 18 months in Italy and escaping; joining the United States Navy; getting thrown out of the American Academy after being accused of being a Communist; his abstract paintings; moving back to America after Leo Castelli saw his work; his painting techniques; his thoughts on futurism and cubism; why he shifted from working on a canvas to tearing it apart and using it as materials; his use of color; how his interest in race cars influenced his art work; building race cars; living in New York and the art scene there; his successful art show on the Piazza San Marco in Venice; the reason for using belts in his paintings; how certain paintings led him to building sleds; his feelings about Leo Castelli; and teaching art. He recalls Phil Guston, Jack Levine, Franz Kline, Bill de Kooning, Jackson Pollack, Mark Rothko, and many others.
Biographical / Historical:
Salvatore Scarpitta (1919-2007) was a sculptor.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 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 others.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Art, American  Search this
Sculptors -- Interviews  Search this
Futurism (Art)  Search this
World War, 1939-1945  Search this
Automobile racing  Search this
Art, Abstract  Search this
Cubism  Search this
Painting -- Technique  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.scarpi75
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95bac49d5-0671-41ab-b93a-f734a61ff344
EDAN-URL:
ead_collection:sova-aaa-scarpi75
Online Media:

Photographs of artists by Fred McDarrah

Photographer:
McDarrah, Fred W., 1926-2007  Search this
Names:
Beal, Jack, 1931-  Search this
Bluhm, Norman, 1921-1999  Search this
Christo, 1935-  Search this
De Kooning, Willem, 1904-1997  Search this
Freckelton, Sondra  Search this
Kline, Franz, 1910-1962  Search this
Motherwell, Robert  Search this
Noland, Kenneth, 1924-2010  Search this
Wilke, Hannah  Search this
Extent:
8 Items (photographic prints)
Type:
Collection descriptions
Archival materials
Date:
1963-1976
Scope and Contents:
Photographs of Norman Bluhm, Robert Motherwell, Franz Kline, Willem De Kooning, Kenneth Noland, Hannah Wilke, Christo, and Jack and Sandra (Freckleton) Beal.
Biographical / Historical:
Fred W. McDarrah (1926-2007) is a photographer, New York, N.Y.
Provenance:
Donated 1977 by Fred W. McDarrah.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists at or with their work  Search this
Identifier:
AAA.mcdafred
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b290e713-0a53-4361-a6b9-0761509e5221
EDAN-URL:
ead_collection:sova-aaa-mcdafred

Oral history interview with Aaron Siskind

Interviewee:
Siskind, Aaron  Search this
Interviewer:
Shikler, Barbara  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
Mark Rothko and His Times Oral History Project  Search this
De Kooning, Willem, 1904-1997  Search this
Gottlieb, Adolph, 1903-1974  Search this
Kline, Franz, 1910-1962  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Rothko, Mark, 1903-1970  Search this
Solomon, Joe  Search this
Still, Clyfford, 1904-1980  Search this
Strand, Paul, 1890-1976  Search this
Extent:
45 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 September 28-October 2
Scope and Contents:
An interview of Aaron Siskind conducted 1982 September 28-October 2, by Barbara Shikler, for the Archives of American Art's Mark Rothko and His Times oral history project.
Siskind recalls his childhood in New York and his early interest in poetry and later photography. He describes the evolution of his own work, the role of various influences upon his work, and the meanings that can be assigned to his work. He discusses the abstract expressionist elements of his photographs and recalls his involvement with painters, including Mark Rothko. He speaks of photographing Rothko's paintings, and describes Rothko's personality. He recalls Barney Newman, Adolph Gottlieb, Paul Strand, Franz Kline, Willem de Kooning, Joe Solomon, Robert Motherwell, Clyfford Still, and others.
Biographical / Historical:
Aaron Siskind (1903-1991) was a photographer from New York, N.Y.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 7 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Abstract expressionism  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.siskin82
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93b4bbb41-b11b-467e-93b5-df9352eb486d
EDAN-URL:
ead_collection:sova-aaa-siskin82
Online Media:

Oral history interview with Richard Gray

Interviewee:
Gray, Richard, 1928-2018  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Names:
University of Illinois. -- Student  Search this
Boris, Harry  Search this
De Kooning, Willem, 1904-1997  Search this
Emmerich, André  Search this
Fabricant, Andrew  Search this
Gaudí, Antoni, 1852-1926  Search this
Gray, Paul  Search this
Klamen, David, 1961-  Search this
Louis, Morris, 1912-1962  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Plensa, Jaume, 1955-  Search this
Stone, Allan  Search this
Extent:
1 Item (Sound recording, master: 1 sound disc (1 hr., 45 min.), digital, 2 5/8 in.)
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2007 Dec. 9
Scope and Contents:
An interview of Richard Gray conducted 2007 Dec. 9, by James McElhinney, for the Archives of American Art, at Carlyle Hotel, in New York, N.Y .
Gray speaks of being born in Chicago, Ill. and attending high school in Hyde Park; required coursework in art and music; his father's childhood in Poland; attending the University of Illinois in Chicago before transferring to the main campus in Champaign-Urbana; studying architecture but then becoming more interested in art; the influence of an early mentor; joining the air force and being stationed in France in the early 1950s; traveling throughout France, Spain, and Germany; visiting Barcelona to see Antoni Gaudí's architecture; returning to the United States, meeting his wife on a blind date, and marrying her within a year; being moved by the musical and artistic environment of his in-laws' home; owning a manufacturing business for 10 years; restructuring his father's summer resort in Michigan following his death; hosting music festivals and Harry Boris as artist-in-residence at the resort; following Boris's suggestion to open an art gallery in Chicago; his first art purchases from Allan Stone and André Emmerich in New York; his first gallery space off of Michigan Avenue on East Ontario Street in the same building as B.C. Holland and Noah Goldowsky; his second gallery space on Michigan Avenue; showing Color Field artists including Kenneth Noland, Morris Louis, and Jules Olitski; dealers as collectors; seeing himself more as a collector than a dealer at this time in his life; his diverse collection of drawings spanning many time periods; his past practice of buying works of art in shares with other dealers; the competition between art dealers and auction houses; his belief in free-market opportunities; handling the sale of Willem de Kooning's Woman V; the gallery's representation of Jaume Plensa and David Klamen; the future direction of the gallery at both the Chicago and New York City locations; the changing market in international art; recently being designated a Living Landmark by the Landmarks Preservation Council of Illinois; and his strong presence and activity in Chicago's cultural community. Gray also recalls André Emmerich, Andrew Fabricant, Paul Gray, and others.
Biographical / Historical:
Richard Gray (1928-2018) was an art dealer from Chicago, Ill. Interviewer James McElhinney is a painter and educator from New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art dealers -- Illinois -- Chicago  Search this
Topic:
Art -- Economic aspects  Search this
Color-field painting  Search this
Art -- Collectors and collecting -- Illinois -- Chicago -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gray07
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995485404-2c43-4c16-a632-580a2c73333d
EDAN-URL:
ead_collection:sova-aaa-gray07
Online Media:

Michael Loew papers

Creator:
Loew, Michael, 1907-1985  Search this
Names:
Federation of Modern Painters and Sculptors  Search this
Holland-Goldowsky Gallery  Search this
Landmark Gallery (New York, N.Y.)  Search this
Marilyn Pearl Gallery  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States. Work Projects Administration  Search this
University of California, Berkeley  Search this
Albers, Josef  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
De Kooning, Willem, 1904-1997 -- Photographs  Search this
Dehner, Dorothy, 1901-1994  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hasen, Burt  Search this
Jensen, Alfred, 1903-1981  Search this
Johnson, Philip, 1906-2005  Search this
Kahn, Louis I., 1901-1974  Search this
Kaprow, Allan  Search this
Kent, Rockwell, 1882-1971  Search this
Lahey, Richard, b. 1893  Search this
McDarrah, Fred W., 1926-2007  Search this
McNeil, George, 1908-1995  Search this
McPherson, Sarah Freedman, 1895-1978  Search this
Morris, George L. K., 1905-1975  Search this
Odets, Clifford, 1906-1963  Search this
Schempp, Theodore  Search this
Schnitzler, Max, 1903-  Search this
Siskind, Aaron  Search this
Slivka, Rose  Search this
Extent:
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1930-1997
Scope and Contents:
Biographical material, correspondence, notes, writings, photographs, business and financial records, works of art, and printed material document the career of painter and educator Michael Loew.
REEL N68-94: Biographical material, 1957-1967, includes 5 biographical sketches, a bibliography of Loew's publications, and an artist's statement. Correspondence, 1935-1968, is with colleagues, galleries, and educational institutions. There are one or two letters each from colleagues Josef Albers, Willem de Kooning, Adolph Gottlieb, Philip Johnson, Richard Lahey, George L.K. Morris, and Clifford Odets. Nine letters relate to Loew's work for the U.S. Works Progress Administration and the New York World's Fair. Writings, 1966, consist of several drafts for essay "Is It the Function of the Artist to Communicate with his Audience." A contract, 1938, is between Loew and Willem de Kooning and the New York World's Fair 1939 Inc. Printed material, 1944-1968, consists of exhibition announcements and catalogs. Photographs, 1960-1964, are of Loew and his art works. Notes consist of 2 undated notebooks and a typescript concerning Josef Albers. A scrapbook, 1938-1965, contains 4 photographs of art works, clippings, and exhibition announcements and catalogs.
REEL 5053: Correspondence, 1944-1990, is with galleries, including the Holland-Goldowsky Gallery, educational institutions, including the University of California at Berkeley, and colleagues including Dorothy Dehner, Burt Hasen, and Aaron Siskind. Correspondence, 1956-1957, with Rockwell Kent concerns the rental of Kent's Monhegan Island cabin. One letter, 1959, includes 3 photographs of Loew, Louis Kahn, Allan Kaprow, and George McNeil. Lecture notes are for an Artists Equity symposium, 1956, and a panel discussion on painting, 1968. Writings, 1968-1979, consist of 3 essays by Loew and tributes written to Sarah Freedman McPherson by Loew and others. Printed material, 1932-1992, consists of clippings, exhibition announcements and catalogs, and a book "The Artist's World" by Fred W. McDarrah. Photographs, 1930-1979, are of Loew, his friends, and his art works. One photograph is of Alfred Jensen, Theodore Schempp, Max Schnitzler, and Loew in Tunis, 1930.
UNMICROFILMED Biographical material incudes curriculum vita, obituaries, and birth announcements of Jonathan Loew, Michael Loew's son. Correspondence is with Willem and Elaine de Kooning. Writings include notes and a transcription of Loew's 1966 MoMA talk Must the Artist Communicate with his Audience, drafts of an article by Loew regarding Joseph Albers NEA and Guggenheim grant applications. Photographs are of Loew, his artwork, and his travels in Mexico as well as a color photograph of Loew and Willem de Kooning in de Kooning's studio taken by Rose Slivka. Artwork includes original off-prints for book covers. Business files relate to the 1939 World's Fair mural commission and include information about gifts of artwork to museums. Financial material includes a sales record book and records of sales with the Marilyn Pearl and Landmark galleries. Also included are literature and directories from the Federation of Modern Painters & Sculptors, exhibition announcements,and newspaper clippings.
Biographical / Historical:
Born in New York City, Michael Loew (1907-1985) studied at the Art Students League from 1926-1929, Academie Scandinave in Paris from 1929-1930, the Hans Hofmann School of Fine Art from 1947-1949, and at the Atelier Fernand Leger from 1949-1950. Loew worked as a stained glass artist from 1926 to 1929, and painted murals with Willem de Kooning for the New York World's Fair of 1939. Between 1956 and 1966, he taught painting at the Portland (Oregon) Art Museum, University of California at Berkeley, and at the School of Visual Arts in New York.
Provenance:
Material on reel N68-94 lent for microfilming 1968 by Michael Loew; approximately 50 letters and an artists' statement were later received in subsequent donations. Additional papers were donated in 1981-1982 by Loew, and in 1994 and 2008 by his widow, Mildred C. Loew, a portion of which was microfilmed on reel 5053. The photograph of Loew and de Kooning taken by Rose Slivka was donated by Loew's niece, Jackie Cohen, in 2007.
Restrictions:
Microfilmed portion must be accessed on film. Use of original papers requires an appointment.
Occupation:
Painters  Search this
Art teachers  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Identifier:
AAA.loewmich
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e3d9b795-510f-41a5-8709-a30f19d5425a
EDAN-URL:
ead_collection:sova-aaa-loewmich

Oral history interview with Dorothy C. Miller

Interviewee:
Miller, Dorothy Canning, 1904-2003  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
Mark Rothko and His Times Oral History Project  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Cahill, Holger, 1887-1960  Search this
De Kooning, Willem, 1904-1997  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Panicali, Carla  Search this
Putzel, Howard, 1898-1945  Search this
Rothko, Mark, 1903-1970  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
30 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 May 14
Scope and Contents:
An interview of Dorothy Canning Miller conducted 1981 May 14, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Miller talks about the first time she, with Alfred Barr, saw Mark Rothko's work in Federation of Modern Painters and Sculptors exhibitions. She remembers her first visit to Rothko's studio and frequent conversations at an Italian restaurant near the studio. Miller recounts incidents involving Rothko and Clyfford Still while she was organizing the show "15 Americans" and others at the Museum of Modern Art. She recalls the relationship between Rothko and Still, their split, her own split with Still, and the psychological changes she noted in Rothko. She recalls Holger Cahill, Alfred Barr, Barnett Newma, Robert Motherwell, Clyfford Still, Howard Putzel, Carla Panicali, de Kooning, and others.
Biographical / Historical:
Dorothy Miller (1904-2003) was an art museum curator and art consultant from New York, N.Y.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 24 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Abstract expressionism  Search this
Art museum curators -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.miller81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9848553d6-3075-427e-b4a6-97d47bce0334
EDAN-URL:
ead_collection:sova-aaa-miller81
Online Media:

Oral history interview with Nathan Oliveira

Interviewee:
Oliveira, Nathan, 1928-2010  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Albright, Ivan, 1897-1983  Search this
Beckmann, Max, 1884-1950  Search this
Bengston, Billy Al  Search this
Boyle, Keith  Search this
De Kooning, Willem, 1904-1997  Search this
Diebenkorn, Richard, 1922-1993  Search this
Jackson, Martha Kellogg  Search this
Oldfield, Otis, 1890-1969  Search this
Extent:
92 Pages (Transcript, 1978-1980 sessions)
28 Pages (Transcript 1981 session)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1978 Aug. 9-1981 Dec. 29
Scope and Contents:
An interview of Nathan Oliveira conducted 1978 Aug. 9-1981 Dec. 29, by Paul Karlstrom, for the Archives of American Art.
Oliveira speaks of his family background and ancestry; his childhood; his education; the development of his interest in art; working as a bookbinder; his inspirations from the old masters; studying with Max Beckmann and Otis Oldfield; his U.S. Army service; working with Richard Diebenkorn; getting established in galleries as a printmaker; teaching printmaking; his European travels; living in Illinois and its effect on his career; moving to California; and meeting and working with Martha Jackson. He recalls Billy Al Bengston, Ivan Albright, and Willem de Kooning, and discusses de Kooning's influence on him.
Oliveira also speaks of subject matter in his paintings, and his departure from and his later return to the human figure; the relationship between artist and model; the importance and persistence of the figurative tradition in American art; artists he admires. He recalls Keith Boyle and Frank Lobdell.
Biographical / Historical:
Nathan Oliveira (1928-2010) was a painter, printmaker, and sculptor from Stanford, Calif.
General:
Originally recorded on 3 sound tape reels and 2 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 39 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:
1978-1980 session; transcript: Transcript available on microfilm.
Occupation:
Artists' models  Search this
Topic:
Figurative art  Search this
Printmakers -- California -- Interviews  Search this
Artists' models -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.olivei78
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973f41c6a-7f70-45ec-a356-536ec0195244
EDAN-URL:
ead_collection:sova-aaa-olivei78
Online Media:

Oral history interview with Harold Rosenberg

Interviewee:
Rosenberg, Harold, 1906-1978  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Club (New York, N.Y.)  Search this
Office of War Information. Washington, D.C.  Search this
United States. Work Projects Administration  Search this
Baumbach, Harold, 1903-  Search this
Blume, Peter, 1906-1992  Search this
Breton, André, 1896-1966  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Gorky, Arshile, 1904-1948  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Krasner, Lee, 1908-1984  Search this
Lundeberg, Helen, 1908-1999  Search this
Léger, Fernand, 1881-1955  Search this
Matta, 1912-2002  Search this
Miró, Joan, 1893-  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Pollock, Jackson, 1912-1956  Search this
Prestopino, Gregorio  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Tobey, Mark  Search this
Extent:
244 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1970 December 17-1973 January 28
Scope and Contents:
An interview of Harold Rosenberg conducted 1970 December 17-1973 January 28, by Paul Cummings for the Archives of American Art over nine sessions.
Rosenberg speaks on a wide variety of topics including Marxism and Communism; art criticism; teaching and the philosopy of art; how his interest in art developed over the years; getting his writings published and starting a magazine; what intrigues him about the avant-garde; when and why he started painting; action painting; the inaccuracies in art history about Avant-gardism and Surrealism; working as a mural painter for the College Art Association; moving from the WPA's art project to the writer's project, and becoming an art editor; what happened to the works of art done under the WPA after it ended; and moving to the Hamptons.
He speaks in detail on the New York art scene during the 1930s, 1940s, and 1950s; The Club; writing about art; politics and art; Shakespeare and literature's influence on art and vice versa; the various economic aspects of art; how the Depression affected him and the people he knew; the projects he worked on in the WPA; and working for the OWI after the WPA disbanded.
He recalls Mark Rothko, Harold Baumbach, Willem de Kooning, Robert Motherwell, Peter Blume, Helen Lundberg, André Breton, Arshile Gorky, Roberto Matta, Jackson Pollock, David Smith, Lee Krasner, Fernand Léger, Joan Miró, Jim Leshay, Stuart Davis, Bruce Inverarity, Barney Newman, Mark Tobey, Gregorio Prestopino, and many others.
Biographical / Historical:
Harold Rosenberg (1906-1978) was a writer and educator from New York, N.Y.
General:
Originally recorded on 5 sound tapes. Reformatted in 2010 as 9 digital wav files. Duration is 10 hr., 4 min.
Interview transcript is not in chronological order; arrangement designated by the interviewer Paul Cummings.
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
Educators -- New York (State) -- New York -- Interviews  Search this
Art -- Economic aspects  Search this
Art -- Philosophy  Search this
Art -- Political aspects  Search this
Art and literature  Search this
Art criticism  Search this
Surrealism  Search this
Avant-garde (Aesthetics) -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.rosenb70
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973c587b6-e4b1-453e-9790-0420db435320
EDAN-URL:
ead_collection:sova-aaa-rosenb70
Online Media:

Jackson Pollock and Lee Krasner papers

Creator:
Pollock, Jackson, 1912-1956  Search this
Krasner, Lee, 1908-1984  Search this
Names:
Betty Parsons Gallery  Search this
Martha Jackson Gallery  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cavaliere, Barbara  Search this
Davis, Bill  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Eames, Ray  Search this
Forge, Andrew  Search this
Friedman, B. H. (Bernard Harper), 1926-  Search this
Glaser, Jane R.  Search this
Gray, Cleve  Search this
Greenberg, Clement, 1909-1994  Search this
Gruen, John  Search this
Holmes, Doloris  Search this
Isaacs, Reginald R., 1911-  Search this
Janis, Sidney, 1896-1989  Search this
Johnson, Philip, 1906-2005  Search this
Kadish, Reuben, 1913-1992  Search this
Maddox, Charles  Search this
Matter, Mercedes  Search this
McCoy, Sanford, Mrs.  Search this
Miller, Daniel  Search this
Miller, Robert, 1932 Apr. 17-  Search this
Motherwell, Robert  Search this
Namuth, Hans  Search this
Ossorio, Alfonso, 1916-1990  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rose, Barbara  Search this
Rouche, Burton  Search this
Smith, Tony, 1912-  Search this
Still, Clyfford, 1904-  Search this
Valliere, James  Search this
Wasserman, Tamara E.  Search this
Wright, William  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
16.1 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Date:
circa 1914-1984
bulk 1942-1984
Summary:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.

The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.

James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.

Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.

Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.

There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.

Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.

Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:

Missing Title

Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)

Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.

In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.

In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.

Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.

In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.

For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State)  Search this
Topic:
Art -- Economic aspects  Search this
Abstract expressionism  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.polljack
See more items in:
Jackson Pollock and Lee Krasner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ac60d2fa-adb8-4919-9ebb-ddef5dfaa3f8
EDAN-URL:
ead_collection:sova-aaa-polljack
Online Media:

[Photographs of artists taken by Dena]

Photographer:
Dena, 1910-1987  Search this
Names:
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Grooms, Red  Search this
Gross, Chaim, 1904-1991  Search this
Ortiz, Rafael Montanez  Search this
Segal, George, 1924-2000  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
9 Items (photographic prints, b&w, 44 x 34 cm. and smaller.)
Type:
Collection descriptions
Archival materials
Photographs
Date:
[1964-1975]
Scope and Contents:
Included are photographs of: Dorothy Dehner, Willem De Kooning, Edwin Dickinson, Red Grooms,Chaim Gross, Rafael Montanez Ortiz, George Segal, Moses Soyer, Raphael and Rebecca Soyer.
Biographical / Historical:
Dena (1910-1987) was a photographer from New York, N.Y. Full name Dinah Rubinstein.
Provenance:
Donated by Dena. It is unclear if the photographs were used in a publication or exhibition. The photographs were initially placed in AAA's Photographs of Artists Collection I and II, separated by artist depicted, and microfilmed on reels 439-441 and 1817-1818. They have been subsequently scanned and compiled together under Dena
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:
Photographers -- New York (State) -- New York  Search this
Topic:
Artists' studios -- Photographs  Search this
Photography  Search this
Women artists  Search this
Women photographers  Search this
Genre/Form:
Photographs
Identifier:
AAA.dena
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9189adb2d-ca5b-4ef4-bcca-08dd42ee2293
EDAN-URL:
ead_collection:sova-aaa-dena

Reuben Kadish papers

Creator:
Kadish, Reuben, 1913-1992  Search this
Names:
Ashton, Dore  Search this
Cherry, Herman  Search this
Conant, Howard  Search this
De Kooning, Willem, 1904-1997  Search this
Guston, Philip, 1913-1980  Search this
Hiler, Hilaire, 1898-1966  Search this
Langsner, Jules, 1911-1967  Search this
Neininger, Urban  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956  Search this
Siqueiros, David Alfaro  Search this
Tully, Judd  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1851-1995
bulk 1913-1995
Summary:
This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Scope and Content Note:
The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.
Arrangement:
The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)
Biographical Note:
Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.
Related Material:
Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.
Provenance:
The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.
Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Muralists -- California  Search this
Sculptors -- California  Search this
Genre/Form:
Drawings
Photographs
Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kadireub
See more items in:
Reuben Kadish papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8
EDAN-URL:
ead_collection:sova-aaa-kadireub
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