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Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
56.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2007
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
Arrangement:
The collection is arranged as eight series:

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism  Search this
Art critics  Search this
Minimal art  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Joan Semmel papers, 1949-2013, bulk 1960-2013

Creator:
Semmel, Joan, 1923-0  Search this
Subject:
Hardy, John  Search this
Markson, David  Search this
Grossman, Nancy  Search this
Hammond, Harmony  Search this
Edelson, Mary Beth  Search this
Golden, Eunice  Search this
Sleigh, Sylvia  Search this
Bernstein, Judy  Search this
Stevens, May  Search this
Schapiro, Miriam  Search this
Nieto, José Antonio  Search this
Type:
Interviews
Video recordings
Illustrations
Photographs
Topic:
Women and erotica  Search this
Authors -- New York (State) -- New York  Search this
Women artists  Search this
Painting, Abstract  Search this
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Feminism and art  Search this
Feminism  Search this
Erotica  Search this
Art -- Political aspects  Search this
Record number:
(DSI-AAA_CollID)16175
(DSI-AAA_SIRISBib)366716
AAA_collcode_semmjoan
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_366716
Online Media:

Lucy R. Lippard papers, 1930s-2007, bulk 1960-1990

Creator:
Lippard, Lucy R., 1937-  Search this
Subject:
Chicago, Judy  Search this
Andre, Carl  Search this
Stevens, May  Search this
Pearson, Henry  Search this
Darboven, Hanne  Search this
Henes, Donna  Search this
Hammond, Harmony  Search this
LeWitt, Sol  Search this
Edelson, Mary Beth  Search this
Judd, Donald  Search this
Johnson, Ray  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Alliance for Cultural Democracy  Search this
Studio International  Search this
University of Colorado  Search this
Political Art Documentation/Distribution  Search this
Printed Matter, Inc.  Search this
Addison Gallery of American Art  Search this
Women's Caucus for Art  Search this
Type:
Sound recordings
Interviews
Photographs
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism  Search this
Art critics  Search this
Minimal art  Search this
Record number:
(DSI-AAA_CollID)7895
(DSI-AAA_SIRISBib)210062
AAA_collcode_lipplucy
Theme:
Women
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210062
Online Media:

Henri Gallery records, circa early 1900s, bulk 1957-1995

Creator:
Henri Gallery (Washington, D.C.)  Search this
Subject:
Anderson, Harry  Search this
Bickley-Green, Cynthia  Search this
Clements, Robert  Search this
Edelson, Mary Beth  Search this
Stackhouse, Robert  Search this
Wilson, May  Search this
Antin, Eleanor  Search this
Abraham, Darryl  Search this
Exton, Leslie  Search this
Greenly, Colin  Search this
Herbert, Mimi  Search this
Ishida, Traute  Search this
Puryear, Martin  Search this
Outerbridge, Graeme  Search this
Van Brunt, Philip  Search this
Scanga, Italo  Search this
Kohlmeyer, Ida  Search this
McGowin, Ed  Search this
Nakashima, Tom  Search this
Kogelnik, Kiki  Search this
Type:
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Topic:
Color-field painting  Search this
Art galleries, Commercial -- Washington (D.C.)  Search this
Record number:
(DSI-AAA_CollID)7730
(DSI-AAA_SIRISBib)209895
AAA_collcode_henrgall
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209895
Online Media:

Henri Gallery records

Creator:
Henri Gallery (Washington, D.C.)  Search this
Names:
Abraham, Darryl  Search this
Anderson, Harry  Search this
Antin, Eleanor  Search this
Bickley-Green, Cynthia  Search this
Clements, Robert  Search this
Edelson, Mary Beth  Search this
Exton, Leslie  Search this
Greenly, Colin, 1928-  Search this
Herbert, Mimi  Search this
Ishida, Traute  Search this
Kogelnik, Kiki  Search this
Kohlmeyer, Ida, 1912-1997  Search this
McGowin, Ed, 1938-  Search this
Nakashima, Tom, 1941-  Search this
Outerbridge, Graeme, 1950-  Search this
Puryear, Martin, 1941-  Search this
Scanga, Italo, 1932-2001  Search this
Stackhouse, Robert  Search this
Van Brunt, Philip  Search this
Wilson, May, 1905-1986  Search this
Extent:
55.4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Date:
circa early 1900s
1940-1996
bulk 1957-1995
Summary:
The records of Henri Gallery, a Washington, D.C. gallery that showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.
Scope and Contents:
The records of Henri Gallery, a Washington, D.C. gallery which showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.

General Correspondence includes incoming business correspondence with artists, clients, galleries, and museums, regarding artwork, exhibitions, and other business issues. Also found here are holiday cards, handmade cards, and illustrated correspondence.

The bulk of the records consist of Alphabetical Files contains materials regarding artists, clients, exhibitions, galleries, museums, and various subjects of interest, originally arranged alphabetically by folder title. Folders range in quantity and variety of materials, including correspondence, printed materials, photographs, sales and consignment records, resumes, price lists, and exhibition records. There are especially rich or extensive files for Darryl Abraham, Harry Anderson, Cynthia Bickley-Green, Robert Clements, Mary Beth Edelson, Leslie Exton, Colin Greenly, Mimi Herbert, Traute Ishida, Kiki Kogelnik, Ida Kohlmeyer, Ed McGowin, Tom Nakashima, Graeme Outerbridge, Martin Puryear, Italo Scanga, Robert Stackhouse, Philip Van Brunt, and May Wilson. Of interest is the complete series of Eleanor Antin's 100 Boots postcards.

The bulk of Printed Materials are newspaper clippings regarding artists, exhibitions, and Henri Gallery. There are also 114 posters dating from 1959-1979 from Henri Gallery exhibitions and other galleries' exhibitions of artists in which the Henri Gallery represented.

Artwork is comprised of loose drawings and sketches, many of Henri. Photographic Materials contains black and white photographs, scattered color photographs, snapshots, and slides of artwork, exhibitions, Henri, the galleries spaces, and the Not New shop. Most photographs are undated.
Arrangement:
The collection is arranged as 5 series.

Series 1: General Correspondence, 1949-1996 (2.5 linear feet; Boxes 1-3, 55-56)

Series 2: Alphabetical Files, 1947-1996 (50.3 linear feet; Boxes 3-52, 55-57, OV58, FC 62-63)

Series 3: Printed Materials, circa early 1900s, 1940-1995 (1.2 linear feet; Boxes 52-53, 57, OVs 59-61)

Series 4: Artwork, 1952-circa 1996 (5 folders; Boxes 53, 57)

Series 5: Photographic Materials, 1940s-1981 (0.8 linear feet; Boxes 53-54, 57)
Biographical / Historical:
In 1957, Henrietta Ehrsam, known as "Henri," opened her eponymous gallery on South Royal Street in Alexandria, Virginia. Earlier, Henri and her partner Florie King had sold clothing, antiques, accessories and decorative arts alongside works of art at their consignment shop "Not New" in the same location.

In the 1960s, Henri showed painters Gene Davis, Thomas Downing, and Howard Mehring of the Washington Color School. In the summer of 1967, Henri Gallery moved to 1500 21st Street NW, closer to the Dupont Circle art galleries in Washington, D.C. Henri showed many young and emerging artists, including Cynthia Bickley-Green, William Christenberry, Mary Beth Edelson, Ed McGowin, and Robert Stackhouse. In 1970, Henri opened a second location, Henri 2, at 1875 Connecticut Ave. NW to exhibit large scale works. In 1972, Henri 2 held Martin Puryear's first solo exhibition in the United States. Henri passed away in 1996 and both gallery locations closed shortly thereafter.
Provenance:
Henri donated the Henri Gallery records in three accessions between 1980 - 1981. Henri's daughter, Helen Schnoebelen donated additional records in 1996.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Henri Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Color-field painting  Search this
Art galleries, Commercial -- Washington (D.C.)  Search this
Genre/Form:
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Citation:
Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.henrgall
See more items in:
Henri Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-henrgall
Online Media:

Oral history interview with Mary Beth Edelson, 2009 February 1-16

Interviewee:
Edelson, Mary Beth, 1933-  Search this
Interviewer:
Richards, Judith Olch, 1947-  Search this
Type:
Sound recordings
Interviews
Topic:
Women artists -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)15701
(DSI-AAA_SIRISBib)283558
AAA_collcode_edelso09
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_283558

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
317.43 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
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.
Topic:
Art, American  Search this
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artitalk
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Online Media:

Oral history interview with Mary Beth Edelson

Interviewee:
Edelson, Mary Beth  Search this
Interviewer:
Richards, Judith Olch  Search this
Extent:
4 Items (wav files (4 hr., 39 min.), digital)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
2009 February 1-16
Scope and Contents:
An interview of Mary Beth Edelson conducted 2009 February 1 and 16, by Judith Olch Richards, for the Archives of American Art, at Edelson's studio in New York, New York.
Biographical / Historical:
Mary Beth Edelson (1933- ) is a feminist artist who lives and works in New York, New York. Judith Olch Richards (1947- ) is former Executive director of iCI in New York, New York. Edelson is considered a pioneer in the Feminist Art movement.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 40 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.
Rights:
Authorization to publis, quote or reproduce must be obtained from Mary Beth Edelson.
Topic:
Women artists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.edelso09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-edelso09

Joan Semmel papers

Creator:
Semmel, Joan, 1923-  Search this
Names:
Bernstein, Judy  Search this
Edelson, Mary Beth  Search this
Golden, Eunice  Search this
Grossman, Nancy  Search this
Hammond, Harmony  Search this
Hardy, John  Search this
Markson, David  Search this
Nieto, José Antonio  Search this
Schapiro, Miriam, 1923-2015  Search this
Sleigh, Sylvia  Search this
Stevens, May  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Illustrations
Photographs
Date:
1949-2013
bulk 1960-2013
Summary:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist, and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.
Scope and Contents:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.

Among the biographical materials are awards, educational records,and audiovisual recordings about Joan Semmel and her work.

Professional correspondence concerns exhibitions, publication permissions, panel discussions, symposia, and visiting artist and summer school appointments. Also included are letters of recommendation for colleagues and students. A scattering of personal letters are from novelist David Markson and José Antonio, both of whom had personal relationships with Semmel. There are also a few letters from friends of a purely social nature and a few letters concerning routine personal affairs.

There are two interviews with Joan Semmel on video recordings, one was conducted for a television broadcast and the other is unidentified.

Writings by Semmel include the manuscript, illustrations, research material, and letters relating to her unpublished book about women's erotic art. Also found are articles, artist's statements, and notes for talks about her work. The writings about Semmel consist of several student papers.

Project files relate to two exhibitions curated by Semmel, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds (2000). One file is related to a project in which Semmel was involved to document the role and status of women in the arts.

Scattered teaching files concern a course about contemporary women artists developed and taught by Semmel for the women's studies program at Rutgers University, circa 1978. Also documented are summer programs at Skowhegan and Sommerakademie in Austria where Semmel served as an instructor.

Binders (now unbound) of printed materials were compiled by Semmel consisting of exhibition catalogs and announcements for solo and group shows, reviews, posters, and miscellaneous printed matter.

Photographs of people include Joan Semmel, friends and colleagues. Among the individuals pictured are: writer David Markson, painter John Hardy, José Antonio Nieto; and feminist artists: Judy Bernstein, Mary Beth Edelson, Eunice Golden, Nancy Grossman, Harmony Hammond, Miriam Schapiro, Sylvia Sleigh, and May Stevens. There are slides, photographs, color photocopies and digital images of Semmel's paintings. Of particular interest are photographs, photocopies of photographs, and digital images that served as source material for paintings, including portrait commissions.
Arrangement:
The collection is arranged in 8 seres:

Series 1: Biographical Materials, 1949-2013 (Box 1; 0.6 linear feet)

Series 2: Correspondence, 1973-2013 (Boxes 1-2; 1.2 linear feet)

Series 3: Interviews, circa 1970s-1986 (Box 2; 0.2 linear feet)

Series 4: Writings, 1970s-2009 (Box 3; 0.7 linear feet)

Series 5: Project Files, 1972-2000 (Box 3; 3 folders)

Series 6: Teaching Files, 1970s-2000 (Box 3; 0.4 linear feet)

Series 7: Printed Material, circa 1960s-2013 (Boxes 4-6, OV 8; 2.2 linear feet)

Series 8: Photographic Materials, circa 1965-2013 (Boxes 6-7; 0.6 linear feet)
Biographical / Historical:
Joan Semmel (1932- ) is an abstract painter working in New York City and Easthampton, N. Y. Semmel's work explores erotic themes and the female body. She taught painting at the Mason Gross School of the Arts at Rutgers University from 1978-2000.

Born in New York City in 1932, Joan Semmel studied at the Cooper Union, the Art Students League of New York, and received her BFA in 1963 and MFA in 1972 from Pratt Institute. Semmel moved to Spain in 1963 and exhibited her abstract expressionist work in galleries and museums there before returning to New York in 1970.

Upon Semmel's return to New York, she became involved in the feminist art movement. One of the original Guerrilla Girls, Semmel was involved with several feminist activist art groups devoted to gender equality in the art world. Semmel spent years researching a book about women's erotic art. At the same time, her painting style shifted to incorporate more figurative imagery and she began working on series that explored the themes of the female body, desire, and aging. Each series consisted of 10-30 paintings, produced over several years, among them First and Second Erotic Series, Self Images, Portraits, Figure in Landscape, Gymnasium, Locker Room, Overlays, and Mannequins.

In addition to her teaching career at Rutgers University as a tenured Professor of Painting, Semmel taught briefly at the Brooklyn Museum Art School, Skowhegan, and the Summer Academy of Fine Arts in Salzburg, Germany. Over the years she served as a visiting artist, critic, and lecturer at many colleges, and participated in numerous symposia, panel discussions and conferences. She has received several grants and awards including Macdowell Colony and Yaddo residencies.

Semmel has exhibited widely and prolifically in the United States, Spain, the Netherlands, and South America, in addition to curating two exhibitions, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds - Art in General (2000). Her work is represented in the permanent collections of many museums including the Brooklyn Museum of Art, Chrysler Museum, Guild Hall, Museum of Women in the Arts, Parrish Art Museum, and Vassar College Museum.

Joan Semmel continues to live and work in New York City and Easthampton, NY.
Provenance:
Donated by Joan Semmel in 2014.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Joan Semmel papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws
Topic:
Women and erotica  Search this
Authors -- New York (State) -- New York  Search this
Women artists  Search this
Painting, Abstract  Search this
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Feminism and art  Search this
Feminism  Search this
Erotica  Search this
Art -- Political aspects  Search this
Genre/Form:
Interviews
Video recordings
Illustrations
Photographs
Citation:
Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.semmjoan
See more items in:
Joan Semmel papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-semmjoan

Some Living American Women Artists/Last Supper

Artist:
Mary Beth Edelson, born East Chicago, IN 1933  Search this
Medium:
lithograph on paper
Dimensions:
25 x 38 1/8 in. (63.5 x 96.8 cm)
Type:
Graphic Arts-Print
Date:
1972
Topic:
Figure group\female  Search this
Occupation\art\artist  Search this
Religion\New Testament\Last Supper  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Benjamin P. Nicolette
Object number:
2006.31.7
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7ddd48257-810a-4197-8e0e-6a422d92d1e7
EDAN-URL:
edanmdm:saam_2006.31.7

Bride of the Fire, from the A. I. R. Print Portfolio

Artist:
Mary Beth Edelson, born East Chicago, IN 1933  Search this
Printer:
Judith Solodkin, born New York City 1945  Search this
Sitter:
Mary Beth Edelson  Search this
Medium:
photolithograph on paper
Dimensions:
image: 27 x 20 5/8 in. (68.5 x 52.4 cm)
Type:
Graphic Arts-Print
Date:
ca. 1975-1977
Topic:
Figure female\nude  Search this
Occupation\art\printmaker  Search this
Portrait female\self-portrait  Search this
Landscape\phenomenon\fire  Search this
Credit Line:
Smithsonian American Art Museum, Transfer from the National Endowment for the Arts
Object number:
1988.18.38
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk75f77f8de-1944-4397-a1c0-8adc5f45ef16
EDAN-URL:
edanmdm:saam_1988.18.38

A.I.R. Group Portrait

Artist:
Sylvia Sleigh, 8 May 1916 - 24 Oct 2010  Search this
Sitter:
Nancy Spero, 24 Aug 1926 - 18 Oct 2009  Search this
Howardena Doreen Pindell, born 1943  Search this
Sylvia Sleigh, 8 May 1916 - 24 Oct 2010  Search this
Sari Dienes, 1898 - 1992  Search this
Mary Beth Edelson, born c. 1930  Search this
Medium:
Oil on linen
Dimensions:
208 × 182cm (81 7/8 × 71 5/8")
Type:
Painting
Date:
1978
Topic:
Sari Dienes: Female  Search this
Sari Dienes: Visual Arts\Artist\Sculptor  Search this
Sari Dienes: Visual Arts\Artist\Painter  Search this
Mary Beth Edelson: Visual Arts\Artist  Search this
Mary Beth Edelson: Female  Search this
Howardena Doreen Pindell: Visual Arts\Artist  Search this
Howardena Doreen Pindell: Female  Search this
Howardena Doreen Pindell: Visual Arts\Artist\Painter  Search this
Howardena Doreen Pindell: Visual Arts\Art Instructor  Search this
Howardena Doreen Pindell: Visual Arts\Curator  Search this
Nancy Spero: Visual Arts\Artist  Search this
Nancy Spero: Female  Search this
Nancy Spero: Society and Social Change\Reformer\Feminist  Search this
Sylvia Sleigh: Female  Search this
Sylvia Sleigh: Visual Arts\Artist\Painter\Portraitist  Search this
Portrait  Search this
Credit Line:
Owner: Freymond-Guth Fine Arts Ltd
Object number:
DLR01916
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm408bf0035-31fc-4d31-b49d-f5298d91028b
EDAN-URL:
edanmdm:npg_DLR01916

Sophia (After Mona Lisa) Self-Portrait Mantra

Artist:
Mary Beth Edelson, born c. 1930  Search this
Sitter:
Mary Beth Edelson, born c. 1930  Search this
Medium:
Acrylic on paper
Dimensions:
Sheet: 31.2cm x 26.2cm (12 5/16" x 10 5/16"), Accurate
Type:
Painting
Date:
1972
Topic:
Nature & Environment\Plant\Flower  Search this
Decorative  Search this
Mary Beth Edelson: Visual Arts\Artist  Search this
Mary Beth Edelson: Female  Search this
Portrait  Search this
Credit Line:
Owner: National Museum of Women in the Arts
Website: www.nmwa.org/
Object number:
DC300014
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4064901f3-0c25-423d-bf8f-b86637822b7e
EDAN-URL:
edanmdm:npg_DC300014

Mary Beth Edelson response to "What is Feminist Art?"

Creator:
Edelson, Mary Beth, 1933-  Search this
Subject:
Woman's Building (Los Angeles, Calif.)  Search this
Type:
Writings
Date:
between 1976 and 1977
Record number:
(DSI-AAA)12888
See more items in:
Woman's Building records, 1970-1992
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12888
Online Media:

Edelson, Mary Beth

Collection Creator:
Munro, Eleanor, 1928-  Search this
Container:
Box 28, Folder 28
Type:
Archival materials
Date:
circa 1980s
Collection 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.
Collection Rights:
The Eleanor Munro papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
Eleanor Munro papers
Eleanor Munro papers / Series 5: Subject and Research Files / Women Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-munrelea-ref811

Edelson, Mary Beth

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 6, Folder 45
Type:
Archival materials
Date:
circa 1972-1989
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref1454

Edelson, Mary Beth

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 6, Folder 46
Type:
Archival materials
Date:
1972-1977
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3075

Edelson, Mary Beth

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 6, Folder 47
Type:
Archival materials
Date:
1977-1978
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3076

Edelson, Mary Beth

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 6, Folder 48
Type:
Archival materials
Date:
1979-1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3077

Edelson, Mary Beth

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 6, Folder 49
Type:
Archival materials
Date:
1984-1989
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3078

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