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Claire Falkenstein papers

Creator:
Falkenstein, Claire, 1908-1997  Search this
Names:
Coos Art Museum  Search this
Fresno Art Museum  Search this
Galerie Anderson-Mayer  Search this
Galerie Stadler  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Los Angeles Museum of Art  Search this
Malvina Miller  Search this
Martha Jackson Gallery  Search this
Merging One Gallery  Search this
Mills College -- Faculty  Search this
Pond Farm Workshop  Search this
San Francisco Museum of Art  Search this
University of California, San Francisco. School of Fine Arts -- Faculty  Search this
Green, Ray, 1908-1997  Search this
Guggenheim, Peggy, 1898-  Search this
Kuh, Katharine  Search this
O'Donnell, May, 1906-2004  Search this
Sawyer, Kenneth B.  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
42.8 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Motion pictures (visual works)
Scrapbooks
Sketchbooks
Diaries
Photographs
Sketches
Date:
circa 1914-1997
bulk 1940-1990
Summary:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.

Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.

Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.

Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.

Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.

Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.

Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.

There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.

Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.

Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)

Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)

Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)

Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)

Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)

Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)

Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)

Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)

Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)

Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.

Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.

During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.

In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.

In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.

During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.

Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.

Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.

Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.

Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.

Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
Restrictions:
Use of original papers requires an appointment.
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 -- California  Search this
Topic:
Women artists  Search this
Sculptors -- California  Search this
Interviews  Search this
Awards  Search this
Transcripts  Search this
Articles  Search this
Designers -- California  Search this
Drafts (documents)  Search this
Art -- Study and teaching  Search this
Poetry  Search this
Scripts  Search this
Notebooks  Search this
Artists' studios  Search this
Art -- Economic aspects  Search this
Art patronage  Search this
Educators -- California  Search this
Jewelry -- Design  Search this
Sculptors -- France -- Paris  Search this
Genre/Form:
Drawings
Motion pictures (visual works)
Scrapbooks
Sketchbooks
Diaries
Photographs
Sketches
Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-falkclai
Online Media:

Exhibitions

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Extent:
(Box 18-21, 42, OV 50; 3.3 linear feet)
Type:
Archival materials
Date:
1930-1996
Scope and Contents note:
Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records.

The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich and often personal. Correspondence within the files is particularly interesting as it often provides her own and sometimes her friends' reviews.
Arrangement note:
The files are arranged first by general exhibitions in chronological order and then alphabetically by individual exhibition. There is some duplication between the two groups of files. Within each folder, contents are arranged chronologically by date. Most of the photographs related to exhibitions are found in the Photographs Series.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai, Series 4
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-falkclai-ref727

Fresno Art Museum

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Container:
Box 20, Folder 37
Type:
Archival materials
Date:
1986
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 4: Exhibitions
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-falkclai-ref748

Fresno Art Museum

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Container:
Box 20, Folder 38
Type:
Archival materials
Date:
1995
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 4: Exhibitions
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-falkclai-ref749

Oral history interview with Robert Cremean

Interviewee:
Cremean, Robert, 1932-  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Fresno Arts Center  Search this
Extent:
54 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1996 September 5
Scope and Contents:
An interview of Robert Cremean conducted 1996 September 5, by Paul J. Karlstrom, for the Archives of American Art, in Cremean's studio, Tomales, California.
The focus of the interview is Cremean's withdrawal from the commercial art market in early 1980 and his subsequent arrangement with the Fresno Arts Center (now Fresno Art Museum) to serve as the main center for his work. Cremean discusses the Fresno project and a related book undertaken by George Blair, the main funder of the museum collaboration; the philosophy behind the arrangement and the desire to take the market out of the relationship between artist and audience; Cremean's commitment to small museums and breaking the pattern of large, wealthy institutions defining culture through limited sampling; Cremean's family background, education, and career; study at Cranbrook; Fullbright to Italy; teaching at UCLA (1956-1959); his move to San Francisco Bay Area (1958); move to Tomales (1963); his relationship to galleries/dealers, mostly in Los Angeles; L.A. "culture wars" of the late 1950s and 1960s; Ferus Gallery against all others; and the victimization of Rico Lebrun's romantic humanism; a series of galleries and several important museum shows including 1976 exhibition of "Vatican Corridor" at the M.H. de Young Museum in San Francisco; autobiographical quality of work and the description of recent series as "opera"; the importance of place; and "love affair" with his valley home in Tomales.
Biographical / Historical:
Robert Cremean (1932-) was a sculptor from Tomales, California.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 2 hr., 5 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. Funding for this interview was provided by the Pasadena Art Alliance.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- California  Search this
Topic:
Art -- Marketing  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cremea96
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cremea96
Online Media:

Interviews conducted by Daphne Beneke with California artists, 1995

Creator:
Beneke, Daphne  Search this
Beneke, Daphne  Search this
Subject:
Lobdell, Frank  Search this
Mullican, Lee  Search this
Onslow-Ford, Gordon  Search this
Thiebaud, Wayne  Search this
Wonner, Paul  Search this
Woelffer, Emerson  Search this
Mullican, Lee  Search this
Thiebaud, Wayne  Search this
Wonner, Paul  Search this
Woelffer, Emerson  Search this
Type:
Sound recordings
Interviews
Topic:
Art, Modern  Search this
Women art historians  Search this
Women educators  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)6649
(DSI-AAA_SIRISBib)215964
AAA_collcode_benedaph
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215964

Interviews conducted by Daphne Beneke with California artists

Interviewer:
Beneke, Daphne  Search this
Names:
Lobdell, Frank, 1921-  Search this
Mullican, Lee, 1919-1998  Search this
Mullican, Lee, 1919-1998 -- Interviewee  Search this
Onslow-Ford, Gordon  Search this
Thiebaud, Wayne -- Interviewee  Search this
Thiebaud, Wayne -- Interviews  Search this
Woelffer, Emerson, 1914- -- Interviews  Search this
Woelffer, Emerson, 1914-2003  Search this
Wonner, Paul, 1920-2008 -- Interviewee  Search this
Wonner, Paul, 1920-2008 -- Interviews  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1995
Scope and Contents:
Interviews conducted in preparation for Beneke's publication, Fifteen Profiles: Distinguished California Modernists, published by the Fresno Art Museum, 1995. Included are audio recordings on sound cassettes and transcripts for six of the artists in the publication: Frank Lobdell, Lee Mullican, Gordon Onslow-Ford, Wayne Thiebaud, Paul Wonner, and Emerson Woelffer. The length of each interview varies from 30 minutes to two hours.
Biographical / Historical:
Educator, art historian; Pasadena, Calif.
Provenance:
Donated 1996 by Daphne Beneke.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Audio-visual recordings with no duplicate copy may require advance notice. Contact Reference Services for more information.
Occupation:
Art historians -- California -- Pasadena  Search this
Educators -- California -- Pasadena  Search this
Topic:
Art, Modern  Search this
Women art historians  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.benedaph
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benedaph

Fresno Art Museum Show (1988-1989)

Collection Creator:
Dorothy Goldeen Gallery (Santa Monica, Calif.)  Search this
Container:
Box 9, Folder 19
Type:
Archival materials
Date:
1988
Collection Restrictions:
Boxes 19-21 are access restricted; written permission is required. Contact Reference Services for more information. 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.
Collection Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Dorothy Goldeen Gallery records
Dorothy Goldeen Gallery records / Series 4: Artists' Files / Paik, Nam June
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-dorogolg-ref480

Fresno Art Museum Show (1993-1994)

Collection Creator:
Dorothy Goldeen Gallery (Santa Monica, Calif.)  Search this
Container:
Box 9, Folder 26
Type:
Archival materials
Date:
1993-1994
Collection Restrictions:
Boxes 19-21 are access restricted; written permission is required. Contact Reference Services for more information. 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.
Collection Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Dorothy Goldeen Gallery records
Dorothy Goldeen Gallery records / Series 4: Artists' Files / Paik, Nam June
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-dorogolg-ref488

General

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Container:
Box 6, Folder 35
Type:
Archival materials
Date:
1986-1993
Scope and Contents note:
( New Art Examiner Dec. 1990 issue, cover article on CARA; dissertation proposal, "'Mi Casa [No] Es Su Casa': The Cultural Politics of the Chicano Art: Resistance and Affirmation, 1965-1985 Exhibit", Alicia Gaspar de Alba, University of New Mexico, 1992; "The Power of Place" (UCLA Graduate School of Architecture & Urban Planning Embassy Auditorium public art project) proposal for Rockefeller Foundation funding: cover letter, 08/16/1990, narrative proposal, budget, supporting materials; "Artes de México" Festival: memo to committee, 08/27/1990, list of committee members, fax, 09/20/1990; press release; invitation to lecture focusing on "The Contadora Process and the Beyond War Award"; Texas Small Press Book Fair announcement; calendar from Sacramento City Councilman Joe Serna; Mississippi American Festival Project calendaer of events; CARA exhibition calendar of events, Fresno Art Museum; clippings; May/June 1993 issue of La Peña: Latino Arts News)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files / Chicano Art: Resistance and Affirmation (CARA), University of California at Los Angeles
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref429

Fresno Art Museum

Collection Creator:
Ankrum Gallery  Search this
Container:
Box 36, Folder 12
Type:
Archival materials
Date:
1987-1989
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Ankrum Gallery records
Ankrum Gallery records / Series 12: Morris Broderson Papers / 12.7: Collector and Client Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ankrgall-ref706

Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990

Creator:
Falkenstein, Claire, 1908-1997  Search this
Falkenstein, Claire, 1908-1997  Search this
Subject:
O'Donnell, May  Search this
Still, Patricia  Search this
Still, Clyfford  Search this
Sawyer, Kenneth B.  Search this
Guggenheim, Peggy  Search this
Green, Ray  Search this
Kuh, Katharine  Search this
Wildenhain, Frans  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Pond Farm Workshop  Search this
Merging One Gallery  Search this
San Francisco Museum of Art  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
Martha Jackson Gallery  Search this
Malvina Miller  Search this
Los Angeles Museum of Art  Search this
Coos Art Museum  Search this
Galerie Anderson-Mayer  Search this
Gallery Stadler  Search this
Fresno Art Museum  Search this
Mills College  Search this
University of California, San Francisco. School of Fine Arts  Search this
Type:
Drawings
Motion pictures (visual works)
Scrapbooks
Sketchbooks
Diaries
Photographs
Sketches
Topic:
Women artists  Search this
Sculptors -- California  Search this
Interviews  Search this
Awards  Search this
Transcripts  Search this
Articles  Search this
Designers -- California  Search this
Drafts (documents)  Search this
Art -- Study and teaching  Search this
Poetry  Search this
Scripts  Search this
Notebooks  Search this
Artists' studios  Search this
Art -- Economic aspects  Search this
Art patronage  Search this
Educators -- California  Search this
Jewelry -- Design  Search this
Sculptors -- France -- Paris  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6135
(DSI-AAA_SIRISBib)216351
AAA_collcode_falkclai
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216351
Online Media:

Jo Hanson papers, circa 1969-2009

Creator:
Hanson, Jo, 1918-2007  Search this
Hanson, Jo, 1918-2007  Search this
Subject:
Dickinson, Eleanor  Search this
Hendrickson, Barbara  Search this
Women's Caucus for Art  Search this
Type:
Video recordings
Photographs
Transcripts
Sound recordings
Interviews
Topic:
Women artists  Search this
Art -- Political aspects  Search this
Record number:
(DSI-AAA_CollID)16043
(DSI-AAA_SIRISBib)309690
AAA_collcode_hansjo
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_309690
Online Media:

Jo Hanson papers

Creator:
Hanson, Jo  Search this
Names:
Women's Caucus for Art  Search this
Dickinson, Eleanor, 1931-  Search this
Hendrickson, Barbara  Search this
Extent:
4.1 Linear feet
1.06 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Photographs
Transcripts
Sound recordings
Interviews
Date:
circa 1969-2009
Summary:
The papers of San Francisco environmental artist and activist Jo Hanson measure 4.1 linear feet and 1.06 GB and date from circa 1969 to 2009. The papers document her professional activities through biographical material, project and exhibition files, printed and digital material, artwork, and photographs. Also found are files regarding her participation in the Women's Caucus for Art.
Scope and Contents:
The papers of San Francisco environmental artist and activist Jo Hanson measure 4.1 linear feet and 1.06 GB and date from circa 1969 to 2009. The papers document her professional activities through biographical material, project and exhibition files, printed and digital material, artwork, and photographs. Also found are files regarding her participation in the Women's Caucus for Art.

Of note within the collection is an oral history interview of Hanson, conducted by Eleanor Dickinson and Barbara Hendrickson in 2006-2007, as well was biographical documentation compiled for the interview. Hanson's installations "Crab Orchard Cemetery" and "Public Disclosure: Secrets From the Street" are also particularly well documented within this collection.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, circa 1976-2008 (0.6 linear feet; Box 1)

Series 2: Project and Exhibition Files, circa 1973-2009 (0.8 linear feet; Box 1-2)

Series 3: Women's Caucus for Art, 1977-2006 (0.4 linear feet; Box 2)

Series 4: Printed Material, 1971-2008 (0.4 linear feet; Box 2)

Series 5: Artwork, 1969-circa 1990s (0.4 linear feet; Box 3, 5)

Series 6: Photographs, circa 1969-2007 (1.7 linear feet; Boxes 3-5, 1.06 GB; ER01-ER02)
Biographical / Historical:
Jo Hanson (1918-2007) was an environmental artist and activist in San Francisco, California. She was known for turning urban trash into works of art. She exhibited her work at the Corcoran Gallery of Art in Washington, D.C., Fresno Art Museum, and the Oakland Museum of California, among other places. In 1974 her installation "Crab Orchard Cemetery" toured nationally and included a mix of sculpture, printmaking, photography, and sound. During the 1980s she served on the San Francisco Arts Commission and championed the work of underrepresented women and artists of color. In 1996 she helped establish WEAD, the Women Environmental Artists Directory.
Provenance:
The collection was donated in 2011 by Eleanor Dickinson, Hanson's friend.
Restrictions:
Use of original papers requires and appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Environmental artists -- California -- San Francisco  Search this
Topic:
Women artists  Search this
Art -- Political aspects  Search this
Genre/Form:
Video recordings
Photographs
Transcripts
Sound recordings
Interviews
Citation:
Jo Hanson papers, circa 1969-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hansjo
See more items in:
Jo Hanson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hansjo

Fresno Art Museum Exhibition and Gift

Collection Creator:
Hanson, Jo  Search this
Container:
Box 2, Folder 9
Type:
Archival materials
Date:
2006
Collection Restrictions:
Use of original papers requires and appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jo Hanson papers, circa 1969-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Jo Hanson papers
Jo Hanson papers / Series 2: Project and Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-hansjo-ref29

Arline M. Fisch papers

Creator:
Fisch, Arline M.  Search this
Names:
American Craftsmen's Council  Search this
Boston University  Search this
Electrum (Gallery : London, England)  Search this
Internationale Handwerksmesse  Search this
Lee Nordness Galleries  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Endowment for the Arts  Search this
San Diego State University -- Faculty  Search this
Skidmore College  Search this
Society of North American Goldsmiths  Search this
World Crafts Council  Search this
Antunes, Edith  Search this
Extent:
9.8 Linear feet
3.82 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Video recordings
Date:
1931-2015
Summary:
The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and digital and photographic materials.
Scope and Contents:
The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB and date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and and digital photographic materials.

Awards and certificates are from the Indonesian National Crafts Council, Internationale Handwerksmesse Munchen, San Diego State University, State of California, and other organizations. Correspondence is with Edith Antunes, Skidmore College and other educational institutions, as well as galleries, students, and colleagues. Files for exhibitions consist of inventory and price lists, loan and shipping records, printed material, correspondence, a digital disk, and a video recording for Elegant Fantasy: The Jewelry of Arline Fisch (2000), The Art of Arline Fisch (2003), Arline Fisch: Creatures from the Deep (2008), and various exhibitions.

Gallery files contain business records for Atrium, Electrum Gallery, Lee Nordness Galleries, and galleries in Germany and Switzerland. Project files include records for an advertising campaign, articles and lectures, Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists, a cataloging project, commercial ventures, curriculum development at Boston University, NEA and Fulbright grant projects, an artwork installation, an oral history project, a seminar, and workshops.

San Diego State University teaching files include correspondence, evaluations, exhibition material, grant programs and projects, university programs, recommendations, and sabbatical records. Membership records are for the American Craftsmen's Council (ACC), Society of North American Goldsmiths (SNAG), and World Crafts Council (WCC).

Printed materials consist of booklets, a calendar, clippings, exhibition announcements and catalogs, periodicals and posters, and chronological files. Photographic materials are of Fisch, her family, travel, her studio, with colleagues and in class, and works of art. A detailed archive of Fisch's work on slides and in digital format is also included.
Arrangement:
The collection is arranged as nine series.

Series 1: Awards and Certificates, 1961-2001 (0.3 linear feet; Boxes 1, 11)

Series 2: Correspondence, 1956-2003 (0.8 linear feet; Box 1)

Series 3: Exhibition Files, 1957-2010 (1.0 linear feet; Boxes 1-2)

Series 4: Gallery Files, 1968-2010 (0.5 linear feet; Boxes 2-3)

Series 5: Project Files, 1956-2010 (1.4 linear feet; Boxes 3-4, 11)

Series 6: San Diego State University, 1955-2014 (1.0 linear feet; Boxes 4-5)

Series 7: Membership Records, 1964-1994 (1.0 linear feet; Boxes 5-6)

Series 8: Printed Materials, circa 1960-2015 (3.3 linear feet; Boxes 6-9, 11, OV 12)

Series 9: Photographic Materials, 1931-circa 2005 (0.5 linear feet; Boxes 9-11, 3.82 GB; ER01)
Biographical / Historical:
Arline M. Fisch (1931- ) is a metalsmith, jeweler, and educator in San Diego, California.

Fisch was born in Brooklyn, New York. She studied art education at Skidmore College and earned a master of arts degree from the University of Illinois. From 1956 to 1957 she studied at the School of Arts and Crafts in Copenhagen Denmark, and she returned to Denmark in 1966 under a Fulbright Research Grant. She also received Fulbright and NEA grants for multiple projects in Uruguay, Austria, and the U.S.

From 1954 to 1961, she taught at Wheaton College and Skidmore College. Fisch began teaching at San Diego State University (SDSU) in 1961 where she developed the Jewelry and Metalsmithing program. She retired from SDSU in 2000.

Fisch was a member of the American Craft Council (ACC), Haystack Mountain School of Crafts' Board of Trustees, and was vice president of the World Crafts Council (WCC) from 1976 to 1981. She was a founding member of Society of North American Goldsmiths (SNAG) and was president of the organization from 1982 to 1985.

Fisch has received numerous awards and honors for her accomplishments in craftsmanship including an honorary doctorate degree from Skidmore College, United States Artists fellowship award, and Fresno Art Museum Council of 100 Distinguished Woman Artist award in 2012. Fisch has exhibited her work all over the world including her solo retrospective exhibition titled, Elegant Fantasy: The Jewelry of Arline Fisch, which was shown in San Diego, Oakland, New York, and Washington, D.C.
Related Materials:
Also at the Archives of American Art is an interview of Arline M. Fisch conducted July 29-30, 2001 by Sharon Church McNabb, for the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fisch's home, in San Diego, California.
Provenance:
The papers were donated from 2003 to 2018 by Arline M. Fisch as a part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Arline M. Fisch retains copyright for the manuscript for the 2nd edition of her book Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists (New York: Van Nostrand Reinhold, c. 1975) and notes for the first edition.
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 -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Decorative arts  Search this
Educators--California--San Diego  Search this
Jewelers--California--San Diego  Search this
Metal-workers--California--San Diego  Search this
Women artists  Search this
Genre/Form:
Photographs
Video recordings
Citation:
Arline M. Fisch papers, 1931-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fiscarli
See more items in:
Arline M. Fisch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fiscarli

Oral history interview with Robert Cremean, 1996 September 5

Interviewee:
Cremean, Robert, 1932-  Search this
Cremean, Robert, 1932-  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Fresno Arts Center  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Marketing  Search this
Record number:
(DSI-AAA_CollID)12401
(DSI-AAA_SIRISBib)216032
AAA_collcode_cremea96
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216032
Online Media:

[Interviews of and relating to Robert Cremean] [videorecording], 1997

Creator:
Cremean, Robert, 1932-  Search this
Day, Patti  Search this
Cremean, Robert, 1932-  Search this
Subject:
Cremean, Robert  Search this
Karlstrom, Paul J.  Search this
Pilar, Jacquelin  Search this
Lujeans, Phyllis  Search this
Kelly, Bill  Search this
Burgess, Michele  Search this
Blair, George  Search this
Fresno Art Museum  Search this
Marguay Productions  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6212
(DSI-AAA_SIRISBib)216497
AAA_collcode_cremrobe
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216497

Lady in Blue and Yellow Dress

Artist:
Viola Frey, born Lodi, CA 1933-died Oakland, CA 2004  Search this
Medium:
glazed earthenware
Dimensions:
overall: approx. 107 x 28 x 33 in. (271.8 x 71.1 x 83.8 cm)
Type:
Decorative Arts-Ceramic
Crafts
Date:
1983
Topic:
Figure female\full length  Search this
Credit Line:
Smithsonian American Art Museum, Gift of the James Renwick Alliance
Object number:
1994.37.2A-G
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Renwick Gallery
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7b5bf45bc-dccc-497d-9b7b-a7257da259f5
EDAN-URL:
edanmdm:saam_1994.37.2A-G

Portrait of Vartoosh

Artist:
Arshile Gorky, American, b. Khorkom, Armenia, 1904–1948  Search this
Medium:
Oil on canvas
Dimensions:
20 1/4 × 15 1/8 in. (51.3 × 38.4 cm)
Type:
Painting
Date:
(1933-1934)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Accession Number:
66.2148
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Abstract Expressionism (First Generation)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py20f36d98a-627b-4085-bc6a-533d8ba6e8d4
EDAN-URL:
edanmdm:hmsg_66.2148

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