This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Purchased jointly by the Hirshhorn Museum and Sculpture Garden with funds provided by the Joseph H. Hirshhorn Purchase Fund and the Buffalo AKG Art Museum with funds from the George B. and Jenny R. Mathews Fund, by exchange, 2021
The papers of New York painter, calligrapher, and educator, Nanae Momiyama measure 3.0 linear feet and date from 1928-circa 2000, with the bulk of the materials dating from 1948-1990s. The collection traces Momiyama's career as a first wave post-World War II Japanese-American artist through biographical material, correspondence, writings and notes, business records, printed material, scrapbooks, sketches and sketchbooks, and photographs.
Scope and Content Note:
The papers of New York painter, calligrapher, and educator, Nanae Momiyama measure 3.0 linear feet and date from 1928-circa 2000, with the bulk of the materials dating from 1948-1990s. The collection traces Momiyama's career as a first wave post-World War II Japanese-American artist through biographical material, correspondence, writings and notes, business records, printed material, scrapbooks, sketches and sketchbooks, and photographs.
Biographical material includes resumes, a graduation certificate, passports, artist's statements, a calendar of lectures, address books, miscellaneous biographical material, and a 1972 WGCH radio interview with Nanae Momiyama.
Correspondence is mostly professional and consists of incoming and outgoing letters with arts organizations, museums, and galleries, such as the Bruce Museum, the Japanese Artists'Association, Kenkeleba House, and the National Association of Women Artists. There is some personal correspondence from family and friends, including Yayoi Kusama and Johanna Secor.
Writings and notes contain writings and notes by Nanae Momiyama and others. Writings and notes mostly consist of drafts of lectures and press releases relating to Momiyama's class demonstrations on Sumi-e painting.
Business records include annotated painting lists, consignments, a loan agreement, a contract, and scattered receipts. Painting lists and sales receipts provide a detailed record of works sold by Nanae Momiyama from 1974-1987.
Nanae Momiyama's activities as an artist are well-documented through printed materials, including press releases, clippings, periodicals, exhibition invitations, announcements, and catalogs, periodicals, annotated checklists, and brochures. Also found is Momiyama's monograph on Sumi-e painting.
Five scrapbooks contain exhibition-related material, such as announcements, invitations, brochures, reviews, installation shots, and artwork. One scrapbook is of a more personal nature and includes notes, handmade holiday cards by the artist, and photographs of Momiyama's children.
Artwork comprises sketches, drawings, and graphic designs. Sketches are mostly studies for Nanae Momiyama's paintings. Also included are five sketchbooks; one sketchbook is devoted to Momiyama's calligraphy.
Photographs are of Nanae Momiyama and others, exhibition installations and artwork, miscellaneous photographs, and slides of artwork. Also found are six photograph albums of images of Nanae Momiyama with family, friends, and colleagues. Of interest, are two photograph albums depicting Nanae Momiyama's school life and social activities in Japan from 1928-1940s.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Material, 1948-1995 (Box 1: 0.4 linear feet)
Series 2: Correspondence, 1953, 1970s-1993 (Box 1; 0.1 linear feet)
Series 3: Writings and Notes, circa 1950s-1995 (Box 1; 0.1 linear feet)
Series 4: Business Records, 1962-1987 (Box 1; 0.1 linear feet)
Series 5: Printed Material, circa 1950s-1995 (Box 1; 0.8 linear feet)
Series 6: Scrapbooks, 1948-1978 (Box 2; 0.3 linear feet)
Series 7: Sketches and Drawings, circa 1950s-1970s (Box 2; 0.1 linear feet)
Series 8: Sketchbooks, circa 1975-1997 (Box 2; 0.1 linear feet)
Series 9: Photographs, 1928-circa 2000 (Box 3; 1.0 linear feet)
Biographical Note:
Nanae Momiyama (1924-2002) was a Japanese American painter, calligrapher, and educator based in New York City, New York and Greenwich, Connecticut.
In 1924, Nanae Momiyama was born in Tokyo, Japan. In 1944, she graduated from Bunka Gakuin College in Tokyo, where she later taught painting and drawing. In 1954, under the sponsorship of the Japanese government, Nanae Moimiyama attended the Art Students' League in New York City, where she was mentored by the painter, Morris Kantor. During this period, Momiyama participated in exhibitions organized by the cooperative galleries on East Tenth Street in New York City that were promoting the works of Abstract Expressionist artists.
Nanae Momiyama's artistic interests extended to the teaching of Japanese calligraphy and Sumi-e paintings at colleges, universities, and art institutions, including the National Teacher's Convention for Asian Studies at Brooklyn College, Columbia University, and Japan Society. During her career, Momiyama received commissions to design posters for movies, plays, and concerts and to illustrate books and magazines. In addition, she wrote Sumi-e, An Introduction to Ink Painting that became a standard text on the subject.
Nanae Momiyama participated in many solo and group exhibitions in the United States and abroad: Brata Gallery, the Bruce Museum, Gima Gallery, Ligoa Duncan Gallery, and Seibu Galleries, among others.
Nanae Momiyama was a long time resident of Greenwich, Connecticut. She died in 2002.
Provenance:
The collection was donated by Haniwa Gottlieb, Nanae Momiyama's daughter, in 2009.
Restrictions:
Use of original papers requires an appointment.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Woman's Building (Los Angeles, Calif.) Search this
Container:
Box 17, Folder 30
Type:
Archival materials
Date:
1985
Collection Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.
Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Collection Rights:
Unpublished materials are protected by copyright. Permission to
publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Joseph Cornell Study Center, Smithsonian American Art Museum.
Sponsor:
Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.
9 black and white photographs; 1 color photograph; 3 oversized photographs. Oversized material housed in Box 86, Folder 9.
Collection Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.
Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Collection Rights:
Unpublished materials are protected by copyright. Permission to
publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Joseph Cornell Study Center, Smithsonian American Art Museum.
Sponsor:
Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.
3 photographs. Oversized material removed from Box 20, Folder 43.
Collection Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.
Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Collection Rights:
Unpublished materials are protected by copyright. Permission to
publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Joseph Cornell Study Center, Smithsonian American Art Museum.
Sponsor:
Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.
Quotes and excerpts must be cited as follows: Oral history interview with Frank S. Okada, 1990 Aug. 16-17. Archives of American Art, Smithsonian Institution.
Use of the 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:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
An interview of Frank Okada conducted 1990 Aug. 16-17, in Seattle, Wash., by Barbara Johns, for the Archives of American Art Northwest Asian American Project. Okada discusses his parents' background; his family including his brothers, John, author of "No-No Boy," and Charlie, a graphic designer; traveling to Japan for the Pacific Northwest Artists and Japan exhibition; being in an internment camp; painting in Eugene, Ore. and Seattle, Wash.; his painting techniques; studying under Leon Derbyshire; his connection with the jazz scene in Seattle in the late 1940s and 1950s including musicians Sammy Davis, Ray Charles, and Quincy Jones; attending Cornish School of Art, Seattle; meeting Mark Tobey; comparision of his painting style to Tobey's; his stint in the Army; attending Cranbrook Academy of Art and studying with painter Fred Mitchell; his Whitney fellowship in New York; study of Japanese, Chinese, and Zen paintings; working for Boeings in the early 1960s; traveling to France on a Guggenheim; teaching at University of Oregon in Eugene; his minimalist work; influence of Japanese art in his painting. Okada mentions Lawson Inada (Asian American poet), Frank Chin (Asian American playwright), artists David Stone Martin, James Edward Peck, Yayoi Kusama, George Tsutakawa, Paul Horiuchi, Ben Shahn, Kenjiro Nomura, Louis Bunce, Bill Ivey, and art gallery owner Zoe Dusanne.
Biographical / Historical:
Frank S. Okada (1931-2000) was a Japanese American painter based in Seattle, Washington. He taught at University of Oregon from 1969-1999.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 38 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
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 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:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.