Skip to main content Smithsonian Institution

Search Results

Collections Search Center
407 documents - page 1 of 21

Hirshhorn Museum and Sculpture Garden Library audio archive collection, 1969-2004 [sound recording]

Author:
Smithsonian Institution Libraries  Search this
Hirshhorn Museum and Sculpture Garden Library  Search this
Subject:
Nevelson, Louise 1899-1988  Search this
Picasso, Pablo 1881-1973  Search this
Kiesler, Frederick  Search this
Rothko, Mark 1903-1970  Search this
Arakawa, Shūsaku 1936-2010  Search this
Neutra, Dion  Search this
Schindler, R. M (Rudolph M.) 1887-1953  Search this
Sommer, Frederick 1905-1999  Search this
Soleri, Paolo 1919-2013  Search this
Bolotowsky, Ilya 1907-1981  Search this
De Looper, Willem  Search this
Lozowick, Louis 1892-1973  Search this
Levine, David 1926-2009  Search this
Sert, José Luis 1902-1983  Search this
Soyer, Raphael 1899-1987  Search this
Eakins, Thomas 1844-1916  Search this
Benton, Thomas Hart 1889-1975  Search this
Nadelman, Elie 1882-1946  Search this
Gillespie, Gregory  Search this
Noland, Kenneth 1924-2010  Search this
Louis, Morris 1912-1962  Search this
Richter, Hans 1888-1976  Search this
Appel, Karel 1921-2006  Search this
Siqueiros, David Alfaro  Search this
Orozco, José Clemente 1883-1949  Search this
Rivera, Diego 1886-1957  Search this
Warhol, Andy 1928-1987  Search this
Cavallon, Giorgio 1904-1989  Search this
Di Suvero, Mark 1933-  Search this
Moore, Henry 1898-1986  Search this
Steinberg, Saul  Search this
Estes, Richard 1932-  Search this
Botero, Fernando 1932-  Search this
Canaday, John 1907-1985  Search this
Calder, Alexander 1898-1976  Search this
Maurer, Alfred Henry 1868-1932  Search this
Rickey, George  Search this
Albers, Josef  Search this
González, Julio 1876-1942  Search this
Snelson, Kenneth 1927-2016-  Search this
Rivers, Larry 1925-2002  Search this
Hirshhorn, Joseph H  Search this
Harrison, Newton 1932-  Search this
Lassaw, Ibram 1913-2003  Search this
Grooms, Red  Search this
Burliuk, David 1882-1967  Search this
Lerner, Abram  Search this
Bunshaft, Gordon 1909-1990  Search this
Dzubas, Friedel 1915-1994  Search this
Clemente, Francesco 1952-  Search this
Motherwell, Robert  Search this
Acconci, Vito 1940-2017-  Search this
Haring, Keith  Search this
Holzer, Jenny 1950-  Search this
Salle, David 1952-  Search this
Neel, Alice 1900-1984  Search this
Nakian, Reuben 1897-1986  Search this
Bacon, Francis 1909-1992  Search this
Freud, Lucian  Search this
Giacometti, Alberto 1901-1966  Search this
Abrams, Dennis 1960-  Search this
Nasgaard, Roald  Search this
Buren, Daniel  Search this
Chin, Mel 1951-  Search this
Sonnier, Keith 1941-  Search this
Conwill, Houston 1947-2016  Search this
Kabakov, Ilʹia Iosifovich 1933-  Search this
Ireland, David 1930-2009  Search this
Oliveira, Nathan 1928-2010  Search this
Marclay, Christian  Search this
Baldessari, John 1931-2020-  Search this
Weiner, Lawrence  Search this
Piper, Adrian 1948-  Search this
Polke, Sigmar  Search this
Puryear, Martin 1941-  Search this
Struth, Thomas 1954-  Search this
Torres-García, Joaquín 1874-1949  Search this
Lam, Wifredo  Search this
Matta 1912-2002  Search this
Kosuth, Joseph  Search this
Leirner, Jac 1961-  Search this
Saar, Alison  Search this
Rothenberg, Susan 1945-  Search this
Dubuffet, Jean 1901-1985  Search this
Hill, Gary 1951-  Search this
Murray, Elizabeth 1940-2007  Search this
Gilbert & George  Search this
Physical description:
306 audio files : digital
Type:
Sound recordings
Sources
Interviews
Broadcasts
Lectures
Symposia
Ceremonies
Date:
1969
1969-2004
20th century
21st century
Topic:
Art, Modern--History  Search this
Painting, Modern--History  Search this
Sculpture, Modern--History  Search this
Architecture, Modern--History  Search this
Artists  Search this
Emigration and immigration in art  Search this
Caricatures and cartoons  Search this
Country music  Search this
Art criticism  Search this
Earthworks (Art)  Search this
Visual perception  Search this
Conceptual art  Search this
Call number:
N6447 .H584
Restrictions & Rights:
Full access copies are available through the Hirshhorn Museum and Sculpture Garden Library, Smithsonian Institution Libraries. Information on who to contact for full access is available on the Hirshhorm Museum and Sculpture Gardern Library Audio Archive website.
Copyright restrictions may apply.
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_956845

Morris Louis letter to Leonard Bocour

Creator:
Louis, Morris, 1912-1962  Search this
Bocour, Leonard, 1910-1993  Search this
Louis, Morris, 1912-1962  Search this
Type:
Correspondence
Date:
1962 May 22
Record number:
(DSI-AAA)9818
See more items in:
Leonard Bocour papers and business records, 1933-1993
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9818

Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000

Creator:
Louis, Morris, 1912-1962  Search this
Louis, Morris, 1912-1962  Search this
Subject:
Brenner, Marcella  Search this
Bocour, Leonard  Search this
Frankenthaler, Helen  Search this
Faatz, Anita J. (Anita Josephine)  Search this
Noland, Kenneth  Search this
Greenberg, Clement  Search this
Truitt, Anne  Search this
Robert Pierce/Films, Inc.  Search this
Hirshhorn Museum and Sculpture Garden  Search this
André Emmerich Gallery  Search this
Type:
Video recordings
Sound recordings
Interviews
Photographs
Topic:
Transcripts  Search this
Washington Color School (Group of artists)  Search this
Law and art -- United States  Search this
Color-field painting  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Abstract expressionism  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7040
(DSI-AAA_SIRISBib)209173
AAA_collcode_louimorr
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209173
Online Media:

Oral history interview with June Schwarcz

Interviewee:
Schwarcz, June, 1918-2015  Search this
Interviewer:
Fisch, Arline M.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Bellas Artes (Santa Fe, N.M.)  Search this
De Vera Gallery  Search this
Japonesque Gallery  Search this
Mobilia Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Pratt Institute  Search this
Susan Cummins Gallery  Search this
Sybaris Gallery  Search this
Brancusi, Constantin, 1876-1957  Search this
Letchzin, Stanley  Search this
Louis, Morris, 1912-1962  Search this
Noguchi, Isamu, 1904-1988  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 January 21
Scope and Contents:
An interview of June Schwarcz conducted 2001 January 21, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Schwarcz's home and studio, Sausalito, California.
Schwarcz speaks of her family background; early interest in color and form; studies at Pratt Institute; working in as a package designer and free-lance designer for department stores such as Macy's in New York and Hochschild-Kohn in Baltimore; living in Chicago, Brazil, and Denver; learning about enamels from a group of "housewives" in Denver; reading Kenneth Bates's book [Enameling: Principles and Practice] "as if it were the Bible"; visiting America House and meeting Dominick Maillard; settling in Sausalito, California, in 1954; the comparison of natural erosion in streams and rocks to etched surfaces; sources of inspiration including fog, folk art, African art, ancient Chinese ceramics, the Japanese aesthetic, ethnic clothing and fabrics, pleats and folds, and works by Isamu Noguchi, Constantin Brancusi, Morris Louis, and Mark Rothko; the practice of working on several pieces at one time; the influence of two books, Santayana's "The Sense of Beauty" and Junichiro Tanizaki's "In Praise of Shadows;" her desire to "making things that are beautiful"; her husband's support and assistance with tools, materials, and techniques; the significance of various tools and equipment; developing forms through paper patterns; the body as vessel; color as "personality"; technical pitfalls of the enameling process; technical problems of electroplating; the 1974 World Craft Conference in which Stanley Letchzin presented his findings on electroforming; meeting Letchzin and comparing processes; the difficulties in selling work; the lack of an audience; teaching workshops at Arrowmont and Vail; aversion to teaching and commissions; relationships with Susan Cummins Gallery, Bellas Artes Gallery, Japonesque Gallery, De Vera Gallery, Sybaris Gallery, and Mobilia Gallery; travel to Europe and Japan; honors and awards; and interest in transparent enamels. Schwarcz also describes her use of basse taille, plique-à-jour, electroplating, electroforming, brush plating, raku, scotchbrite, and Mi-Tique (patina solutions). She also recalls development of each piece in her retrospective catalog, "June Schwarcz : forty years, forty pieces" (San Francisco Craft & Folk Art Museum, 1998) and concludes the interview by discussing five current pieces in progress.
Biographical / Historical:
June Schwarcz (1918-2015) was an enamaler from Sausalito, California. Arline M. Fisch (1931-) is a metalsmith from San Diego, California.
General:
Originally recorded as 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 3 hr., 36 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Enamelers -- California  Search this
Topic:
Enamels and enameling -- Technique  Search this
Enamels and enameling -- Study and teaching  Search this
Metal-workers -- California -- San Francisco -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.schwar01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schwar01
Online Media:

André Emmerich Gallery records

Creator:
André Emmerich Gallery  Search this
Names:
Galerie André Emmerich  Search this
Sotheby Parke Bernet & Co.  Search this
Sotheby's (Firm)  Search this
Caro, Anthony, 1924-  Search this
Emmerich, André  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Louis, Morris, 1912-1962  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Extent:
311.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Date:
circa 1929-2009
Summary:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. TheA small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Scope and Content Note:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Arrangement:
The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)
Historical Note:
André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.
Provenance:
The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, Emmerich's former business partner, in 2009 and 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Function:
Art galleries, Commercial -- New York (State)
Art galleries, Commercial -- Switzerland
Genre/Form:
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.andremmg
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andremmg
Online Media:

Aurora, (painting)

Painter:
Louis, Morris 1912-1962  Search this
Medium:
Acrylic on canvas
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1980.5.7
Date:
1958
Topic:
Abstract  Search this
Control number:
IAP 08586505
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_477480

Upsilon, (painting)

Painter:
Louis, Morris 1912-1962  Search this
Medium:
Acrylic on canvas
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1980.5.6
Date:
1960
Topic:
Abstract  Search this
Control number:
IAP 08586506
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_477481

Faces, (painting)

Painter:
Louis, Morris 1912-1962  Search this
Medium:
Acrylic on canvas
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1980.5.5
Date:
1959
Topic:
Abstract  Search this
Control number:
IAP 08586528
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_478464

Oral history interview with V. V. Rankine

Interviewee:
Rankine, V. V., 1920-2004  Search this
Interviewer:
Kirwin, Liza  Search this
Names:
Betty Parsons Gallery  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
David Herbert Gallery  Search this
Institute of Contemporary Arts (Washington, D.C.)  Search this
Jefferson Place Gallery  Search this
Albers, Josef  Search this
Bader, Franz, 1903-1994  Search this
Brooks, James, 1906-1992  Search this
Callahan, Harry M.  Search this
Cunningham, Merce  Search this
Davis, Gene, 1920-1985  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Denney, Alice  Search this
Dorrance, Nesta  Search this
Downing, Thomas, 1928-1985  Search this
Duncan, Augustin  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Gabo, Naum, 1890-1977  Search this
Gilliam, Sam, 1933-  Search this
Gorky, Agnes  Search this
Gorky, Arshile, 1904-1948  Search this
Graham, John, 1887-1961  Search this
Guston, Philip, 1913-1980  Search this
Halle, Kay  Search this
Hare, David, 1917-1992  Search this
Helburn, Theresa, 1887-1959  Search this
Johnson, Ray, 1927-1995  Search this
Kennedy, Kit  Search this
Kiesler, Frederick  Search this
Kinney, Gilbert H.  Search this
Krasner, Lee, 1908-1984  Search this
Lassaw, Ibram, 1913-2003  Search this
Leopold, Richard  Search this
Louis, Morris, 1912-1962  Search this
Magruder, Esther  Search this
Merrill, Kevin  Search this
Nelson, Wretha  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Bonnie  Search this
Noland, Kenneth, 1924-2010  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pace, Stephen, 1918-2010  Search this
Parsons, Betty  Search this
Penn, Arthur, 1922-  Search this
Phillips, Duncan, 1886-1966  Search this
Pollock, Jackson, 1912-1956  Search this
Rauschenberg, Robert, 1925-2008  Search this
Renault, Jean  Search this
Richman, Robert  Search this
Russo, Alexander  Search this
Sheridan, Walt  Search this
Sherman, Saul  Search this
Snelson, Kenneth, 1927-2016  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Sweeney, James Johnson, 1900-  Search this
Thomas, Dylan, 1914-1953  Search this
Truitt, Anne, 1921-2004  Search this
Warhol, Andy, 1928-1987  Search this
Yektai, Manoucher, 1922-  Search this
Youngerman, Jack, 1926-2020  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1990 Mar. 2-22
Scope and Contents:
An interview of V. V. Rankine conducted 1990 Mar. 2-22, by Liza Kirwin, for the Archives of American Art.
Rankine discusses the evolution of her nickname, V.V.; discovering her dyslexia; growing up in Boston; auditioning for a part in, "The Philadelphia Story"; her art studies with Amedee Ozenfant from 1944 to 1946; her studies at Black Mountain College with Josef Albers and Willem De Kooning in 1947; her friendship with Morris Louis and watching him work; living with her brother-in-law Arshile Gorky, in New York City; her first one-woman show at the David Herbert Gallery in New York in 1962; exhibiting at the Betty Parsons Gallery in New York and at the Jefferson Place Gallery in Washington, D.C.; Robert Richman and the Institute of Contemporary Arts; the relationship between her painting and her sculpture; favorite shapes and materials; and her summer home in East Hampton and artist friends there. Rankine also recalls Robert Rauschenberg, Jack Youngerman, Manoucher Yektai, Betty Parsons, Ibram Lassaw, Buckminster Fuller, Elaine De Kooning, Arthur Penn, Richard Leopold, John Cage, Merce Cunningham, Ken Noland, Morris Louis, Ray Johnson, Kenneth Snelson, David Hare, Frederick Kiesler, Raphael Soyer, Moses Soyer, Jean Renault, Agnes Gorky, Esther Magruder, James Johnson Sweeney, Jim Brooks, John Graham, Phillip Guston, Duncan Phillips, Theresa Helburn, Augustine Duncan, Tom Downing, Gene Davis, Alice Denney, Nesta Dorrance, Kevin Merrill, Sam Gilliam, Dylan Thomas, Kay Halle, Kit Kennedy, Naum Gabo, President Lyndon B. Johnson, Anne Truitt, Wretha Nelson, Franz Bader, Louise Nevelson, Andy Warhol, Jackson Pollock, Bonnie Newman, Alexander Russo, Walt Sheridan, Gilbert Kinney, Saul Sherman, Steve Pace, Lee Krasner, and others.
Biographical / Historical:
V.V. Rankine (1920-2004) was a painter and sculptor from Washington, D.C. Variable forms of the artist's name are notably E. R. (Elvine Richard) Rankine, Vivian Scott Rankine, and her married name, Mrs. Paul Scott.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 53 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Washington (D.C.)  Search this
Sculptors -- Washington (D.C.)  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.rankin90
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rankin90
Online Media:

Oral history interview with Richard Gray

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

Oral history interview with Scott Burton

Interviewee:
Burton, Scott, 1939-1989  Search this
Interviewer:
Kachur, Lewis  Search this
Names:
Berkowitz, Leon, 1919-1987  Search this
Louis, Morris, 1912-1962  Search this
Extent:
154 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1987 May 22-September 25
Scope and Contents:
An interview of Scott Burton conducted 1987 May 22-September 25, by Lewis Kachur, for the Archives of American Art.
Burton speaks of his upbringing in Alabama and Washington, D.C.; working for "Art News"; and his early work, including performance pieces. He discusses furniture, public projects, Brancusi, Joseph Epstein, and Eric Gill. He recalls Morris Louis and Leon Berkowitz.
Biographical / Historical:
Scott Burton (1939-1989) was a sculptor from New York, New York.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 22 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Art, American  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.burton87
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-burton87
Online Media:

Marcella Brenner journals

Creator:
Brenner, Marcella, 1912-2007  Search this
Names:
Louis, Morris, 1912-1962  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-2000
Scope and Contents:
Approximately 120 journals, calendars, and datebooks written by Marcella Brenner subsequent to the death of her second husband, Morris Louis. The journals contains accounts from memory of Brenner's life with Louis.
Biographical / Historical:
Marcella Brenner (1912-2007) was an educator and philanthropist in Washington, D.C. Brenner was married to artist Morris Louis.
Provenance:
Donated 2013 by Marcella Brenner via the Marcella Brenner Revocable Trust, co-trustee Ann M. Garfinkle.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.
Occupation:
Educators -- Washington (D.C.)  Search this
Philanthropists -- Washington (D.C.)  Search this
Topic:
Women educators  Search this
Identifier:
AAA.brenmarc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brenmarc

[Television interviews of Marcella Brenner and Sybil and Robert Meyersburg] [videorecordings] /WETA ; producers and interviewers, Jeffrey Bieber and Jackson Frost

Creator:
Meyersburg, Sybil  Search this
Names:
WETA-TV (Television station : Washington, D.C.)  Search this
Brenner, Marcella, 1912-2007  Search this
Louis, Morris, 1912-1962  Search this
Meyersburg, Robert  Search this
Interviewer:
Bieber, Jeffrey  Search this
Frost, Jackson  Search this
Extent:
8 Videocassettes (U-matic) ((ca. 15 min. each), sd., col., 3/4 in.)
Type:
Collection descriptions
Archival materials
Videocassettes (u-matic)
Date:
1987
Scope and Contents:
Unedited interviews produced for a WETA public television program "Washington Colorists," including one of Marcella Brenner (4 videocassettes) concerning her husband, painter Morris Louis, conducted by Jackson Frost, and one of artists Sybil and Robert Meyersburg conducted by Jeffrey Bieber. The program aired April 15, 1987.
Publication, Distribution, Etc. (Imprint):
Washington, D.C. : WETA, 1987.
Provenance:
Donated 1989 by Sybil Meyersburg.
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.
Rights:
Authorization to quote, publish, or reproduce requires written permission from GWETA (Greater Washington Educational Television Association). 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.
Topic:
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Color in art  Search this
Color-field painting  Search this
Identifier:
AAA.biebjeff
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-biebjeff

Leslie Judd Ahlander papers

Creator:
Ahlander, Leslie Judd  Search this
Names:
Corcoran Gallery of Art  Search this
John and Mable Ringling Museum of Art  Search this
Pan American Union  Search this
Louis, Morris, 1912-1962  Search this
Mehring, Howard William, 1931-1978  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-1985
Scope and Contents:
Correspondence regarding exhibitions at the Ringling Museum of Art, Sarasota, Florida, 1973-1974, and Ahlander's efforts to build a collection of Latin American art; material relating to the Washington Color School, including a typescript of a statement by Howard Mehring, press releases, clippings, catalogs, an annotated checklist of Morris Louis's second one-man show and other printed material mostly written by Ahlander; correspondence, photographs, copies of lectures and articles relating to Ahlander's position at the Pan American Union, the Corcoran Gallery of Art, as art critic for the Washington Post, and as free-lance writer.
Biographical / Historical:
Curator, art critic.
Provenance:
Donated 1979 and 1986 by Leslie Judd Ahlander.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art critics -- Washington (D.C.)  Search this
Art museum curators -- Washington (D.C.)  Search this
Topic:
Women art critics  Search this
Women museum curators  Search this
Art, Latin American  Search this
Latino and Latin American artists  Search this
Function:
Art museums -- Florida -- Sarasota
Identifier:
AAA.ahlalesl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ahlalesl

Alan R. Solomon papers

Creator:
Solomon, Alan R., 1920-1970  Search this
Names:
Albright-Knox Art Gallery  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Art Gallery of Ontario  Search this
Artforum  Search this
Biennale di Venezia  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Cornell University. -- Faculty  Search this
Expo 67 (Montréal, Québec)  Search this
Harvard University -- Students  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Jewish Museum (New York, N.Y.)  Search this
Leo Castelli Gallery  Search this
Los Once (Artists' group)  Search this
Pasadena Art Museum  Search this
San Francisco Art Institute  Search this
University of California (System)  Search this
Velvet Underground (Musical group)  Search this
Bontecou, Lee, 1931-  Search this
Castelli, Leo  Search this
Chamberlain, John, 1927-2011  Search this
Childs, Lucinda  Search this
Dine, Jim, 1935-  Search this
Duchamp, Marcel, 1887-1968  Search this
Dunn, Judith  Search this
Fahlström, Öyvind, 1928-1976  Search this
Finkelstein, Nat  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Greenberg, Jeanine  Search this
Grisi, Laura  Search this
Hay, Alex  Search this
Hay, Deborah  Search this
Johns, Jasper, 1930-  Search this
Kron, Joan  Search this
Lichtenstein, Roy, 1923-1997  Search this
Louis, Morris, 1912-1962  Search this
MacElroy, Robert R.  Search this
Moore, Peter  Search this
Morris, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-2010  Search this
Novick, Elizabeth  Search this
Oldenburg, Claes, 1929-  Search this
Oldenburg, Patty  Search this
Paxton, Steve  Search this
Picasso, Pablo, 1881-1973  Search this
Poons, Larry  Search this
Provinciali, Michele  Search this
Rainier, Yvonne  Search this
Rauschenberg, Robert, 1925-2008  Search this
Redon, Odilon, 1840-1916  Search this
Reed, Lou  Search this
Rosenquist, James, 1933-  Search this
Sabol, Audrey, 1922-  Search this
Schute, Terry  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Segal, George, 1924-2000  Search this
Sisler, Mary  Search this
Sonnabend, Ileana  Search this
Stella, Frank  Search this
Warhol, Andy, 1928-  Search this
Whitman, Robert  Search this
Extent:
9.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Date:
1907-1970
bulk 1944-1970
Summary:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.
Scope and Contents:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Biographical material includes résumés, an engagement book, and a monthly planning book from 1965, identification cards, and educational transcripts.

Correspondence documents Solomon's education at Harvard College and Harvard University, and his teaching appointments at Cornell University. Correspondence also provides some documentation of his involvement with museums and arts organizations, including the Jewish Museum, Stedlijk Museum, the San Francisco Art Institute, the University of California, and Centro de Artes Visuales; his submission of writings for publications including Artforum, Art International, and Konstrevy; and his relationships with artists and colleagues including Jim Dine, Joan Kron, Audrey Sabol, and Ileana Sonnabend. Also found is correspondence related to Solomon's work for Mary Sisler, who employed Solomon to sell her collection of artwork by Marcel Duchamp in the late 1960s.

One series comprises transcripts of interviews with many of the artists who were central to the transition from Abstract Expressionism to later modern movements that occurred in the 1950s and 1960s, such as Neo-Dada and Pop art. Artists represented in the interviews include Jim Dine, Helen Frankenthaler, Jasper Johns, Barnett Newman, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella, and Andy Warhol.

Solomon's writings include many of his essays for exhibition catalogs, magazines, and journals, and are in a combination of annotated manuscript and published formats. There are writings on Jim Dine, Barnett Newman, Robert Rauschenberg, and Jasper Johns, and on the new movements in theater and performance art of the 1960s. His writings also document the art history education which informed all of his later work, with the inclusion of papers written as a student and teacher, his honors thesis on Odilon Redon, and his dissertation on Pablo Picasso. This material is supplemented by notes, and teaching and study files, documenting courses taken and taught at Harvard and Cornell universities. Also found is the manuscript of the text for New York: The New Art Scene, accompanied by a partial published copy of the book and photographs by Ugo Mulas.

Solomon's subject files augment several of the other series, comprising material on various art related subjects and individual painters and sculptors, arranged alphabetically. Material found here includes printed matter documenting exhibitions and other events, scattered letters from artists, related writings, and photographs.

One series documents Solomon's involvement with the First New York Theater Rally, which he co-produced with Steve Paxton in 1965. This material includes a drawing each by Jim Dine and Alex Hay, pieces of a combine by Robert Rauschenberg, and photographs of the group including Dine, Hay, and Rauschenberg, as well as Lucinda Childs, Judith Dunn, Deborah Hay, Robert Morris, Claes Oldenburg, the Once Group, Steve Paxton, Yvonne Rainier, Alan Solomon, and Robert Whitman. The series includes multiple contact sheets of photos of First New York Theater Rally events, by Peter Moore, Elizabeth Novick, and Terry Schute.

Exhibition files document Solomon's role as an organizer and curator for some of his most well-known exhibitions, including American Painting Now (1967) for Expo '67 in Montreal; Andy Warhol (1966) at the Institute of Contemporary Art in Boston; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and Albright-Knox Gallery; the American exhibition at the 1964 Venice Biennale; Young Italians (1968) at the Institute of Contemporary Art; and Painting in New York 1944-1969, a major retrospective installed for the opening of the new Pasadena Art Museum in fall, 1969. Records include correspondence, lists and notes, financial records, printed material, and photographs of artists and installations, including a series by Ugo Mulas taken at the Venice Biennale.

Solomon's business records include lists, notes, contracts, expense forms, vouchers, purchase orders, and receipts. They provide scattered documentation of exhibition-related expenses and purchases of artwork, as well as Solomon's income from teaching appointments, lectures, honorariums, and writings. Amongst Solomon's general business records is an American Federation of Musicians agreement between the Institute of Contemporary Art and "Louis Reed," with booking agent Andy Warhol, for a performance by the Velvet Underground and Nico, performing as The Exploding Plastic Inevitable on October 29, 1966. This seemingly mundane item documents an event that accompanied Solomon's landmark Warhol exhibition of nearly forty iconic works, and the accompanying show by The Exploding Plastic Inevitable was hailed by the Boston Phoenix newspaper as one of the greatest concerts in Boston history.

Printed material includes announcements, catalogs, and posters for exhibitions and art related events, including two Jasper Johns lithographs for a 1960 exhibition at Galerie Rive Droite, and a 1963 exhibition at Leo Castelli Gallery. Also found are news clippings, press releases, and other publications.

Photographs are of Solomon, artists, friends and colleagues, exhibitions and other events, and artwork. They include snapshots of Solomon, and a series of photographs of him at various events and parties, many taken by Ugo Mulas, as well as a photo taken by Robert Rauschenberg of Ugo Mulas, Michele Provinciali, and Solomon. Additional photos by Ugo Mulas include some which were probably taken for New York: The New Art Scene, and a series of photos of Robert Rauschenberg and others at the Venice Biennale. Photos of artists include Lee Bontecou, John Chamberlain, Jim Dine, Marcel Duchamp, Öyvind Fahlström, Laura Grisi, Jasper Johns, Roy Lichtenstein, Morris Louis, Barnett Newman, Kenneth Noland, Claes and Patty Oldenburg, Larry Poons, James Rosenquist, George Segal, Frank Stella, and Andy Warhol and The Factory. Photos of others include Leo Castelli, Clement and Jeanine Greenberg, and Ethel and Robert Scull. Also found are photos of the exhibition Toward a New Abstraction (1963), at The Jewish Museum, photos of Venice, and photos of artwork by many of the above named, and other, artists. In addition to Ugo Mulas, photographers represented in this series include Nat Finkelstein, Robert R. McElroy, and Hans Namuth.
Arrangement:
The collection is arranged as eleven series.

Missing Title

Series 1: Biographical Material, 1938-1968 (5 folders; Box 1)

Series 2: Correspondence, 1930-1970 (0.66 linear feet; Box 1)

Series 3: Interviews, 1965-1969 (0.25 linear feet; Box 1)

Series 4: Writings and Notes, 1945-1969 (1.35 linear feet; Boxes 1-3, 11)

Series 5: Teaching and Study Files, 1944-1958 (0.25 linear feet; Box 3)

Series 6: Subject Files, 1907-1969 (2.92 linear feet; Boxes 3-6, 1, OV 12)

Series 7: First New York Theater Rally, 1963-1965 (0.15 linear feet; Boxes 6, 11)

Series 8: Exhibition Files, 1954-1969 (1.42 linear feet; Boxes 6-7, 11, OV 12)

Series 9: Business Records, 1945-1970 (0.3 linear feet; Boxes 7-8)

Series 10: Printed Material, 1914-1970 (0.8 linear feet; Boxes 8-9, OV 12)

Series 11: Photographs, circa 1951-circa 1970 (1.7 linear feet; Boxes 9-11, OV 13)
Biographical / Historical:
New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.

Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.

In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital."

Solomon subsequently left the Jewish Museum, having engendered resistance to leading the museum in a more experimental direction, away from the traditional Jewish educational aspects of its mission. In the mid-sixties he worked as a consultant and writer for a National Educational Television series entitled "U. S. A. Artists," which drew on artist interviews, many conducted by Solomon. He also wrote the text for Ugo Mulas's classic photographic study, New York: The New Art Scene (1967: Holt Rinehart and Winston).

In 1966 Solomon was hired by the United States Information Agency to organize the United States contribution to the Canadian World Exhibition in Montreal, known as Expo '67. His stunning American Painting Now installation placed large scale paintings by twenty-three artists, including Jim Dine, Ellsworth Kelly, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist, inside Buckminster Fuller's twenty-story Biosphere of Montreal.

Other important exhibitions organized by Solomon included Andy Warhol (1966) at the Institute of Contemporary Art, Boston, which was only the second of two exhibitions dedicated to the artist; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and the Albright-Knox Art Gallery; and Young Italians (1968) at the Institute of Contemporary Art.

Solomon was also interested in contemporary theater and organized the First New York Theater Rally with Steve Paxton in 1965, a series of performances which combined new dance and a revival of the Happenings of the early 1960s, in which Claes Oldenburg, Jim Dine and others were involved.

Following a six-week appointment as a senior lecturer at the University of California, Irvine, in spring 1968, Solomon became chairman of the University's art department and director of the art gallery. His last exhibition, Painting in New York, 1944-1969 (1969-1970), was held at the Pasadena Art Museum and closed in January 1970, just a few weeks before Solomon's sudden death at the age of forty-nine.
Provenance:
The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to the Archives of American Art in 1974 and 2007.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Painters  Search this
Topic:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soloalan
See more items in:
Alan R. Solomon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soloalan
Online Media:

Charles Schucker Papers

Creator:
Schucker, Charles, 1908-1998  Search this
Names:
Federal Art Project (Ill.)  Search this
Katonah Museum of Art  Search this
Pratt Institute  Search this
Yaddo (Artist's colony)  Search this
Louis, Morris, 1912-1962  Search this
Louzonis, Valerie Velasquez  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Drawings
Video recordings
Date:
1934-2001
Summary:
The papers of New York abstract painter and educator Charles Schucker measure 1.2 linear and date from 1934 to 2001. Schucker's career as a painter is documented by biographical material, letters, writings, subject files, printed material, artwork, and photographs.
Scope and Contents:
The papers of New York abstract painter and educator Charles Schucker measure 1.2 linear and date from 1934 to 2001. Schucker's career as a painter is documented by biographical material, letters, writings, subject files, printed material, artwork, and photographs.

Biographical material includes a video recording of a memorial tribute. Letters mostly relate to business arrangements with galleries and institutions. Among Schucker's writings are 9 notebooks, some of which include notes from his study abroad. Writings about Schucker include an unpublished manuscript by Valerie Velasquez Louzonis in which she discusses his childhood, travels, and his start as an artist. Subject files touch upon his association with Pratt Institute, Katonah Museum of Art, Yaddo, various galleries, his work with the Chicago WPA, and his friendship with Morris Louis. Over 60 years of artistic work are documented in exhibition catalogs and announcements. Artwork and sketchbooks from the 1930s and 1940s offer a glimpse of his earlier style of drawing.
Arrangement:
The collection is arranged in 7 series:

Series 1: Biographical Materials, 1938, 1984-1999 (Box 1; 0.1 linear feet)

Series 2: Letters, 1937-2001 (Box 1; 0.1 linear feet)

Series 3: Writings, 1934-1998 (Box 1; 0.3 linear feet)

Series 4: Subject Files, circa 1940-1999 (Box 1; 0.3 linear feet)

Series 5: Printed Material, circa 1930s-1990s (Boxes 1-2; 0.3 linear feet)

Series 6: Artwork and Sketchbooks, 1930s-1940s (Box 2; 0.1 linear feet)

Series 7: Photographs, 1951-circa 1980s (Box 2; 0.1 linear feet)
Biographical / Historical:
Charles L. Schucker (1908-1998), an abstract painter known for poured oil paintings on unprimed canvases, began his career in Chicago with the WPA before moving to New York City in 1946. He was also an educator and taught at the Pratt Institute in Brooklyn, New York for nearly 30 years.
Provenance:
Lent for microfilming in 1971 by Charles Schucker and later donated with additional audio and video recordings in August 2011 by Carrie Schucker, the artist's daughter.
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.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Photographs
Drawings
Video recordings
Citation:
The Charles Schucker Papers, 1934-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schuchar
See more items in:
Charles Schucker Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schuchar

Andre Emmerich Gallery

Collection Artist:
Louis, Morris, 1912-1962  Search this
Container:
Box 4, Folder 15-40
Type:
Archival materials
Date:
1971-1975
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any 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:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Morris Louis and Morris Louis Estate papers
Morris Louis and Morris Louis Estate papers / Series 2: Morris Louis Estate Papers / 2.1: Gallery Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-louimorr-ref106

Notebooks

Collection Artist:
Louis, Morris, 1912-1962  Search this
Type:
Archival materials
Date:
circa 1947-1962
Scope and Contents:
There are six notebooks by Morris Louis and one belonging to Marcella Brenner. Notebook #1 contains various room measurements within an unnamed house with references to fixture costs. Notebooks #2-4 are daybooks containing records of payments and attendance of art students, studio rental payments, and some student addresses and phone numbers. Notebook #5 contains addresses as well as a short list of paintings with dimensions and numbers assigned by Louis. Notebook #6 includes New York travel expense lists and New York important addresses. Notebook #7 contains Marcella Brenner's notes about an education conference expenses and other miscellaneous notes and addresses.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any 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:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.louimorr, Subseries 1.4
See more items in:
Morris Louis and Morris Louis Estate papers
Morris Louis and Morris Louis Estate papers / Series 1: Morris Louis Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-louimorr-ref11

Baltimore Museum of Art

Collection Artist:
Louis, Morris, 1912-1962  Search this
Container:
Box 5, Folder 22-23
Type:
Archival materials
Date:
1977-1985
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any 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:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Morris Louis and Morris Louis Estate papers
Morris Louis and Morris Louis Estate papers / Series 2: Morris Louis Estate Papers / 2.1: Gallery Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-louimorr-ref113

Bezalel Academy of Art and Design, Morris Louis Gallery

Collection Artist:
Louis, Morris, 1912-1962  Search this
Container:
Box 5, Folder 24-28
Type:
Archival materials
Date:
1979-1991
Scope and Contents:
Oversized material located in box 19, folder 2.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any 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:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Morris Louis and Morris Louis Estate papers
Morris Louis and Morris Louis Estate papers / Series 2: Morris Louis Estate Papers / 2.1: Gallery Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-louimorr-ref114

Modify Your Search







or


Narrow By