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Artist David Antonio Cruz in "Staging the Self" - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
Youtube videos
Uploaded:
2015-02-18T16:12:44Z
Topic:
Portraits  Search this
Youtube Category:
Education  Search this
See more by:
NatlPortraitGallery
YouTube Channel:
NatlPortraitGallery
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:yt_IoDVgwfqeNE

Maloof Symposium: Furniture and the Future - Session 1

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2016-09-16T17:18:52Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_hWLzplacBMY

1958 Santiago Atitlan - Guatemala

Creator:
Human Studies Film Archives  Search this
Type:
Youtube videos
Uploaded:
2013-07-12T18:39:03Z
Topic:
Anthropology  Search this
Youtube Category:
Education  Search this
See more by:
HSFAFilmClips
YouTube Channel:
HSFAFilmClips
Data Source:
Human Studies Film Archives
EDAN-URL:
edanmdm:yt_OOz_BzYswpU

1946 Chichicastenango- Guatemala

Creator:
Human Studies Film Archives  Search this
Type:
Youtube videos
Uploaded:
2013-07-12T19:10:17Z
Topic:
Anthropology  Search this
Youtube Category:
Education  Search this
See more by:
HSFAFilmClips
YouTube Channel:
HSFAFilmClips
Data Source:
Human Studies Film Archives
EDAN-URL:
edanmdm:yt_puXVM_N5r2o

Taking a Road Trip During the Pandemic? Consider Camping (Legally) on Private Land

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Mon, 03 Aug 2020 14:57:58 +0000
Topic:
Custom RSS  Search this
See more posts:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_5481bc885a5d03f4ece9aa3dc1053f36

Views of the marketplace in Taxco

Type:
Photographs
Place:
Taxco, Mexico
Date:
194-?
Record number:
(DSI-AAA)12399
See more items in:
Stefan Hirsch and Elsa Rogo papers, 1851-1986, bulk bulk 1920-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12399
Online Media:

Oral history interview with Michael W. Monroe, 2018 January 22-March 1

Interviewee:
Monroe, Michael W., 1940-  Search this
Interviewer:
Herman, Lloyd E., 1936-  Search this
Subject:
Bellevue Art Museum (Wash.)  Search this
Smithsonian American Art Museum. Renwick Gallery  Search this
Type:
Interviews
Sound recordings
Topic:
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Arts administrators -- Washington (D.C.) -- Interviews  Search this
Arts administrators -- Washington (State) -- Interviews  Search this
Arts -- Management  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Curators -- Washington (D.C.) -- Interviews  Search this
Curators -- Washington (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17549
(DSI-AAA_SIRISBib)393144
AAA_collcode_monroe18
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_393144
Online Media:

Artists Talk on Art records

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

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

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

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

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

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

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

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

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

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

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

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artitalk
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  • View Artists Talk on Art records digital asset number 1
Online Media:

Second Annual UPO Consumer Protection Conference 1973

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
United Planning Organization  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
4 Video recordings (open reel, 1/2 inch)
Culture:
African American  Search this
Type:
Archival materials
Video recordings
Conferences
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1973
Scope and Contents:
The Consumer Protection Branch of the United Planning Organization (UPO) and the Consumer Action Staff of UPO's 10 Neighborhood Development Centers host the Second Annual Consumer Conference to address consumer problems in Washington, D.C. The theme of the conference is consumers' rights and responsibilities. The purpose of the conference is to make consumers aware of the provisions of consumer protection laws, to inform residents of the services and assistance what they can expect from the federal government and the D.C. government agencies, and to warn consumers of the problems which can result from unplanned buying and overspending during this Christmas season. Conference speakers, which include representatives from federal government and city agencies, explain the provisions of four consumer protections laws: truth in lending, the fair credit reporting act, the D.C. retail credit regulations, and consumer credit protection act. They also address consumers' rights which include free choice, to be informed, to safety, to be heard, and to be educated as well as the need to exercise those rights.
Conference. Part of Conference Recordings. AV000807: #1. AV004352: #2. AV004349: #3. AV003082: #4. Undated.
Biographical / Historical:
The United Planning Organization, the designated community action agency for Washington, D.C., is a private nonprofit human service corporation that, in keeping with its corporate mission, plans, coordinates, and implements human service programs in the Nation's Capital. UPO's rich history began December 10, 1962 when the agency was born via gifts from both Ford and Meyer Foundation grants that were awarded to plan, initiate and support long range programs for the entire Metropolitan Washington, DC area. The consumer protection staff at UPO and its 10 neighborhood development centers provide education and information to consumers as a means for preventing some of the consumer problems and as an attempt to encourage consumers to protect themselves in the marketplace.
Local Numbers:
ACMA AV004352

ACMA AV004349

ACMA AV003082
Collection Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
Community organization  Search this
Consumer protection  Search this
Consumers  Search this
Genre/Form:
Video recordings
Conferences
Citation:
Second Annual UPO Consumer Protection Conference 1973, Record Group AV09-021, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.AV09-021, Item ACMA AV000807
See more items in:
Conference Recordings
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-av09-021-ref508

Oral history interview with Michael W. Monroe

Interviewee:
Monroe, Michael W.  Search this
Creator:
Herman, Lloyd E.  Search this
Names:
Bellevue Art Museum (Wash.)  Search this
Smithsonian American Art Museum. Renwick Gallery  Search this
Extent:
8 Items (sound files (3 hr., 59 min.) Audio, digital, wav)
71 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2018 January 22-March 1
Scope and Contents:
An interview with Michael W. Monroe conducted 2018 January 22-March 1, by Lloyd Herman, for the Archives of American Art, at the home of Michael Monroe and at the home of Lloyd Herman, in Seattle, Washington.
Monroe speaks of his childhood in Racine, Wisconsin; his Danish immigrant community and early exposure to Danish design; early experiences of art-making; his art and teaching education at the University of Wisconsin in Milwaukee; experiences with Midwestern art museums in adolescence and young adulthood; his graduate art education at the Cranbrook Academy of Art; his work as gallery director at SUNY Oneonta in the early 1970s; his approach to evaluating and curating craftwork; his curatorial tenure and close collaboration with Herman at the Renwick Gallery; securing the Renwick's Albert Paley gates; his lifestyle in the Washington, DC area; the American craft movement's shift towards the marketplace, social media, and quick do-it-yourself methods; organizing the "Craft Multiples" traveling exhibition; the beginning of the Renwick's collections policy; organizing "Celebration: A World of Art and Ritual;" organizing the White House Collection of Crafts and its eventual transfer to the Clinton Presidential Library; his continued involvement with the craft world after retirement from the Renwick; his tenure as executive director of the Bellevue Arts Museum; his mentorship of young craft artists; and his sense of the past and future of American crafts. Monroe also recalls Sylvester Jerry, Cherry Barr Jerry, Robert Verizer, Robert Kidd, George Ortman, Julius Schmidt, Richard DeVore, Steve Frykholm, Jon Eric Riis, Arturo Sandoval, Gretchen Bellinger, Bernadette Monroe, Robert Arneson, David Gilhooly, William Harper, Wendell Castle, Françoise Grossen, Claire Zeisler, Sarah Booth Conroy, Sheila Hicks, Dale Chihuly, Arthur Mason, Jane Mason, Betty Ford, Joan Mondale, Rosalynn Carter, Barbara Bush, Hillary Clinton, Paul Gottlieb, Peter Joseph, Matthew Kangas, Mark Haley, Nora Atkinson, and others. Herman recalls Susan Mellon, Joshua Taylor, Paul Gardner, Charles Eldredge, Elizabeth Broun, Paul Smith, Rose Slivka, Diane Douglas, Janet Kardon, William Morris, and others.
Biographical / Historical:
Michael W. Monroe (1940- ) is director emeritus of the Bellevue Arts Museum in Bellevue, Washington. Lloyd Herman (1936- ) is the founding director (emeritus) of the Renwick Gallery in Washington, D.C. who resides in Seattle, Washington.
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:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Arts administrators -- Washington (D.C.) -- Interviews  Search this
Arts administrators -- Washington (State) -- Interviews  Search this
Arts -- Management  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Curators -- Washington (D.C.) -- Interviews  Search this
Curators -- Washington (State) -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.monroe18
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-monroe18

"Creative Photography and the Marketplace" Symposium, San Francisco Art Society

Collection Creator:
Rose, Barbara  Search this
Extent:
2 Sound tape reels
Container:
Box 1, Folder 22
Type:
Archival materials
Audio [31027000753497]
Sound tape reels
Date:
1963 January 14
Scope and Contents:
With participants Ansel Adams, Arthur Bierman, Kenneth Rexroth and Edward Taylor, with Ernst Karl Mundt as moderator
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 Barbara Rose papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Barbara Rose papers, 1962-circa 1969. Archives of American Art, Smithsonian Institution.
See more items in:
Barbara Rose papers
Barbara Rose papers / Series 3: Panel Discussions and Lectures
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-rosebarb-ref35

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

Pitcher

Maker:
Kabyle artist  Search this
Medium:
Ceramic, slip, resin
Dimensions:
H x W x D: 22.7 x 20 x 13.4 cm (8 15/16 x 7 7/8 x 5 1/4 in.)
Type:
Ceramics
Geography:
Kabylie, Algeria
Date:
Early-late 20th century
Topic:
geometric motif  Search this
male  Search this
Credit Line:
Gift of Allen Clayton Davis
Object number:
99-23-2
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys76dda98d7-9ace-4775-89fe-76e4d8675aa0
EDAN-URL:
edanmdm:nmafa_99-23-2

Container

Maker:
Undetermined artist  Search this
Medium:
Gourd, plant fiber, leather
Dimensions:
H x Diam: 36 x 29 cm (14 3/16 x 11 7/16 in.)
Type:
Sculpture
Geography:
Chad
Date:
Mid-20th century
Topic:
Household  Search this
male  Search this
Credit Line:
Gift of Ambassador and Mrs. Fred L. Hadsel
Object number:
2013-2-4
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7dee8dce6-c2a2-424b-afc4-ad29e89b1249
EDAN-URL:
edanmdm:nmafa_2013-2-4

Bowl

Maker:
Bata artist  Search this
Medium:
Gourd
Dimensions:
H x W x D: 10.8 x 20.7 x 18 cm (4 1/4 x 8 1/8 x 7 1/16 in.)
Type:
Sculpture
Geography:
Numan, Nigeria
Date:
Late 20th century
Topic:
Household  Search this
male  Search this
Credit Line:
Gift of Mildred A. Morton
Object number:
2000-29-15
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7121929a2-1105-40e0-af75-0d286c0d889a
EDAN-URL:
edanmdm:nmafa_2000-29-15

Bowl

Maker:
Ga'anda artist  Search this
Medium:
Gourd
Dimensions:
H x W x D: 16 x 32.4 x 28.7 cm (6 5/16 x 12 3/4 x 11 5/16 in.)
Type:
Sculpture
Geography:
Little Gombi, Nigeria
Date:
Late 20th century
Topic:
Household  Search this
male  Search this
Credit Line:
Gift of Mildred A. Morton
Object number:
2000-29-25
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7088b4c14-b660-45b1-aa0b-a9a2db31bbbf
EDAN-URL:
edanmdm:nmafa_2000-29-25

African Postcard Collection

Collector:
National Museum of African Art (U.S.)  Search this
National Museum of African Art (U.S.)  Search this
Extent:
61 Volumes
Type:
Collection descriptions
Archival materials
Volumes
Postcards
Place:
Algeria
Angola
Benin
Burkina Faso
Burundi
Cameroon
Cape Verde
Central African Republic
Chad
Congo (Democratic Republic)
Côte d'Ivoire
Mozambique
Morocco
Mali
Namibia
Rwanda
Niger
Nigeria
Somalia
South Africa
Sierra Leone
Sudan
Tanzania
Togo
Tunisia
Zimbabwe
Zambia
Uganda
Senegal
Kenya
Liberia
Ghana
Guinea
Mauritania
Madagascar
Malawi
Djibouti
Ethiopia
Gabon
Egypt
Eritrea
Africa
Date:
1898-[ongoing]
Summary:
This collection includes postcards from 45 African countries. Subjects include agriculture; animals; artists; body arts; cityscapes; cultural landscapes; dance; education; expeditions; flora; industry; leaders; marketplaces; medicine; military; missionaries; music; portraits; recreation; rites and ceremonies; and transportation, among many other topics.
Arrangement note:
Arranged by country and topic
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Genre/Form:
Postcards
Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014
See more items in:
African Postcard Collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-1985-014
Online Media:

1 Pfennig, Angermunde, Germany, n.d.

Physical Description:
paper (overall material)
Measurements:
overall: 2.5 cm x 6.5 cm x .01 cm; 31/32 in x 2 9/16 in x in
Object Name:
note
Place made:
Germany: Brandenburg, Angermünde
Date made:
n.d.
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC German Notgeld  Search this
Credit Line:
Stack's
ID Number:
NU.NU84438
Catalog number:
NU84438
Accession number:
257925
See more items in:
Work and Industry: National Numismatic Collection
NNC Transcription Center German Notgeld 01
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b4-5a04-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1903910
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View 1 Pfennig, Angermunde, Germany, n.d. digital asset number 1
Online Media:

50 Pfennig Note, Belgern, Germany, 1921

Physical Description:
paper (overall material)
Measurements:
overall: 6.9 cm x 10.6 cm x .01 cm; 2 23/32 in x 4 3/16 in x in
Object Name:
note
Place made:
Germany: Saxony, Belgern
Date made:
1921
Date on object:
1921-11-01
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC German Notgeld  Search this
Credit Line:
Morton M. Stack
ID Number:
NU.NU59831.106
Serial number:
31205
Catalog number:
NU59831.106
Accession number:
220791
See more items in:
Work and Industry: National Numismatic Collection
NNC Transcription Center German Notgeld 02
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b3-c637-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1904723
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View 50 Pfennig Note, Belgern, Germany, 1921 digital asset number 1
Online Media:

The Cover of the Old Ones

Maker:
Mamoudou Coulibaly  Search this
Malinke artist  Search this
Medium:
Cotton, dye
Dimensions:
H x W: 272.5 x 212 cm (107 5/16 x 83 7/16 in.)
Type:
Textile and Fiber Arts
Geography:
Côte d'Ivoire
Date:
Late 20th century
Topic:
Household  Search this
male  Search this
Credit Line:
Museum purchase
Object number:
98-14-1
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7f8915934-cbf2-44ae-a718-362c98894365
EDAN-URL:
edanmdm:nmafa_98-14-1

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