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Oral history interview with Frank Romero

Interviewee:
Romero, Frank  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Names:
Los Four (Art group)  Search this
Oral History Interviews with Chicano artists in California and San Antonio, Texas  Search this
Otis Art Institute -- Students  Search this
Almaraz, Carlos  Search this
Mugnaini, Joseph A.  Search this
Rocha, Roberto de la  Search this
Sanchez Luján, Gilbert  Search this
Sheets, Millard, 1907-1989  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 January 17-March 2
Scope and Contents:
An interview of Frank Romero conducted 1997 January 17-March 2, by Jeffrey Rangel, for the Archives of American Art, in Romero's studio, in Los Angeles, Calif.
Romero discusses his growing up in East Los Angeles and his large extended family; his earliest art studies in the public schools; attending the Otis Art Institute where he studied with Joe Mugnaini and had contact with Millard Sheets and Peter Voulkos; the "very polyglut culture" of East Los Angeles; the influences of television, western movies, rock-and-roll, and rhythm and blues on his early musical/artistic taste; time spent in New York; returning to Los Angeles in 1969; and his marriage and family.
He describes his move into Carlos Almaraz's house which became the informal meeting place of the artist group Los Four (Almaraz, Romero, Gilbert Sanchez Lujan, and Roberto "Beto" de la Rocha); the Los Four show at the Los Angeles County Museum of Art in 1974; and the stylistic aesthetics of Los Four.
Romero describes the "boys club" nature of Chicano art centers; his contributions to the Chicano art movement; his relationship to the Chicano/Mexican culture and mainstream U.S. culture; murals done by members of Los Four for the Inner City Mural Program; his work for the Metropolitan Transit Authority; the Murals of Aztlan exhibit in 1981 at the Craft and Folk Art Museum; and his shows at the ARCO Center for the Visual Arts. He concludes with his assessment of the Chicano arts movement, the relationship between economic and art cycles, and the role of the more established artists to those of a younger generation.
Biographical / Historical:
Frank Romero (1941- ) is a painter from Los Angeles, Calif.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 27 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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Painters -- California -- Los Angeles -- Interviews  Search this
Mexican American artists  Search this
Latino and Latin American artists  Search this
Mexican American art  Search this
Street art  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Chicano art movement  Search this
Chicano artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.romero97
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-romero97
Online Media:

Oral history interview with Kenny Scharf

Interviewee:
Scharf, Kenny  Search this
Interviewer:
Kerr, Theodore  Search this
Names:
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Extent:
3 Items (sound files (5 hr., 3 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
2017 February 22-23
Scope and Contents:
An interview with Kenny Scharf conducted 2017 February 22-23, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Scharf's studio in Los Angeles, California.
Scharf speaks of his childhood and adolescence in Los Angeles; choosing to attend the School of Visual Arts in New York; his first exhibition with Fiorucci upon arriving in New York; lasting relationships from his SVA years; the development of his interest in an outer space aesthetic; dancing at various downtown nightclubs in New York before and during the AIDS crisis; his early film work and its environmentalist impulse; his disillusionment with the art market; his intense motivation to become a recognized artist after not being included in the 1983 Whitney Biennial with Keith Haring and Jean-Michel Basquiat; feeling forgotten by the art world again in the 1990s; feeling overlooked as an influence on Takashi Murakami's artwork; seeing many friends die of AIDS in the 1980s; getting married, having children, and living a heteronormative lifestyle in response to the AIDS crisis; sensing a widespread fear of having sex during the AIDS epidemic; his personal struggle to remain joyful and productive during this time; moving to Miami in 1992; his experience of survivor's guilt; Haring's relationship with Scharf's children as their godfather; the difference in reactions to the initial AIDS crisis from the queer and straight art worlds; the difficulties of watching those with HIV physically and mentally deteriorate; rising homophobia during the early AIDS crisis; contracting hepatitis, and then HIV, while in Miami, and receiving successful treatment from a local herbalist; dealing with depression while in Miami; moving from Miami to Los Angeles in 1999, in part to pursue animation; the genesis of the Closets series; moving back to New York in 2007; the genesis of the Cosmic Cavern parties; the pervasive stigma attached to being HIV-positive; his current regimen for remaining HIV-undetectable ; his drive to show the worth and advantages of being an older artist; his desire to be remembered as a contemporary of Haring and Basquiat; the greater appreciation for life that he has after living through the AIDS crisis; his process of becoming more patient in his drive for recognition; the dilemma of wanting to be open about his HIV status without getting pigeonholed or becoming a spokesman; his recent work in painting murals; his disillusionment with Donald Trump's election; and the happy memories he experiences when walking around St. Mark's Place in New York. Scharf also recalls Eileen Guggenheim, Klaus Nomi, Joey Arias, Diane Von Furstenburg, Keith Haring, Jean-Michel Basquiat, John Sex, Wendy Wild, Drew Straub, Jane Panetta, Andy Warhol, Nicholas Moufarrege, Martin Burgoyne, Kwong Chi, Susanne Bartch, Rene Ricard, Johnny Rudo, Jimmy De Sana, Paul Kasmin, Scott Ewalt, and others.
Biographical / Historical:
Kenny Scharf (1958- ) is a painter, muralist, sculptor, installation artist in Los Angeles, California. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
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:
Interview ACCESS RESTRICTED; Use requires written permission.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
AIDS (Disease) and the arts  Search this
Installations (Art)  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Sculptors -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.scharf17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-scharf17

Oral history interview with Jerre Murry

Interviewee:
Murry, Jerre, 1904-1973  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
1 Item (sound file (47 min.))
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Apr. 8
Scope and Contents:
An interview of Jerre Murry conducted 1965 April 8, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Jerre Murry (1904-1973) was a painter and muralist in Los Angeles, Calif. Murry was a muralist for the Federal Arts Project.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 47 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Occupation:
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.murry65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-murry65
Online Media:

Oral history interview with Buckley Mac-Gurrin

Creator:
Mac-Gurrin, Buckley, 1896-1971  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 June 20
Scope and Contents:
An interview of Buckley Mac-Gurrin conducted 1964 June 20, by Betty Hoag, for the Archives of American Art, in his home, in El Monte, Calif.
Biographical / Historical:
Buckley Mac-Gurrin (1896-1971) was a mural painter from Los Angeles, Calif.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 32 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.macgur64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macgur64
Online Media:

Oral history interview with Willie Herrón

Interviewee:
Herrón, Willie, 1951-  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Names:
Asco (Group of artists)  Search this
Gronk, 1954-  Search this
Extent:
7 Sound cassettes (Sound recording (6 hrs.), analog)
109 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
2000 Feb. 5-Mar. 17
Scope and Contents:
An interview of Willie Herrón conducted 2000 Feb. 5-Mar. 17, by Jeffrey J. Rangel, for the Archives of American Art.
The interviews took place in a restaurant, City Terrace, East Los Angeles, Calif. Herrón describes his childhood growing up in East Los Angeles, culminating with an extensive discussion of the circumstances surrounding the painting of his most acclaimed mural, "The Wall that Cracked Open" in City Terrace; founding the avant-garde Chicano art group Asco along with Harry Gamboa, Jr., Patssi Valdez, and Gronk; his experience as leader of the band Los Illegals and as a cofounder of the alternative music space Club Vex with Self Help Graphics' Sister Karen Boccalero; the Chicano mural movement, particularly his undertakings in City Terrace, Boyle Heights, and at the Estrada Courts and Ramona Gardens housing projects in East Los Angeles; his commitment to working with at-risk youth and his strong desire to expand the stylistic and iconographic parameters of the medium through the incorporation of graffiti; and an assessment of Asco's role in expanding the continuum of Chicano art and identity.
Biographical / Historical:
Willie Herrón (1951-) is a painter, graphic artist, muralist, and musician from Los Angeles, Calif. Herrón is known as one of the premiere artists and musicians to emerge out of the Chicano arts movement during the 1970s.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview and transcription provided by the SI Latino Fund of 1997.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Art and music  Search this
Graffiti art  Search this
Street art  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Chicano artists  Search this
Chicano art movement  Search this
Latino and Latin American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.herron00
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-herron00
Online Media:

Oral history interview with Boris Gorelick

Topic:
Art front
Interviewee:
Gorelick, Boris, 1912-  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Federal Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Gorky, Arshile, 1904-1948  Search this
Shahn, Ben, 1898-1969  Search this
Extent:
1 Sound tape reel (Sound recording: (45 min.), 5 in.)
18 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 May 20
Scope and Contents:
An interview of Boris Gorelick conducted 1964 May 20, by Betty Hoag for the Archives of American Art's New Deal and the Arts Oral History Project.
Gorelick speaks of his background in Russia and New York; attending the Art Students League; the formation of the Artists' Union; working on murals and stained glass for the WPA Federal Art Project; the influence of the Mexican muralists on FAP murals; Art Front magazine, and the American Artists' Congress. He recalls Ben Shahn and Arshile Gorky.
Biographical / Historical:
Designer, mural painter; Los Angeles, Calif.
General:
Sound quality is poor.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration  Search this
Designers -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.goreli64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-goreli64
Online Media:

Oral history interview with Barbara Carrasco

Interviewee:
Carrasco, Barbara, 1955-  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Names:
Asco (Group of artists)  Search this
University of California, Los Angeles -- Faculty  Search this
University of California, Los Angeles -- Students  Search this
University of California, San Francisco. School of Fine Arts -- Students  Search this
Almaraz, Carlos  Search this
Chavez, Cesar, 1927-  Search this
Gamboa, Harry  Search this
Garza, Carmen Lomas  Search this
Valadez, John, 1951-  Search this
Extent:
87 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1999 April 13-26
Scope and Contents:
An interview of Barbara Carrasco conducted 1999 April 13 and 26, by Jeffrey Rangel, in two sessions, for the Archives of American Art.
Carrasco speaks of the roles played by her parents in her career as an artist, her experiences as a light-skinned Chicana, and the marginalization of women artists within the Chicano art movement; her relationship and marriage to fellow artist, Harry Gamboa, Jr., who has supported women artists; and her perception of Asco ("nausea" in Spanish), a group of artists and performers who joined together during the Chicano civil rights movement. She also discusses the influence of the art professors at UCLA and the quality of the training she received there; working with Carlos Almaraz and John Valadez on the "Zoot Suit" mural in Hollywood; meeting César Chávez and how he in part shaped her identity as a cultural worker; attending California School of Fine Arts, Valencia, California, and receiving her MFA there; other Chicana artists such as Carmen Lomas Garza; and the changes in her most recent work.
Biographical / Historical:
Barbara Carrasco (1955-) is a painter and muralist from Los Angeles, California. Carrasco was born in El Paso, Texas, and a resident of the Los Angeles area since 1956. She is best known for her work inspired by the United Farm Workers Union, by her experiences as a Chicana, by historical events, and by personal issues.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 41 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the interview and transcription provided by the Smithsonian Institution Latino Initiatives Fund.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Latino and Latin American artists  Search this
Mexican American artists  Search this
Chicano art movement  Search this
Chicano movement  Search this
Chicano artists  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.carras99
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carras99
Online Media:

Oral history interview with Edward Biberman

Interviewee:
Biberman, Edward  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Orozco, José Clemente, 1883-1949  Search this
Rivera, Diego, 1886-1957  Search this
Extent:
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 April 15
Scope and Contents:
An interview of Edward Biberman conducted 1964 April 15, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.
Biberman speaks of his background and education; his early painting career; the influence of the Mexican muralists, especially Jose Clemente Orozco, upon him; coming to California; teaching at the Art Center School; murals he painted for the Los Angeles Post Office; serving on the jury to select a mural design for the Social Security Administration Building in Washington; his work methods, and how he researched the subject matter for his murals; the Federal Art Project's contribution to art in California and art in general; his opinions about government support for the arts. He recalls Diego Rivera.
Biographical / Historical:
Edward Biberman (1904-1986) was a painter, printmaker, and mural painter from Los Angeles, California.
General:
Originally recorded 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 53 min.
Interviews of Stanton Macdonald-Wright, and Charles Rogers are also on this tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Art and state  Search this
Federal aid to the arts  Search this
Mural painting and decoration -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Printmakers -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.biberm64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-biberm64
Online Media:

Oral history interview with Judith Baca

Interviewee:
Baca, Judith Francisca  Search this
Interviewer:
Mesa-Bains, Amalia  Search this
Extent:
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1986 August 5-6
Scope and Contents:
An interview of Judith Baca conducted 1986 August 5-6, by Amalia Mesa-Bains, for the Archives of American Art.
Baca speaks of her family history, childhood, and education in Los Angeles, her involvement with the Los Angeles muralism movement in the early 1970s, her teaching experience at East Los Angeles recreation center, her directorship of the Eastside murals and of the City-Wide Mural Project, the work of other muralists, feminist views on art which have influenced her work, the origin of the Social and Public Arts Resource Center in Venice, California, her directorship and the mission of the S.P.A.R.C. in 1986, and her own current mural projects.
Biographical / Historical:
Judith Baca (1946-) is an art administrator and mural painter from Venice, California.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 2 hr., 40 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.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Occupation:
Painters -- California -- Los Angeles  Search this
Arts administrators -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Latino and Latin American artists  Search this
Mexican American art  Search this
Mural painting and decoration, American  Search this
Chicano art movement  Search this
Women artists  Search this
Women painters  Search this
Women arts administrators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.baca86
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baca86
Online Media:

Jirayr Zorthian papers

Creator:
Zorthian, Jirayr  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
circa 1937-2004
Summary:
The papers of Jirayr Zorthian measure 2.0 linear feet and date from circa 1937 to 2004. The papers document Zorthian's career as a muralist through correspondence with family and friends; an interview, resumes, certificates, writings, and other professional activity material; clippings, exhibition announcements and catalogs, pamphlets on the Zorthian Day Ranch for Children, and other printed material; and photographs of Zorthian, his friends and family, and some of his artwork.
Scope and Contents:
The papers of Jirayr Zorthian measure 2.0 linear feet and date from circa 1937 to 2004. The papers document Zorthian's career as a muralist through correspondence with family and friends; an interview, resumes, certificates, writings, and other professional activity material; clippings, exhibition announcements and catalogs, pamphlets on the Zorthian Day Ranch for Children, and other printed material; and photographs of Zorthian, his friends and family, and some of his artwork.

Correspondence includes letters from family and friends. There are also a small number of letters from colleagues and art institutions in regards to exhibitions.

Professional material includes sketches by Zorthian, an interview with Zorthian, some writings and observations by Zorthian and others, some financial materials such as receipts and an insurance policy, and some resumes. Also included is "Creative and a Little Bit Crazy," a video recording on the life of Zorthian, and material related to additions made to the Zorthian Day Ranch for Children.

Printed material consists of prints of some of Zorthian's artwork, newspaper clippings on Zorthian and the Zorthian Day Ranch for Children, exhibition announcements and catalogs, and pamphlets and applications for the Zorthian Day Ranch for Children.

Photographic material consists of photographs of Zorthian along with friends and family at the Zorthian Day Ranch for Children, photographs of the ranch, and photographs of some of Zorthian's murals.
Arrangement:
The collection is arranged into four series.

Series 1: Correspondence, 1959-2001 (0.2 linear feet; Box 1)

Series 2: Professional Activity Files, 1970-2004 (0.4 linear feet; Box 1)

Series 3: Printed Material, 1959-2001 (0.5 linear feet; Boxes 1-2)

Series 4: Photographic Material, circa 1937-1992 (0.9 linear feet; Box 2)
Biographical / Historical:
Mural painter, painter, sculptor; Los Angeles, Calif.; b. 1911; d. 2004.
Jirayr Zorthian (1911-2004) was born in Turkey, and he immigrated to the United States with his family following World War I. Zorthian earned a Masters of Fine Arts from Yale University and went on to study art in Italy during the 1930s. Among some of Zorthian's works are eleven murals for the Tennessee State Capitol, a mural for the United States Post Office in St. Johnsville, New York titled "Early St. Johnsville Pioneers," and "Phantasmagoria of Military Intelligence Training." In the 1960s Zorthian also established a summer camp for children on his ranch, Zorthian Day Ranch for Children.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Jirayr Zorthian conducted by Paul Karlstrom, January 28-July 9, 1997.
Provenance:
Donated 1994 and 1995 by Jirayr Zorthian.
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:
Muralists -- California -- Los Angeles  Search this
Genre/Form:
Video recordings
Citation:
Jirayr Zorthian papers, circa 1937-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zortjira
See more items in:
Jirayr Zorthian papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zortjira

Barse Miller slides and printed material

Creator:
Miller, Barse, 1904-1973  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca. 1930]-1977
Scope and Contents:
Biographical information; lists of art work and magazine clippings regarding Miller's service during WWII in a South Pacific Combat Artists Unit, 1942-1945; 39 slides of Miller's paintings, 1930-1973; and 11 exhibition catalogs and announcements, 1961-1977;.
Biographical / Historical:
Painter, landscape painter and mural painter; Los Angeles, Calif. Born New York, N.Y. Studied at National Academy of Design and Pennsylvania Academy of Fine Arts where he won First and Second Cresson Travelling Scholarships.
Provenance:
Donated by Mrs. Barse Miller.
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:
Landscape painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Identifier:
AAA.millbars
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-millbars

Lucile Lloyd papers

Creator:
Lloyd, Lucile  Search this
Names:
Stickney Memorial Art School  Search this
Collector:
Neuerburg, Norman.  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1916-1941
Scope and Contents:
A scrapbook of newspaper and magazine articles, 1916-1934; professional and personal letters; and photographs and negatives of Lloyd's murals.
Biographical / Historical:
Mural painter, educator; Los Angeles, Calif. b. 1894; d. 1941. Lloyd painted several murals for the WPA, including Griffith Park Observatory, South Pasadena Junior High School, Queen of Angels Church, Hollywood, and decoration in the State Capitol in Sacramento. Lloyd also taught at the Stickney Memorial Art School, Pasadena 1912-1934, and was its director, 1921-1922.
Provenance:
Donated 1999 by the Norman Neuerberg Trust. Norman Neuerberg, an art historian and professor of art, specialized in the missions of North America and Southern California art, and received the papers from a friend of Lucile Lloyd.
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:
Muralists -- California -- Los Angeles  Search this
Topic:
Mural painting and decoration -- 20th century -- California  Search this
Mural painting and decoration, American  Search this
Women artists  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.lloyluci
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lloyluci

Carlos Almaraz and Elsa Flores papers

Creator:
Almaraz, Carlos  Search this
Flores, Elsa  Search this
Names:
Los Four (Art group)  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
1946-1996
Summary:
The papers of painters and muralists Carlos Almaraz and Elsa Flores measure 7.9 linear feet and date from 1946 to 1996. The collection documents the careers of both artists through biographical material, correspondence, writings, professional files, personal business records, printed material and artwork.
Scope and Contents:
The papers of painters and muralists Carlos Almaraz and Elsa Flores measure 7.9 linear feet and date from 1946 to 1996. The collection documents the careers of both artists through biographical material, correspondence, writings, professional files, personal business records, printed material and artwork.

Biographical material includes documents regarding Almaraz's death, identification documents, and a few photographs and slides. Correspondence is with family, friends, galleries, museums, and arts organizations. Writings include nine journals belonging to Almaraz and Flores containing travel notes, daily activities and personal thoughts, as well as writings on other topics and writings by others. Professional files document the Los Four group, projects, events, exhibitions, and memberships with arts organizations. Personal business records include legal and financial material along with records relating to Almaraz and Flores's house in Kauai, Almaraz's scholarship fund, and for Almaraz Studio. Printed materials include publications featuring artwork and articles by or about Almaraz and Flores. Original artwork includes sketchbooks, drawings, cutouts, and a watercolor.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, 1946-1994 (Boxes 1, 8-9; 0.5 linear feet)

Series 2: Correspondence, 1974-1996 (Boxes 1-4, OV 10; 3.0 linear feet)

Series 3: Writings, 1972-1994 (Boxes 4, 8-9, OV 10; 0.8 linear feet)

Series 4: Professional Files, 1973-1994 (Boxes 4-5, 9, OV 11; 0.8 linear feet)

Series 5: Personal Business Records, 1974-1995 (Box 5; 0.4 linear feet)

Series 6: Printed Material, 1972-1995 (Boxes 6-7. 9, OV 10; 1.0 linear feet)

Series 7: Artwork, circa 1975-1996 (Boxes 7-9; 1.4 linear feet)
Biographical / Historical:
Carlos Almaraz (1941-1989) was a painter and muralist in Los Angeles, California. His wife Elsa Flores (1955- ) is also a painter and muralist. Almaraz and Flores collaborated on the mural California Dreamscape as part of the Chicano street arts movement.

Almaraz was born in Mexico City, moving to Chicago in 1942, and settling in Los Angeles in 1949. He studied at California State College, the Otis Art Institute, and the University of California in Los Angeles. He moved to New York City in 1965, where he studied at the Art Students League and New School of Social Research. In 1970, Almaraz returned to Los Angeles. He became active with mural painting within the Mexican American community in Los Angeles. Along with Gilbert Lujan, Beto de la Rocha, and Frank Romero, Almaraz founded the artist collective Los Four.

Elsa Flores was born in Las Vegas, Nevada. Her mother was born in Sinaloa, Mexico, and her father was of Arab descent, born in Chile after his paretns fled the Middle East. Elsa studied at the Art Center College, California State University, and the Idyllwild School of Music and the Arts. Almaraz and Flores married in 1981 and their daughter Maya was born in 1983. They collaborated on California Dreamscape, a mural commissioned by the California Arts Council and is located in the Reagan State Building in Los Angeles. In the late 1980s, Almaraz was diagnosed with AIDS and died in 1989.
Related Materials:
Also found at the Archives of American Art is an oral history with Carlos Almaraz conducted by Margarita Nieto from February 6, 1986 to January 29, 1987 and an oral history with Elsa Flores conducted by Jeffrey Rangel from February 18, 1997 to April 30, 1997.
Separated Materials:
The Archives of American Art also holds microfilm of sketchbooks and notebooks (volumes 1-78) lent for microfilming (reels 4578-4587). Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Sketchbook and journal volumes 1-78 were lent for microfilming by Elsa Flores in 1991. Sketchbook and journal volumes 79-84 were donated, some by Carlos Almaraz in 1986 and the remainder in 1991 by Flores and microfilmed onto reel 4587, fr. 93-456. In 1997, additional papers were donated by Flores.
Restrictions:
The collection is access restricted, except for Box 8; written permission is required. Contact Reference Services for more information. Box 8, containing six journals and sketchbooks (volumes 79-84) and slides are not restricted.

Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
Six journals and sketchbooks (volumes 79-84): Authorization to publish, quote, or reproduce requires written permission from Elsa Flores. Microfilm Reels 4578-4587: Authorization to publish, quote, or reproduce requires written permission from Elsa Flores. 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.
Occupation:
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Latino and Latin American artists  Search this
Women artists  Search this
Chicano art movement  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
Carlos Almaraz and Elsa Flores papers, 1946-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.almacarl
See more items in:
Carlos Almaraz and Elsa Flores papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-almacarl

Murals of Aztlán Film Production Records

Creator:
Tartan, James, 1931-  Search this
Names:
Craft and Folk Art Museum  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Sound recordings
Motion pictures (visual works)
Date:
1981
Summary:
The Murals of Aztlán Film Production Records measures 5.1 linear feet and consists of film footage, sound recordings, and notes from the documentary produced by James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles at the Craft and Folk Art Museum, Los Angeles in 1981. Film and sound elements in the collection include original sound recordings, work print, outtakes, and trims. Also found are production notes, museum memorandums concerning the exhibition schedule, and a transcript of a recorded conversation among muralists.
Scope and Contents:
The Murals of Aztlán Film Production Records measures 5.1 linear feet and consists of film footage, sound recordings, and notes from the documentary produced by James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles at the Craft and Folk Art Museum, Los Angeles in 1981. Film and sound elements in the collection include original sound recordings, work print, outtakes, and trims. Also found are production notes, museum memorandums concerning the exhibition schedule, and a transcript of a recorded conversation among muralists.
Arrangement:
Collection arranged as 5 series.

Missing Title

Series 1: Exhibition and Production Notes, 1981 (8 folders; Box 1)

Series 2: Work Print and Soundtrack, 1981 (2.6 linear feet; Box 3, FC 1-30)

Series 3: Sound Recordings, 1981 (0.5 linear feet; Box 1-2)

Series 4: Voiceover Outtakes, 1981 (0.9 linear feet; FC 31-39)

Series 5: Trims and Outtakes, 1981 (0.9 linear feet; FC 40-48)
Biographical / Historical:
Murals of Aztlán is a documentary film produced by actor and filmmaker James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles held at the Craft and Folk Art Museum in Los Angeles, California in 1981. For the exhibition, artists Carlos Almaraz, Gronk, Judithe Hernandez, Willie Herron, Frank Romero, John Valadez and the East Los Streetscrapers (David Botello, Wayne Healy, George Yepes) painted portable murals in the gallery, which was open to the public during the installation of the work. The filmmaker and his crew interviewed the artists involved in the exhibition for the film, filmed the artists creating murals in the gallery, and also filmed the public viewing the artists working and the murals themselves.

James Tartan was born in 1931 and worked as a filmmaker, actor, and voiceover artist. In addition to Murals of Aztlán, Tartan created a documentary film about the 1974 Los Angeles County Museum of Art exhibition Los Four, and has been credited with training many Chicano filmmakers in the 1970s.
Separated Materials:
Additional production material from the documentary Murals of Aztlán, including a final print, is found in the James Tartan Film Collection, 1960-1985, held at the UCLA Chicano Research Center.
Provenance:
Donated by James Tartan, the filmmaker, in 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The 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:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Latino and Latin American artists  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Street art  Search this
Mexican American art  Search this
Mexican American artists  Search this
Chicano artists  Search this
Genre/Form:
Transcripts
Sound recordings
Motion pictures (visual works)
Citation:
Murals of Aztlán film production records, 1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tartjame
See more items in:
Murals of Aztlán Film Production Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tartjame

Terry Schoonhoven papers

Creator:
Schoonhoven, Terry, 1945-2001  Search this
Names:
Los Angeles Fine Arts Squad  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Sketchbooks
Date:
circa 1969-1980
Summary:
The Terry Schoonhoven papers measure 0.4 linear feet and date from circa 1969 to 1980. The scattered papers document Schoonhoven's career in Los Angeles as a painter, printmaker, and muralist through writings, artwork and 10 sketchbooks, and photographs.
Scope and Contents:
The Terry Schoonhoven papers measure 0.4 linear feet and date from circa 1969 to 1980. The scattered papers document Schoonhoven's career in Los Angeles as a painter, printmaker, and muralist through writings, artwork and 10 sketchbooks, and photographs.

Writings by Terry Schoonhoven include an essay about the Los Angeles Fine Arts Squad. Artwork and Sketchbooks include 3 loose sketches and 10 bound sketchbooks. Many of the sketchbooks contain preliminary studies for murals, as well as measurements, lists, phone numbers, addresses, and writings. Also found within the sketchbooks are miscellaneous notes written to Schoonhoven by his wife, Sheila. Photographs depict installation views and works of art by Terry Schoonhoven.
Arrangement:
The collection is arranged as 3 series.

Missing Title

Series 1: Writings, circa 1980 (Box 1; 1 folder)

Series 2: Artwork and Sketchbooks, circa 1969-circa 1980 (Box 1; 0.4 linear feet)

Series 3: Photographs, circa 1969-1980 (Box 1; 1 folder)
Biographical / Historical:
Terry Schoonhoven (1945-2002) was a painter, printmaker, and muralist who worked in Los Angeles. During his career he painted over forty public murals, mostly in the Los Angeles area.

Schoonhoven received a Bachelor of Science degree from the University of Wisconsin. In 1967, Schoonhoven relocated to Los Angeles where studied fine art and taught lithography courses at the University of California, Los Angeles. In 1969, Schoonhoven co-founded the Los Angeles Fine Arts Squad with muralist, Victor Henderson. The Los Angeles Fine Arts Squad, which also included Jim Frazin and Leonard Koren, painted murals in public spaces in the Los Angeles area from 1969 to 1974.
Provenance:
The Terry Schoonhoven papers were donated to the Archives of American Art by Terry Schoonhoven in 1981.
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:
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Printmakers -- California -- Los Angeles  Search this
Mural painting and decoration -- California -- Los Angeles  Search this
Genre/Form:
Photographs
Sketches
Sketchbooks
Citation:
Terry Schoonhoven papers, circa 1969-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schoterr
See more items in:
Terry Schoonhoven papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schoterr

Rico Lebrun papers

Creator:
Lebrun, Rico, 1900-1964  Search this
Names:
Jacques Seligmann & Co  Search this
Extent:
5.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Date:
1935-1975
Summary:
The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.
Scope and Contents:
The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Materials, 1948-1962 (4 folders; Box 1, OV 10)

Series 2: Correspondence, 1935-1973 (1.7 linear feet; Boxes 1-2, OV 10)

Series 3: Writings, 1938-1964 (0.7 linear feet; Boxes 2-3)

Series 4: Personal Business Records, 1940-1964 (0.3 linear feet; Box 3, BV 7)

Series 5: Printed Material, circa 1940-1975 (0.8 linear feet; Box 3, BV 8-9)

Series 6: Artwork, circa 1950-1965 (3 folders; Box 3)

Series 7: Photographic Materials, 1950-1965 (1.6 linear feet; Boxes 4-6)
Biographical / Historical:
Painter, muralist, and educator Rico (Frederico) Lebrun (1900-1964) lived and worked in New York City and Los Angeles, California, and his modernist works were primarily influenced by traditional religious iconography and human suffering.

Born in Naples, Italy, Lebrun attended the Naples Academy of Beaux Arts after his military service in the Italian Army during WWI. He began his career as a stained glass designer and was offered a one year contract to work in Springfield, Illinois, for the Pittsburgh Plate Glass Company in 1924. At the end of the contract, Lebrun moved to New York City where he found work as a commercial illustrator for magazines such as Vogue, Fortune, and The New Yorker. After a return to Italy in the early 1930s to continue his art studies, Lebrun moved to New York City in 1936 where he taught at the Art Students League, painted his first mural commission for the Fogg Art Museum with Lewis Rubenstein, and found work as an artist for the WPA.

In 1938, Lebrun moved to Southern California and accepted a position at the Chouinard Art Institute, where his students would include Disney studio animators for Bambi. Lebrun continued to produce paintings while teaching, and his first solo exhibition was organized by Donald Bear, then director of the Santa Barbara Museum of Art. Beginning in 1947, Lebrun spent three years working on over 200 drawings and paintings for the Crucifixion series, which culminated in an exhibition at the Los Angeles County Museum of Art.

In the late 1940s and 1950s, he continued to teach at the Jepson Institute in Los Angeles and at other institutions, including the Instituto Allende in San Miguel, Mexico from 1952 to 1954. In 1958, while teaching at Yale, Lebrun was invited by professor and art critic Peter Selz to create a mural for Pomona College. He completed his plans for the mural during his year-long teaching residency at the American Academy of Rome in 1959, and completed Genesis in 1960. Lebrun died from cancer in 1964.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Constance Lebrun Crown and David Lebrun conducted by Paul Karlstrom, November 23, 1974. Syracuse University also holds papers of Rico Lebrun.
Provenance:
The papers were donated in 1974 by Lebrun's wife, Constance Lebrun Crown. Additional materials were donated by Crown in 1976.
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:
Educators -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Topic:
Painting, American  Search this
Genre/Form:
Sketchbooks
Photographs
Citation:
Rico Lebrun papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lebrrico
See more items in:
Rico Lebrun papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lebrrico
Online Media:

Lucinda H. Gedeon research material on Charles W. White

Creator:
Gedeon, Lucinda H.  Search this
Names:
University of California, Los Angeles  Search this
White, Charles, 1918-1979  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1940-1997
bulk 1980-1981
Summary:
The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions; a card file catalogue of works by Charles White; photographs and negatives; printed material; transcripts of interviews; bibliographic information; and writings.
Scope and Contents:
The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions regarding Charles White works in their collections; a card file catalogue of works by White; photographs and negatives of works by White; printed material including exhibition materials and magazine and newspaper clippings; transcripts of interviews with White and other individuals; bibliographic information; and writings about White.
Arrangement:
Due to the small size of this collection, the papers are arranged in one series.

Series 1: Lucinda H. Gedeon Research Material on Charles W. White, 1940-1997, bulk 1980-1981 (Boxes1-2; 1.4 linear feet)
Biographical / Historical:
Lucinda H. Gedeon is a retired art historian in Vero Beach, Florida. Previously the director of the Neuberger Museum at the State University of New York, Purchase, and later of the Vero Beach Museum of Art, Gedeon earned both a master's degree and a doctorate at UCLA. She completed her master's thesis on the work of Charles White.

Charles W. White (1918-1979) was an African American painter. White was born in Chicago and attended the Art Institute of Chicago. He worked as an artist for the Works Progress Administration and later taught first at Dillard University, then at Otis Art Institute from 1965 until his death in 1979.

White exhibited widely and his work is held at a number of institutions. He was elected to the National Academy of design in 1972.
Related Materials:
Also found in the Archives of American Art are the Charles W. White papers, circa 1930-1982, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Provenance:
The Lucinda H. Gedeon research materials on Charles W. White were donated to the Archives of American Art by Lucinda H. Gedeon in 2007.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Art historians -- Florida  Search this
Museum directors -- Florida  Search this
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Women art historians  Search this
African American artists  Search this
Genre/Form:
Interviews
Citation:
Lucinda H. Gedeon research material on Charles W. White, 1940-1997, bulk 1980-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gedeluci
See more items in:
Lucinda H. Gedeon research material on Charles W. White
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gedeluci

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