An interview of George McNeil conducted by Dorothy Seckler for the Archives of American Art. McNeil speaks of his childhood and his family; becoming interested in art during high school; attending Pratt Institute, and not being satisfied there; deciding to drop out of Pratt after attending a lecture from Vaclav Vytlacil; going to the Metropolitan Museum every day drawing and analyzing paintings; meeting Arshile Gorky while at the Metropolitan Museum; attending the Art Students League; studying with Hans Hofmann; the start of the American Abstract Artists; his involvement in the WPA's mural project; attending Teachers College at Columbia before joining the Navy; re-entering the New York art scene during the forties and liking it very much; meeting and being influenced by Pollock; his views on the state of painting; how his work has evolved; the various stages in the way a painting developed for him; how The Club and the Eighth Street Club has influenced him; the ideas discussed at The Club, and how he feels surrealism was not a big influence on them; Jackson Pollock's influence on abstract expressionism; artists he admires or has admired; and his thoughts on the contemporary art scene. He recalls Vaclav Vytlacil, Arshile Gorky, Jan Matulka, David Smith, Dorothy Dehner, Edgar Levy, Leo Manso, Burgoyne Diller, Irene Rice Pereira, Hans Hofmann, Jo Hopper, Giorgio Cavallon, Linda Lindaberg (Cavallon), Mercedes Kahls, George Byron Brown, Albert Swinden, Willem de Kooning, Jackson Pollack, Franz Kline, Jack Tworkov, Ad Reinhardt, Mark Rothko, and many others.
Biographical / Historical:
George McNeil (1908-1995) was a painter and a printmaker in Brooklyn, N.Y.
Originally recorded on 2 sound tapes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 49 min.
This interview is part of the Archives' 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.
Transcript is available on the Archives of American Art's website.
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approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
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Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
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The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
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Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
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H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
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An interview of Sarah Edwards Charlesworth conducted 2011 November 2-9, by Judith Olch Richards, for the Archives of American Art at Charlesworth's home, in New York, New York.
Charlesworth speaks of growing up in Summit, New Jersey; her family members; her early decision to become an artist; her experiences in elementary, junior high, and high schools; attending Bradford College in Massachusetts; Douglas Huebler as an important professor and mentor; visiting her friend at Barnard College in New York City and being exposed to the art scene and museums; attending Barnard to finish her undergraduate degree; her college experience in NYC, meeting other artists, and visiting galleries in the 1960s and '70s; beginning to make money off of her photography; her relationship with Joseph Kosuth; the gender inequalities and dynamics in the art world and society and how it has changed; traveling to Europe; starting up The Fox magazine with Kosuth and others; participation in Artists' Movement for Cultural Change, other publications, and forums; continuing her education; her first shows in galleries; she discusses the series Modern History; the series Stills; the series Tabula Rasa; the series In-Photography; the multiple series Objects of Desire; the series Academy of Secrets; the series Renaissance paintings; meeting Amos Poe and getting married; having children and being a working artist at the same time; her teaching positions and experiences; her transition from "appropriated" images to her own photographic work; her process for creating works; her interest in the interpretation of visual language; her current work and lifestyle. Charlesworth also recalls Kiki Smith, Judy Hudson, Douglas Huebler, Carl Andre, Robert Rauschenberg Joseph Kosuth, Betsy Baker, Seth Siegelaub, Lawerance Weiner, Bob Barry, Barbara Novak prof, Roy Anderson, Meyer Shapiro, Fred Friendly, Amos Poe, Lisett Model, Lucy Lippard, Gian Enzo Sperone, Nancy Spero, Leon Golub, Anthony McCall, Richard Prince, Barbara Kruger, Laurie Simmons, Cindy Sherman, Jan Van (Vera) Cruz, Tony Shafrazi, Sara VanDerBeek, Pat Steir, Elizabeth Murray, Susan Sterling, Louis Grachos, Louise Lawler, and others.
Biographical / Historical:
Sarah Edwards Charlesworth (1947- 2013) was a conceptual artist and photographer in New York, New York. Judith Olch Richards is a former executive director of iCI in New York, New York.
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.
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Conceptual artists -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
Funding for the 2007 processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the 2018 processing of this collection was provided by the Henry Luce Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.
0.4 Linear feet ((60 items partially microfilmed on 1 reel))
Scope and Contents:
Sketches, photographs, notes, a scrapbook, and printed material.
REEL 2787: A notebook containing sketches and notes on the completion of the Willard Parker Hospital mural, New York City, which Sakari Suzuki painted with the assistance of Berntsen for the Federal Arts Project in 1936-1938; and 9 photographs of the Willard Parker mural, 2 of which show Suzuki and 2 of Suzuki and Berntsen at work. The Willard Parker Hospital was later demolished.
UNMICROFILMED: A chronology of Berntsen's career; 24 sketches in pencil and in pen and ink of ironworkers and construction workers, ca. 1933-1934, and of visitors to the National Gallery where Berntsen was a guard, ca. 1966-1971; three letters from Bernsten to his wife Alma, 1947-1952; loose newspaper clippings, ca. 1933-1985, and a scrapbook of newspaper clippings (in Norwegian and English) concerning Berntsen's involvement with the Norwegian Art and Craft Club, and his paintings and sketches of workers at construction sites where he worked as an ironworker, ca. 1931-1976; two exhibition announcements, 1964 and 1986; photographs, ca. 1933-1987, mostly snapshots, include Berntsen painting, Bernsten in his National Gallery of Art guard uniform with Chief Justice Earl Warren, one of students and faculty of the Art Students League (ca. 1933-1934), one of Diego Rivera and Frida Kahlo in New York, several of Berntsen and Suzuki at work on the Willard Parker Hospital mural, ca. 1938, of events sponsored by the Norwegian Art and Craft Club, and of works of art. Also included are photocopies of works of art.
Biographical / Historical:
Painter, mural painter, ironworker; Chicago, Ill., New York, N.Y. and Va. Born in Oslo, Norway. Berntsen also was the model for the laborer who stands behind Lenin in the controversial Diego Rivera mural for Radio City Music Hall.
Material on reel 2787 transferred from the National Collection of Fine Arts, who received it from Berntsen, 1975. Unmicrofilmed material donated 1993 and 2002 by Berntsen's great-grandson, Cliff Miller.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.