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Oral history interview with George McNeil

Interviewee:
McNeil, George, 1908-1995  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
American Abstract Artists  Search this
Art Students League (New York, N.Y.) -- Students  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Pratt Institute. Art School -- Students  Search this
United States. Work Projects Administration  Search this
Cavallon, Giorgio, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Gorky, Arshile, 1904-1948  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Kline, Franz, 1910-1962  Search this
Levy, Edgar  Search this
Manso, Leo  Search this
Matulka, Jan, 1890-1972  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Tworkov, Jack  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
18 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 June 3
Scope and Contents:
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.
General:
Originally recorded on 2 sound tapes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 49 min.
Provenance:
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.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Art, American  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Painting  Search this
Surrealism  Search this
Mural painting and decoration  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcneil65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b6fc63b-c3c0-47b0-b1df-174fd019ac4e
EDAN-URL:
ead_collection:sova-aaa-mcneil65
Online Media:

Nancy Spero papers

Creator:
Spero, Nancy, 1926-2009  Search this
Names:
A.I.R. Gallery (New York, N.Y.)  Search this
Galerie Lelong (New York, N.Y.)  Search this
Golub, Leon, 1922-2004  Search this
Mendieta, Ana, 1948-1985  Search this
Sosa, Irene  Search this
Extent:
26.4 Linear feet
19.12 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Video recordings
Documentary films
Motion pictures
Date:
1940s-2009
Summary:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Scope and Contents:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.

Biographical material includes biographical notes and curricula vitae, as well as several video recordings of documentaries about Spero by Patsy Scala and Irene Sosa which feature original footage of Spero at work. Correspondence is personal and professional, and includes letters from artists including Judy Chicago and Ana Mendieta, writers and curators such as Deborah Frizzell and Susanne Altmann, regarding Spero exhibition catalogs, monographs, and articles, and personal news from family members such as Spero's sons, and correspondence related to other aspects of Spero's career.

Interviews of Spero include transcripts, published interviews, and video recordings. Writings include many of Spero's statements about her work, as well as notes, published versions of articles written by Spero, and video recordings of talks and panel discussions she participated in.

Exhibition files for over 75 shows document the extent to which Spero's work has been widely exhibited in her lifetime with numerous solo exhibitions, including major retrospectives in London, Paris, Barcelona, and Madrid, and dozens of group exhibitions in which she participated over the course of her career.

Gallery and museum files supplement the exhibition files by further documenting Spero's dealings with numerous galleries and museums, including Galerie Lelong, which represents Spero's estate, Barbara Gross Galerie, the first gallery in Germany to represent Spero, the Museum of Fine Arts, Boston, the National Gallery of Canada, and many others. The series also documents Spero's involvement with A.I.R. Gallery, the first independent women's art venue in the United States.

Professional files document other aspects of Spero's career including, but not limited to, awards she received, organizations she participated in or contributed to, publishing projects related to her work, and individual projects she executed such as an installation at the Harold Washington Library in Chicago and the Artemis, Acrobats, Divas & Dancers mosaic tiles she created for the Metropolitan Transit Authority for the 66th Street/Lincoln Center subway station. Also included here are files related to works of art such as Codex Artaud, and Notes in Time.

Subject files, contents of which were presumably used as source material for Spero, document subjects of interest to her, many of which were incorporated into her work and consists primarily of printed material. Broad subject categories include animal rights and conservation, feminism, war, and women. One set of folders documents "museum and political actions" undertaken by Spero and other activists during the 1960s-1970s to fight for equal representation of women in the arts and challenge the male-dominated hierarchy of the art world. Subject files include multiple news articles on torture, rape, and other atrocities committed particularly against women during wartime and by repressive and autocratic political regimes, and also include source material on the archetypal images of women that were fundamental to her interpretation of the female experience.

Printed material documents Spero's entire career from the late 1950s on. Announcements, exhibition catalogs, invitations, news clippings, and periodicals provide comprehensive coverage of her many exhibitions and other events. Printed material also documents the activities of a few other artists, primarily from the 2000s, and includes periodicals, primarily about art, and video recordings of documentaries about art and various other subjects.

Photographic material includes photographs of Nancy Spero from the 1940s on, photos of Spero with family and friends, and photographs of artwork including the heads of Spero's 2007 Maypole: Take No Prisoners which was the last major work completed before her death, originally realized for the Venice Biennale. Also found are a few installation shots and prints, slides, and digital images of Notes in Time at A.I.R. Gallery in 1979.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1950-2009 (Box 1, FC 30; 0.85 linear feet, ER01-ER04; 9.58 GB)

Series 2: Correspondence, 1946-2009 (Boxes 1-4, 27; 2.75 linear feet)

Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.6 linear feet)

Series 4: Writings, 1950-2007 (Boxes 5-6; 1 linear foot)

Series 5: Exhibition Files, circa 1976-2009 (Boxes 6-9, 27, OV 28; 3.3 linear feet, ER09-ER10, ER14-ER17; 1.5 GB)

Series 6: Gallery and Museum Files, 1972-2009 (Boxes 9-14; 5.1 linear feet; ER05-ER08, ER12-ER13; 2.962 GB)

Series 7: Professional Files, circa 1967-2008 (Boxes 14-17, RD 29; 3.5 linear feet; ER15; 0.74 GB)

Series 8: Subject Files, 1950s-2009 (Boxes 17-19, 27, OV 28; 2.4 linear feet)

Series 9: Business Records, circa 1976-2008 (Boxes 19-20; 0.7 linear foot)

Series 10: Printed Material, 1949-2009 (Boxes 20-25, 27, OV 28; 5.5 linear feet)

Series 11: Photographic Material, 1940s-2009 (Boxes 25-27; 0.7 linear foot; ER18-ER19; 0.151 GB)
Biographical / Historical:
Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist based in New York City whose work was executed primarily on paper from the 1960s on, and often incorporated text. Spero was among the first feminist artists and a political activist whose convictions were expressed relentlessly in her work. Using archetypal representations of women to examine the range of female experience, Spero centered "woman as protagonist" whilst simultaneously examining the suffering women have long been subjected to through structural inequality, the systematic abuses of repressive political regimes, and the atrocities of war.

Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). Spero studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. Spero and Golub returned to New York in 1964 with their three sons.

Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became an activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery, and Spero's work from here on was primarily executed on paper.

Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In the 1970s archetypal representations of women in mythology, history, art, and literature became predominant in her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.

Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.

Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).

After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.
Related Materials:
Also among the holdings of the Archives of American Art are an interview with Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.
Provenance:
Following a gift of materials by Nancy Spero in 1979, the majority of the collection was donated by Spero's sons, Stephen Golub, Philip Golub, and Paul Golub, in 2013.
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.
Occupation:
Collagists -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Art -- Political aspects  Search this
Feminism and art  Search this
Women artists  Search this
Women printmakers  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Video recordings
Documentary films
Motion pictures
Citation:
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.spernanc
See more items in:
Nancy Spero papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ee586015-b282-427f-88a2-0768b0b0e79b
EDAN-URL:
ead_collection:sova-aaa-spernanc
Online Media:

Rudolf Baranik papers

Creator:
Baranik, Rudolf  Search this
Names:
Baranik, Steven, 1948-1981  Search this
Canaday, John, 1907-1985  Search this
Evergood, Philip, 1901-1973  Search this
Guston, Philip, 1913-1980  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1951-1982
Scope and Contents:
The papers of painter, pritnmaker and instructor, Rudolf Baranik, measure 0.4 linear feet and date from 1951-1982. Included is biographical data; letters from Philip Evergood, Raphael Soyer, John Canaday, Philip Guston, and others; photographs of Baranik and of his work; transcripts of interviews of Baranik conducted by Martin Reis, Irving Sandler, Mary Gordon, leonard Altman, and Lynn Katzman; exhibition announcements and catalogues, including one for the work of his son, Steven Baranik; clippings and other printed material.
Biographical / Historical:
Rudolf Baranik (1920- 1998) was a painter, printmaker, and instructor in New York, N.Y.
Provenance:
Donated 1975-1983 by Rudolf Baranik.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Painting, Abstract -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Identifier:
AAA.bararudo
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw980e9f738-bff0-42a6-8ceb-9c48b6aafc7c
EDAN-URL:
ead_collection:sova-aaa-bararudo

Oral history interview with George McNeil

Interviewee:
McNeil, George, 1908-1995  Search this
Interviewer:
Sandler, Irving, 1925-  Search this
Names:
American Abstract Artists  Search this
United States. Work Projects Administration  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Gallatin, A. E. (Albert Eugene), 1881-1952  Search this
Gorky, Arshile, 1904-1948  Search this
Gottlieb, Adolph, 1903-1974  Search this
Graham, John, 1887-1961  Search this
Harari, Hananiah, 1912-2000  Search this
Hofmann, Hans, 1880-1966  Search this
Hélion, Jean, 1904-1987  Search this
Kandinsky, Wassily, 1866-1944  Search this
Levy, Edgar  Search this
Léger, Fernand, 1881-1955  Search this
Manso, Leo  Search this
Marin, John, 1870-1953  Search this
Matter, Mercedes  Search this
Matulka, Jan, 1890-1972  Search this
Miró, Joan, 1893-  Search this
Morris, George L. K., 1905-1975  Search this
Motherwell, Robert  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Rosenborg, Ralph M., 1913-1992  Search this
Rothko, Mark, 1903-1970  Search this
Shaw, Charles Green, 1892-1974  Search this
Smith, David, 1906-1965  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
82 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1968 Jan. 9-May 21
Scope and Contents:
An interview of George McNeil conducted 1968 Jan. 9-May 21, by Irving Sandler, for the Archives of American Art. McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting. He recalls Vaclav Vytlacil, Hans Hofmann; Arshile Gorky, John Graham, Jan Matulka, John Marin, Wassily Kandinsky, Mercedes Carles Matter, Albert Swinden, Fernand Léger, Stuart Davis, Burgoyne Diller, David Smith, Edgar Levy, Leo Manso, Irene Rice Pereira, Willem de Kooning, Ilya Bolotowsky, Mark Rothko, Adolph Gottlieb, Joan Miró, Robert Motherwell, George L.K. Morris, Albert Gallatin, Charles Shaw, John Ferrin, Ralph Rosenborg, Hananiah Harari, Agnes Lyall, Jean Helion, and many others.
Biographical / Historical:
George McNeil (1908-1995) was a painter and printmaker from New York, N.Y.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 14 min.
Provenance:
These interviews are 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.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Art, American  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Art -- Philosophy  Search this
Painting  Search this
Cubism  Search this
Impressionism (Art)  Search this
Surrealism  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcneil68
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b3ee2e56-003f-4186-96f2-7f57e7bcd411
EDAN-URL:
ead_collection:sova-aaa-mcneil68
Online Media:

Joseph Kaplan papers

Creator:
Kaplan, Joseph, 1900-1980  Search this
Names:
Audubon Artists (New York, N.Y.)  Search this
Corcoran Gallery of Art  Search this
National Academy of Design (U.S.)  Search this
United States. Public Works Administration  Search this
United States. Works Progress Administration  Search this
Avery, Milton, 1885-1965  Search this
DeMartini, Joseph, 1896-1984  Search this
Gottlieb, Adolph, 1903-1974  Search this
Gropper, William, 1897-1977  Search this
Gross, Chaim, 1904-1991  Search this
Ishigaki, Aya  Search this
Ishigaki, Eitarō, 1893-1958  Search this
Kaplan, Virginia  Search this
Lozowick, Louis, 1892-1973  Search this
Soyer, Raphael, 1899-1987  Search this
Wilson, Sol  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Date:
1915-1977
Summary:
The papers of the painter, photographer, printmaker, and teacher Joseph Kaplan measure 4.8 linear feet and date from 1915-1977. The bulk of the collection consists of printed material, specifically exhibition catalogs. Also found are a large number of photographs taken of and by Kaplan. The papers also include biographical material, correspondence, personal business records, and artwork. There is a 0.3 linear foot unprocessed addition to this collection donated in 2021 that includes travel slides taken in Mexico and Provincetown, Massachusetts by Joseph Kaplan, circa 1940-1950, and a photograph of Kaplan by Arnold Newman, circa 1950.
Scope and Contents:
The papers of the painter, photographer, printmaker, and teacher Joseph Kaplan measure 4.8 linear feet and date from 1915-1977. The bulk of the collection consists of printed material, specifically exhibition catalogs. Also found are a large number of photographs taken of and by Kaplan. The papers also include biographical material, correspondence, personal business records, and artwork. There is a 0.3 linear foot unprocessed addition to this collection donated in 2021 that includes travel slides taken in Mexico and Provincetown, Massachusetts by Joseph Kaplan, circa 1940-1950, and a photograph of Kaplan by Arnold Newman, circa 1950.

Biographical material contains a few of Kaplan's personal documents, a number of certificates and medals he recieved during his lifetime, a travel itinerary notebook, and a few hand-written notes.

Kaplan's correspondence is primarily from colleagues, art organizations, galleries, museums, and colleges and universities such as the Corcoran Gallery of Art, National Academy of Design, and Audubon Artists, inc. Also found are letters from friends and colleagues such as Chaim Gross, Adolph Gottlieb, Raphael Soyer, Louis Lozowick, Milton Avery, and Sol Wilson, as well as a large number of letters to his wife Virginia written during his travels.

Personal business records concern Kaplan's art sales, loans, exhibition notifications, and his involvment in the WPA. His artwork is documented in price lists and inventory lists. Some of the material consists of routine transactions not necessarily related to Kaplan's work, including bank records, an address list, and income and expense reports.

Printed Material includes news clippings, exhibition catalogs, exhibition annoucenments, and invitations for Kaplan shows. There are a few published copies and page proofs of Kaplan's commerical artwork.

Artwork includes four Kaplan etchings, three of which are metal plates and one linoleum block. Also included are a few unidentified pen and pencil sketches.

Photographs depict Kaplan, mainly later in his life, and his family. Also found are four of Virginia Kaplan's photograph albums containing images of her and friends from early adulthood. Photographs of Kaplan's friends and colleagues include images of Aya and Eitaro Ishigaki, Chaim Gross, Raphael Soyer, William Gropper, and Joseph De Martini. Also included are photographs taken by Kaplan of New York City, his travels, and artist demonstrations. There are also a large number of photographs of Kaplan's artwork.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1919-1975 (Box 1, 5, OV 7; 0.3 linear feet)

Series 2: Correspondence, 1929-circa 1975 (Box 1, OV 7; 0.4 linear feet)

Series 3: Personal Business Records, circa 1920-1977 (Box 1; 0.2 linear feet)

Series 4: Printed Material, 1915-1975 (Box 1, 2, 3, OV 7; 2.3 linear feet)

Series 5: Artwork, circa 1940-circa 1960 (Box 3, 5; 2 folders)

Series 6: Photographic Material, 1917-circa 1975 (Box 4, 6, OV 7; 1.3 linear feet)

Series 7: Unprocessed Addition, circa 1940-1950 (Box 8, OV 9; 0.3 linear feet)
Biographical / Historical:
Joseph Kaplan (1900-1980) was a painter, printmaker, photographer, and teacher who worked primarly in New York and Provincetown. He was most active in the 1940s through the 1950s. Earlier in his career he worked on several WPA Federal Art Projects and Treasury Relief Art Projects.

Joseph Kaplan was born in Minsk, Russia and immigrated with his family to the United States in 1888 at the age of 12. He married Virginia Haber in 1927 and they had no children.

Kaplan studied at the Eductional Alliance Art School and the Art Students League. He went to Provincetown in the mid-twenties as a student of Charles W. Hawthorne with whom he previously studied with at the National Academy of Design. Afterwards he revisited Provincetown intermittently and began to regard the Cape as his summer studio, working there each summer since 1948.

In 1948 he won the first of many gold medals from the Audubon Artists at the National Academy of Design for a marine painting. He was also the first recipient of the John J. Newman Memorial Medal, given by the National Society of Painters in Casein for his Wellfleet, Low Tide. The Shore Studios in Provincetown, the Harry Salpeter Gallery and then Krasner Gallery in New York City represented Kaplan's artwork.

Kaplan predominantly worked in watercolor and oil paint, depicting landscapes and seascapes, and becoming acclaimed as a Colorist and Romanticist. He occasionally painted figures and, as he gained recognition, he traveled extensively in search for subjects. In 1968 Kaplan recieved a grant from Chapelbrook Foundation to live and work for a year in Mexico.

Kaplan's work was included frequently in group exhibitions and he participated in more then 30 major shows in his lifetime. Throughout his career he was a member of many art organizations including Artists League of America, Audubon Artists, Provincetown Art Association, and Cape Cod Art Association. He was continually active in the art life in Provincetown serving as board members, trustees, and judges. He also occasionally taught at art schools including the American Artist School and John Reed Club, and taught a number of private pupils.

Joseph Kaplan died on February 28th, 1980 at the age of 79 in Brewster, Massachusetts.
Separated Materials:
307 nitrate negatives donated to the Archives of American Art with the Joseph Kaplan papers have been removed and are stored in off-site storage. Negatives were duplicated onto safety based film and only select prints were made.
Provenance:
The Joseph Kaplan papers were donated to the Archives of American Art by Marilyn Kearney in 1981. Additional papers were donated by Deborah Meyer in 2021.
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.
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 -- Massachusetts -- Provincetown  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Photographers -- Massachusetts -- Provincetown  Search this
Photographers -- New York (State)  Search this
Printmakers -- Massachusetts -- Provincetown  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Citation:
Joseph Kaplan papers, 1915-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kapljose
See more items in:
Joseph Kaplan papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9407e127f-553c-4730-a748-ad683c5835aa
EDAN-URL:
ead_collection:sova-aaa-kapljose
Online Media:

Charlotte Whinston papers

Creator:
Whinston, Charlotte, 1895-1976  Search this
Names:
National Association of Women Artists (U.S.)  Search this
Extent:
1.2 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1945-1975
Scope and Contents:
Correspondence, photos, exhibition catalogs and announcements, clippings, awards, membership cards, minutes of meetings, and financial papers and scrapbooks, much of it relating to the National Association of Women Artists, Inc. of which Whinston was President, 1957-1961, and several other art organizations in which Whinston was involved.
Biographical / Historical:
Sculptor, painter, printmaker, engraver; New York(N.Y.)
Provenance:
Donated 1976 by Arthur L. and John Whinston, sons of Charlotte Whinston.
Restrictions:
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.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Engravers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women engravers  Search this
Women painters  Search this
Women painters  Search this
Women sculptors  Search this
Function:
Arts organizations
Genre/Form:
Scrapbooks
Identifier:
AAA.whinchar
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9efc165fa-9c24-421d-9430-ec28ba29df93
EDAN-URL:
ead_collection:sova-aaa-whinchar

Maryette Charlton papers

Creator:
Charlton, Maryette  Search this
Names:
American University of Beirut -- Faculty  Search this
Art Institute of Chicago -- Faculty  Search this
Chicago Public School Art Society  Search this
Container Corporation of America  Search this
University of Iowa, Museum of Art  Search this
Andres, Jo  Search this
Bishop, Elizabeth, 1911-1979  Search this
Cage, Xenia  Search this
Calder, Alexander, 1898-1976  Search this
Court, Paula  Search this
Elliott, Leone  Search this
Elliott, Owen  Search this
Fujitomi, Yasuo, 1928-  Search this
Habachy, Nimet  Search this
Hadzi, Dimitri, 1921-2006  Search this
Haskins, Sylvia Shaw Judson, 1897-  Search this
Hoff, Margo  Search this
Kiesler, Frederick  Search this
Kiesler, Lillian, 1910?-2001  Search this
Lubar, Cindy  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Nevelson, Louise, 1899-1988  Search this
Purdy, James  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Kiki, 1954-  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Von Brockdorff, Louise Medbery  Search this
Extent:
80.6 Linear feet
0.34 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Date:
circa 1890-2013
Summary:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Scope and Contents:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Arrangement:
This collection is arranged as 16 series.

Missing Title

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43, FCs 88-89)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 90-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)
Biographical / Historical:
Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.
Related Materials:
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Provenance:
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
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.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Museums -- Administration  Search this
Women artists  Search this
Women painters  Search this
Women photographers  Search this
Women printmakers  Search this
Women educators  Search this
Art -- Study and teaching  Search this
Color  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.charmary
See more items in:
Maryette Charlton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw914a42bb1-d069-466f-8948-94f4bf257230
EDAN-URL:
ead_collection:sova-aaa-charmary
Online Media:

Jane Freilicher papers

Creator:
Freilicher, Jane, 1924-2014  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1952-1996
Summary:
The scattered papers of painter Jane Freilicher measure 0.7 linear feet and date from 1952 to 1996. Found are biographical material, correspondence, a guest book from various exhibitions, photographs, and printed material.
Scope and Contents:
The scattered papers of painter Jane Freilicher measure 0.7 linear feet and date from 1952 to 1996. Found are biographical material, correspondence, a guest book from various exhibitions, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Jane Freilicher (1924-2014) was a painter and printmaker in New York City, New York. She is known for her urban scenes of Manhattan and rural landscapes on Long Island. Often, she exhibited her works at Tibor de Nagy Gallery and developed friendships with other artists and poets in Manhattan in the 1950s and 1960s.
Provenance:
Jane Freilicher donated her papers to the Archives of American Art in 1980 and 1997.
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.
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 -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Citation:
Jane Freilicher papers, 1952-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.freijane
See more items in:
Jane Freilicher papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw980b8dc93-7d98-4db4-9a3b-21474ef06882
EDAN-URL:
ead_collection:sova-aaa-freijane

Nell Blaine letters to Robert A. Wilson

Creator:
Blaine, Nell, 1922-1996  Search this
Names:
Phoenix Book Shop  Search this
Wilson, Robert A.  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Date:
1962-2010
Summary:
The letters from artist Nell Blaine and her friend New York bookseller Robert A. Wilson measure 0.6 linear feet and date from 1962 to 2010. Additional material includes scattered business records, photographs, printed material, and a typescript of Blaine's journal.
Scope and Contents:
The letters from artist Nell Blaine and her friend New York bookseller Robert A. Wilson measure 0.6 linear feet and date from 1962 to 2010. Additional material includes scattered business records, photographs, printed material, and a typescript of Blaine's journal.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Nell Blaine (1922-1996) was a painter, printmaker, and illustrator active in New York City, New York.

Robert A. Wilson (1922-2016) was a bookseller and owner of Phoenix Book Shop in New York City, New York.
Related Materials:
The Archives of American Art also holds the Nell Blaine Papers, 1942-1985, and an oral history interviews with Blaine conducted 1967 June 15, by Dorothy Seckler, for the Archives of American Art.
Provenance:
The collection was donated in 1997 by Robert A. Wilson.
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.
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 -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Diaries
Citation:
Nell Blaine letters to Robert A. Wilson, 1962-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blainell2
See more items in:
Nell Blaine letters to Robert A. Wilson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99c724114-733f-49ce-9b1b-62e19ba771bd
EDAN-URL:
ead_collection:sova-aaa-blainell2
Online Media:

Oral history interview with George McNeil, 1965 June 3

Interviewee:
McNeil, George, 1908-1995  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Subject:
Smith, David  Search this
Gorky, Arshile  Search this
De Kooning, Willem  Search this
Matulka, Jan  Search this
Pereira, I. Rice (Irene Rice)  Search this
Dlugoszewski, Lucia  Search this
Manso, Leo  Search this
Vytlacil, Vaclav  Search this
Hofmann, Hans  Search this
Rothko, Mark  Search this
Levy, Edgar  Search this
Hopper, Jo N. (Josephine Nivison)  Search this
Reinhardt, Ad  Search this
Pollock, Jackson  Search this
Tworkov, Jack  Search this
Dehner, Dorothy  Search this
Cavallon, Giorgio  Search this
Kline, Franz  Search this
Diller, Burgoyne  Search this
Art Students League (New York, N.Y.)  Search this
Pratt Institute. Art School  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
United States. Work Projects Administration  Search this
American Abstract Artists  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with George McNeil, 1965 June 3. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Painting  Search this
Surrealism  Search this
Mural painting and decoration  Search this
Record number:
(DSI-AAA_CollID)13160
(DSI-AAA_SIRISBib)214125
AAA_collcode_mcneil65
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214125

Oral history interview with Pat Steir

Interviewee:
Steir, Pat, 1940-  Search this
Interviewer:
Richards, Judith Olch  Search this
Extent:
92 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2008 March 1-2
Scope and Contents:
An interview of Pat Steir conducted 2008 March 1-2, by Judith Olch Richards, for the Archives of American Art, at Steir's home, in New York, N.Y.
Steir speaks of her parents' history and various occupations; her Russian Jewish background; her early desire to become a poet or artist; the lack of encouragement from both her parents; memories of earlier interactions with a number of influential figures; rejecting a scholarship offer to go to Smith College for a scholarship to study art at Pratt Institute; studying art at Boston University; illustrating for Harper & Row; her experiences and reflections as a female artist struggling to get recognition equal to that of her male counterparts; teaching at Parsons School of Design; living in Pasadena, California and teaching at CalArts; traveling to Europe, China, Japan, and India; opening a studio in Amsterdam; her involvement with the feminist movement; working as an editor at Semiotext magazine and how that launched her into starting a private company called Printed Matter, designing books; traveling to the Southwest and the influence of the Navajo culture on her work; her relationships with various performing artists; her interns and teaching; how she got involved with printmaking; her preference for oil-based paints rather than acrylic; printmaking as a major art form; how her relationship with dealers changed over time; how her work was seen and promoted in Europe; exhibiting at Paley & Lowe; working with large canvases; her interest in reacquiring her sold works; influences from Japonism, Impressionism, Modernism, and Postmodernism; the influence of Chinese and Japanese art, process, and technique; the significance of her Brueghel paintings; her artistic process and techniques; her interest in the romance of art history; almost giving up painting; working with Cheim & Read; her current exhibition at the Ochi Gallery in Idaho; the future of her work; the struggle for women to gain critical attention in the art world; the fusion of the art world and fashion; and her love and zeal for fashion. Steir also recalls Agnes Martin, Mark Rothko, Dick Solomon, Joan Mitchell, Brigitte Cornand, Louise Bourgeois, Lucy Lippard, Flora Biddle, Willem de Kooning, Marcia Tucker, Joan Snyder, Miriam Schapiro, and others.
Biographical / Historical:
Pat Steir (1938- ) is a painter and printmaker in New York, N.Y. Judith Olch Richards (1947- ) is the former executive director for iCI in New York, N.Y.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 47 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.steir08
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a9ed3fce-9247-4522-a0ad-72d9164cdb09
EDAN-URL:
ead_collection:sova-aaa-steir08
Online Media:

Oral history interview with Lee Bontecou

Interviewee:
Bontecou, Lee, 1931-  Search this
Interviewer:
Ashton, Dore  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
Brooklyn College -- Faculty  Search this
Leo Castelli Gallery  Search this
Bellamy, Richard  Search this
Brackman, Robert, 1898-  Search this
Calder, Alexander, 1898-1976  Search this
Doyle, Tom  Search this
González, Julio, 1876-1942  Search this
Hesse, Eva, 1936-1970  Search this
Stankiewicz, Richard, 1922-1983  Search this
Zorach, William, 1887-1966  Search this
Extent:
118 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 January 10
Scope and Contents:
An interview of Lee Bontecou conducted 2009 January 10, by Dore Ashton, for the Archives of American Art, at Knoedler and Company, in New York, New York.
Bontecou speaks of her interest in art as a young child and her parents' encouragement and influences; her two years at community college before studying painting then sculpture under William Zorach at the Arts Students League in New York City; her time working, living and studying in Rome though the Fulbright Scholarship; her abstracted figural works in Rome influenced by ancient Greek and Roman sculpture; her exploration in Europe of non-American influences and her admiration of the strong design sense in Italy; returning to the United States and working in the New York City art scene and exhibiting her works at Leo Castelli's Gallery; different techniques including welding and vacuum forming; meeting her husband, Bill Giles, and raising her daughter, Vallie, in New York City; leaving New York City and the Castelli Gallery for Pennsylvania and the ability to experiment in her artwork; teaching at Brooklyn College where she worked with Morris Dorsky and enjoyed a wide range of students; her lack of affiliation with art movements, including Pop Art; her illness and her current work; and her strong belief that an M.F.A. is useless and that young artists have to make themselves. Bontecou also recalls Robert Brackman, Julio Gonzales, Alexander Calder, Richard Bellamy, Gabriel Kahn, Richard Stankewiczs, Tom Doyle, Eve Hesse, Sandra and Jack Beale, and others.
Biographical / Historical:
Lee Bontecou (1931- ) is a sculptor and printmaker from New York, New York. Bontecou studied at the Art Students League of New York and taught at Brooklyn College.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 2 hr., 42 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Women printmakers  Search this
Pop art  Search this
Sculpture -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bontec09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93ba6e775-8110-44d8-a119-a263342d346d
EDAN-URL:
ead_collection:sova-aaa-bontec09
Online Media:

Oral history interview with Dorothy Dehner

Interviewee:
Dehner, Dorothy, 1901-1994  Search this
Interviewer:
Krauss, Rosalind E.  Search this
McCoy, Garnett  Search this
Names:
Smith, David, 1906-1965  Search this
Extent:
49 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 October-1966 December
Scope and Contents:
An interview of Dorothy Dehner conducted 1965 October-1966 December, by Garnett McCoy and Rosalind Krauss, for the Archives of American Art.
Both interviews involve discussion of Dehner's husband, David Smith.
Biographical / Historical:
Dorothy Dehner (1901-1994) was a sculptor, painter, and printmaker from New York, New York. Dehner was married to sculptor David Smith.
General:
Originally recorded on 2 sound tape reel. Reformatted in 2010 as 2 digital wav file. 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:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Women artists  Search this
Women sculptors  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dehner65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw927499a4e-6aa8-4930-950f-6ced2f53b1c4
EDAN-URL:
ead_collection:sova-aaa-dehner65
Online Media:

Oral history interview with Ruth Gikow

Interviewee:
Gikow, Ruth, 1915-1982  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
1 Item (Sound recording: 1 sound tape reel ; 7 in)
29 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964
Scope and Contents:
An interview of Ruth Gikow conducted by Harlan Phillips in 1964 for the Archives of American Art.
Gikow speaks of being born in Russia; mural painting at the Bronx Hospital for the Federal Art Project; interest in graphics; the Artists Congress; the Index of American Design; and her thoughts on contemporary painting. She recalls John Stuart Curry and Gene Morey.
Biographical / Historical:
Painter, printmaker; New York, N.Y.
General:
Unrelated interviews of Ad Reinhardt and Ralph and Bena Mayer conducted by H. Phillips are also on this tape.
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:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Serigraphers -- New York (State) -- New York  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Jewish artists  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women muralists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gikow64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cedf1230-273d-4a17-bb88-3f829b177f97
EDAN-URL:
ead_collection:sova-aaa-gikow64
Online Media:

Oral history interview with John Cage, 1974 May 2

Interviewee:
Callahan, Harry M. (Harry Morey)  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Subject:
Albers, Josef  Search this
Bird, Bonnie  Search this
Buhlig, Richard  Search this
Cowell, Henry  Search this
Cunningham, Merce  Search this
Duchamp, Marcel  Search this
Johns, Jasper  Search this
Rauschenberg, Robert  Search this
Tobey, Mark  Search this
Watts, Alan  Search this
Weiss, Adolph  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with John Cage, 1974 May 2. Archives of American Art, Smithsonian Institution.
Topic:
Printmakers -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12442
(DSI-AAA_SIRISBib)212080
AAA_collcode_cage74
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212080
Online Media:

Oral history interview with Alice Baber

Interviewee:
Baber, Alice  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1973 May 24
Scope and Contents:
An interview of Alice Baber conducted 1973 May 24, by Paul Cummings, for the Archives of American Art.
Biographical / Historical:
Alice Baber was a painter and printmaker from New York, N.Y.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 3 hr., 12 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 others.
Occupation:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.baber73
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e1608604-9a0c-4916-92b1-03d587af43ec
EDAN-URL:
ead_collection:sova-aaa-baber73
Online Media:

Oral history interview with Seong Moy

Interviewee:
Moy, Seong  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Booth, Cameron, 1892-1980  Search this
Hayter, Stanley William, 1901-1988  Search this
Hofmann, Hans, 1880-1966  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
69 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 Jan. 18-28
Scope and Contents:
An interview of Seong Moy conducted 1971 Jan. 18-28, by Paul Cummings, for the Archives of American Art.
Moy speaks of his childhood in Canton, China; his immigration to Minnesota; the art scene in Minneapolis and Saint Paul in the 1930s; his education; the influence of his teachers, including Cameron Booth, Hans Hofmann, and Vaclav Vytlacil; the influence of Stanley William Hayter; being introduced to printmaking by the WPA art project in Minnesota; his service as a photographer in World War II; his teaching philosophy; and the art scene in Provincetown in the 1970s.
Biographical / Historical:
Seong Moy (1921-2013) was a Chinese American painter and printmaker based in New York City, New York and Provincetown, Massachusetts. Moy was born in Canton, China. He studied at the St. Paul School of Art, Hans Hofmann School of Art and the Art Students League. He was also the director of the Seong Moy School of Painting and Graphics, Provincetown, Massachusetts in the summer.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 3 hrs., 19 min.
Provenance:
These interviews are 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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Asian American art  Search this
Asian American artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Asian American painters  Search this
Asian American printmakers  Search this
Printmakers -- Massachusetts -- Provincetown  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.moy71
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b8ddcaa2-93d4-4aa3-a1b6-c54c4e7532c8
EDAN-URL:
ead_collection:sova-aaa-moy71
Online Media:

Oral history interview with John Cage

Interviewee:
Callahan, Harry M.  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Albers, Josef  Search this
Bird, Bonnie  Search this
Buhlig, Richard, 1880-1952  Search this
Cowell, Henry, 1897-1965  Search this
Cunningham, Merce  Search this
Duchamp, Marcel, 1887-1968  Search this
Johns, Jasper, 1930-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Tobey, Mark  Search this
Watts, Alan, 1915-1973  Search this
Weiss, Adolph, 1891-1971  Search this
Extent:
55 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1974 May 2
Scope and Contents:
An interview of John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art.
Cage speaks of his education; studying art and architecture in Europe; his paintings; his music teachers including Richard Buhlig, Henry Cowell, and Adolph Weiss; his lectures on modern art and music; his first wife, Xenia; teaching at the Cornish School, the Chicago Institute of Design, and Black Mountain College; taking chess lessons from Marcel Duchamp; Oriental philosophy; and "Silence," "Empty Words," and other compositions. He recalls Josef Albers, Bonnie Bird, Merce Cuningham, Jasper Johns, Robert Rauschenberg, Mark Tobey, Alan Watts, and others.
Biographical / Historical:
John Cage (1912-1992) was a composer and printmaker from New York, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 39 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Composers -- New York (State) -- New York -- Interviews  Search this
Topic:
Printmakers -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cage74
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95269fba8-5147-4e92-aa8a-062cd7e6d971
EDAN-URL:
ead_collection:sova-aaa-cage74
Online Media:

Oral history interview with Luigi Lucioni, 1971 July 6

Interviewee:
Lucioni, Luigi, 1900-1988  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Associated American Artists  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Luigi Lucioni, 1971 July 6. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American  Search this
Prints, American  Search this
Realism  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11775
(DSI-AAA_SIRISBib)211972
AAA_collcode_lucion71
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211972

Oral history interview with George McNeil, 1968 Jan. 9-May 21

Interviewee:
McNeil, George, 1908-1995  Search this
Interviewer:
Sandler, Irving, 1925-  Search this
Subject:
Harari, Hananiah  Search this
Bolotowsky, Ilya  Search this
Rosenborg, Ralph M.  Search this
Matter, Mercedes  Search this
Miró, Joan  Search this
Motherwell, Robert  Search this
Léger, Fernand  Search this
Kandinsky, Wassily  Search this
Smith, David  Search this
Gorky, Arshile  Search this
De Kooning, Willem  Search this
Matulka, Jan  Search this
Pereira, I. Rice (Irene Rice)  Search this
Gottlieb, Adolph  Search this
Gallatin, A. E. (Albert Eugene)  Search this
Morris, George L. K.  Search this
Dlugoszewski, Lucia  Search this
Levy, Edgar  Search this
Hélion, Jean  Search this
Graham, John  Search this
Davis, Stuart  Search this
Manso, Leo  Search this
Vytlacil, Vaclav  Search this
Marin, John  Search this
Hofmann, Hans  Search this
Rothko, Mark  Search this
Shaw, Charles Green  Search this
Diller, Burgoyne  Search this
United States. Work Projects Administration  Search this
American Abstract Artists  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with George McNeil, 1968 Jan. 9-May 21. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Art -- Philosophy  Search this
Painting  Search this
Cubism  Search this
Impressionism (Art)  Search this
Surrealism  Search this
Record number:
(DSI-AAA_CollID)11761
(DSI-AAA_SIRISBib)212878
AAA_collcode_mcneil68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212878

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