The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scope and Content Note:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scattered biographical materials include a curriculum vitae, documentation relating to White's service in the U.S. Coast Guard, a certificate of appreciation, and a memorial card for White's daughter, Natalie Laura White.
Correspondence contains primarily incoming letters from family and friends, and from clients, galleries, museums, arts organizations, students, and university administrators. Spanning over a seventy year period, family and friends correspondence centers on daily activities, events, and work. There is extensive correspondence from Robert White's parents, Lawrence Grant White and Bessie Chanler White and from Claire Nicolas White and her family. Other correspondents include Gil Franklin, Walker Hancock, Jim Harrison, Susan Hobbes, Willard R. Huntington, Ben LaFarge, Ward Lamb, Suzannah Lessard, Peter Matthiessen, Walker O'Cain, Mark and Katja Oxman, Frank C. Platt, Laura Spencer Pope, Paul and Ellen Resika, Paul Russotto, Sidney Simon, and William Styron, among others.
General correspondence mostly concerns White's commissions, teaching appointments, and his activities in professional organizations. Also included are letters from family members, friends, and colleagues. Frequent correspondents include: the American Academy in Rome, Amyas Ames, the Augustus Saint Gaudens Memorial, Century Association, Theodore Cremer, Davis Galleries, Patricia Fleischmann, Hugh Fosburgh, Rebekah Harkness Kean, David Garrard Lowe, National Academy of Design, Parsons School of Design, S. Dillon Ripley, the State University of New York at Stony Brook, Steuben Glass, and the Suffolk Museum and Carriage House.
Project files contain materials on Robert White's exhibitions and his commissioned projects. Materials include letters, lists of artwork, notes, price lists, receipts, exhibition schedules, contracts, and loan agreements. Files document White's exhibits at the Davis Galleries, Elaine Benson Gallery, Graham Gallery, Graham Modern, Heckscher Museum, and the State University of New York at Stony Brook. Included are extensive files on White's commissions for the American Battle Monuments Commission, Peabody Museum, and Steuben Glass.
Personal business records include files on Robert White's association with the Augustus Saint Gaudens Memorial and the National Academy of Design; his teaching appointments at the Parsons School of Design, the State University of New York at Stony Brook, and the Skowhegan School of Painting and Sculpture; and his dealings with foundries. There are scattered files on the Whites' St. James, New York property and residence.
Notes and writings contain Robert White's diaries, artist's statements, notebooks, essays on art, lectures, and scattered notes. Also found are writings by Clare White and others.
Sketchbooks and loose sketches contain preliminary studies by Robert White and scattered sketches by others. Printed material houses newspaper clippings and periodicals; exhibition announcements, catalogs, brochures, and posters; press releases and newsletters; and miscellaneous printed material.
Artifacts include two printing blocks: a portrait sculpture of Stephanie White and a landscape image. Audiovisual material consists of a digital audio recording of a classroom lecture by Robert White at an unidentified venue.
Photographs house images of Robert White; his studio; and snapshots of family and friends, many unidentified. Also included are photographs and slides of artwork.
Arrangement:
The collection is arranged into ten series:
Series 1: Biographical Material, 1939-2002 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1923-2002 (Boxes 1-4; 3.8 linear feet)
Series 3: Project Files, 1952-2003 (Boxes 4-5, OV 10; 1.2 linear feet)
Series 4: Personal Business Records, 1889, 1946-2003 (Boxes 5-6, OV 10; 1.3 linear feet)
Series 5: Notes and Writings, 1915, circa 1946-2002 (Boxes 6-7; 0.6 linear feet)
Series 6: Sketchbooks and Sketches, circa 1965-1972 (Boxes 7, 9; 0.3 linear feet
Series 7: Printed Material, 1937-2003 (Boxes 7, 9; 0.5 linear feet)
Series 8: Audiovisual Material, 1973 (ER01; 0.846 GB)
Series 9: Artifacts, circa 1965 (Box 7; 0.1 linear feet)
Series 10: Photographs, circa 1940s-2001 (Box 8; 0.5 linear feet)
Biographical Note:
Robert Winthrop White (1921-2002) lived and worked in St. James, New York and was primarily known as a sculptor and educator.
He was the son of the architect, Lawrence Grant White (1887-1956) and Bessie Chanler White. Stanford White (1853-1906), Robert's grandfather, was one of the founding partners in the prominent New York City architectural firm, McKim, White, and Mead.
As a youth, Robert White traveled to Munich, Germany to study woodcarving, sculpture, and painting. In 1935, he entered Portsmouth Priory School in Rhode Island. From 1938-1942, he was enrolled in the Rhode Island School of Design, where his mentors were Walter Raemisch in sculpture and John Howard Benson in calligraphy. In World War II, White served as chief boatswain's mate in the United States Coast Guard and later worked in the Office of Strategic Services (OSS). At the end of the war, White continued his training in sculpture and painting. In 1947, Robert White married Clare Nicolas, daughter of the painter and stained glass master, Joep Nicolas and the sculptor, Suzanne Nicolas.
Robert White, influenced by the classical techniques of the Renaissance artists, worked in various media, such as bronze, stone, plaster, terra-cotta, and wood. His subjects included portrait, figure, and life studies; animals; and dancers. Robert White also was an illustrator. He illustrated works by Laura Spencer Pope, William Styron, and others. White also illustrated two collections of his own poems, Casques and Dust and Palace: The Story of A Friendship that were privately published before his death in 2002.
Robert White held teaching positions at several universities and schools, including the Suffolk Museum of Art, the Parsons School of Design, and the Skowhegan School of Painting and Sculpture. From 1967-1987, White was an associate professor at the State University of New York at Stony Brook.
White exhibited his work in museums and galleries in the United States and abroad, including Artists Choice Museum, Artist's Gallery, Benson Gallery, Boston Athenaeum, Gallery North, Hartwick College Museum, Nassau County Museum of Fine Art, Patricia Fleischmann Gallery, Rijksakademie Van Beeldende, State University of New York at Stony Brook, and the Suffolk Museum and Carriage House, among others. Robert White was represented by the Davis Gallery, Graham Gallery, and Graham Modern in New York City.
Robert White's private and public commissions included works for the American Battle Monuments Commission, Amyas Ames, Theodore Cremer, John Marquand, Peabody Museum, State University of New York, William Styron, and Xerox Corporation. His work can be viewed in the collections of the Boston Athenaeum, Brooklyn Museum, Civici Musei 3 Gallerie di Storia e Arte, Heckscher Museum, and the Rhode Island School of Design. Robert White was the recipient of the Laurel Gallery's "New Talent" exhibition prize, 1948; American Academy's Rome Prize, 1952-1954; and the Proctor Memorial Prize at the National Academy of Design, 1962, 1982. He was also awarded grants from the Tiffany Foundation, 1950 and the Fairfield Foundation, 1968. From 1952-1955, White was a fellow of the American Academy in Rome, where he also served as an artist-in-residence from 1969-1970. Robert White was a member of the American Academy in Rome, the Augustus Saint Gaudens Memorial, Century Association, and the National Academy of Design.
Robert White continued to work on the family estate in St. James, New York until his death in 2002.
Provenance:
The Robert W. White Papers were donated in 2003 by Claire Nicolas White, widow of Robert White.
Restrictions:
Use of the original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Authorization to quote, publish or reproduce requires written permission from: Claire Nicolas White, 574 Moriches Road, St. James, New York 11780.
Topic:
Educators -- New York (State) -- New York Search this
Yevtushenko, Yevgeny Aleksandrovich, 1933- Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Student drawings
Photographs
Scrapbooks
Drawings
Date:
1923-1999
Summary:
The papers of New York social realist painter and printmaker Jack Levine date from 1923-1999, and measure 3.2 linear feet. Levine's career is documented through biographical material, scattered letters, notes and a speech, writings, student drawings, three scrapbooks, printed material and nearly one linear foot of photographs of Levine, his family, and his colleagues.
Scope and Contents:
The papers of New York social realist painter and printmaker Jack Levine date from 1923-1999, and measure 3.2 linear feet. Levine's career is documented through biographical material, scattered letters, notes and a speech, writings, student drawings, three scrapbooks, printed material and nearly one linear foot of photographs of Levine, his family, and his colleagues.
Notes and writings are primarily typescripts about Jack Levine written by others. There is also a transcript of one speech, "Jack Levine Speaks Regarding the Donation of 108 of his Drawings to the Archives" delivered by Levine at the Fogg Art Museum.
Artwork consists entirely of Levine's student drawings including anatomical studies, neighborhood genre scenes, copies of Old Masters, and a series of images of symphony musicians. Some of the drawings display themes that are reflected in his later paintings.
Three scrapbooks contain clippings that document Levine's career and reflect his political interests. Additional printed material consists of a comprehensive collection of clippings and exhibition announcements and catalogs. There is also an announcement for a lecture by Levine, press releases, calendars of events, reproductions of artwork, programs, brochures including one for Facing East, a portfolio of Levine's prints, and three books.
Photographs include numerous photographs of Levine throughout his artistic career, including images of his wife, painter Ruth Gikow, their daughter Susanna, and colleagues including Hyman Bloom, Leonard Bocour, Alexander Dobkin, Joachim Probst, and Russian poet Yevgeny Yevtushenko. Especially notable is a series of photographs of Levine printmaking with Emiliano Sorini and Ruth Gikow.
There are photographs of Levine serving on art juries and panels with Eleanor Coen, Joseph Hirsch, Gabor Peterdi, Studs Terkel, and Max Weber, and attending events with Lawrence Fleischman, Betty Friedan, Edith Halpert, Mauricio Lasansky, Gypsy Rose Lee, Pope Paul VI, and Raphael Soyer. A small album contains photographs of Levine and various buildings in Boston. There are also photographs of miscellaneous exhibition installations including Levine's retrospective at the Jewish Museum, and of artwork by Levine and others.
Group photographs of the members of the American Academy of Arts and Letters are found here, and include Will Barnet, Paul Cadmus, Chuck Close, David Levine, George Tooker, and John Updike. Additional group photographs of the members that were originally enclosed with letters are found in the correspondence series.
Arrangement:
The collection is arranged as 7 series:
Series 1: Biographical Material, 1953-1955 (Box 1; 1 folder)
Series 2: Letters, 1946-1996 (Boxes 1, 5; 12 folders)
Series 3: Notes and Writings, 1961-1974 (Box 1; 6 folders)
Series 4: Artwork, 1923-1931 (Boxes 1, 5, OV 6; 11 folders)
Series 5: Scrapbooks, 1936-1962 (Boxes 1, 5; 16 folders)
Series 6: Printed Material, 1938-1999 (Boxes 1-3, 5, OV 6; 1.9 linear feet)
Series 7: Photographs, 1940-1998 (Boxes 3-5, OV 6; 52 folders)
Biographical / Historical:
Jack Levine (1915-2010) was born in Boston, Massachusetts and worked as painter and printmaker primarily in New York City. Levine was one of the leading painters and advocates of the Social Realism School of the late 1930s.
Jack Levine was the youngest of the eight children of Lithuanian Jewish parents, Mary Grinker and Samuel Levine. After the family moved from the South End of Boston to Roxbury in 1923, Levine began to study drawing under Harold Zimmerman at the School of the Boston Museum of Fine Arts. By 1929, Levine was studying painting under Denman Ross of the Fogg Art Museum.
From 1935-1940, Levine received U.S. government support from the federal Works Progress Administration. His first exhibition of paintings in New York City was at the Museum of Modern Art. In 1937, he painted The Feast of Pure Reason, a satire of Boston political power. Together with Ben Shahn, Levine became a leading exponent of the Social Realism School of the late 1930s. His first one-man show was held at the Downtown Gallery in New York City in 1938.
After serving in the U.S. Army during World War II, Levine was awarded a Guggenheim Fellowship in 1945, and a grant from the American Academy of Arts and Letters the following year. Also in 1946, Levine married painter Ruth Gikow and moved to New York City. Between 1950 and 1951, he was a Fulbright Fellow working in Rome where he was inspired by Old Master paintings. In the 1960s Levine's interest in printmaking intensified and he was instructed in creating intaglio prints by Emiliano Sorini, and was introduced to Abe Lublin who was associated with the New York Graphic Society.
Levine taught at the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts, the American Art School in New York, and the Skowhegan School of Painting and Sculpture. His work is in the collections of the Metropolitan Museum, the Museum of Modern Art, the Whitney Museum of American Art, Boston Museum of Fine Arts, and the Fogg Art Museum. He was a member of the American Academy of Arts and Letters from 1956 on.
The D.C. Moore Gallery in New York City currently represents the Estate of Jack Levine.
Provenance:
Jack Levine donated his papers to the Archives in 1962, 1978, and 1999.
Restrictions:
Use of original papers requires an appointment and limited to the Washington, D.C. Reference Center.
Rights:
The Jack Levine papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.
Scope and Contents:
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, 5 scrapbooks, and photographs.
Biographical materials include educational records, documentation of Friedman's World War II service in the U.S. Navy, and birth, marriage, and death certificates.
Correspondence is with friends, family, artists, art world figures and institutions, writers, publishers, and literary agents. Among the correspondents are: John I. H. Baur, Harry Bertoia, Flora Biddle, Norman Bluhm, James Brooks, Fritz Bultman, Leo Castelli, William N. Copley, Jim Dine, Helen Frankenthaler, Brendan Gill, Robert Goodnough, Cleve and Francine Gray, Howard Kanovitz, Grace Knowlton, Stanley Kunitz, Conrad Marca-Relli, Mercedes Matter, Fred W. McDarrah, Rory McEwen, Robert Motherwell, Arnold Newman, Barnett Newman, Dorothy Norman, Alfonso Ossorio, Provincetown Fine Arts Work Center, Robert Richenburg, Barney Rosset, Philip Roth, Judith Rothschild, Irving Sandler, Salvatore Scarpitta, Jon Schueler, Sidney Simon, David Slivka, Clyfford Still, Myron Stout, Calvin Tompkins, and David Windham.
There are transcripts of interviews with B. H. Friedman, his daughter and wife conducted by the Yale University School of Medicine's "Adult Development Study," and 2 recordings of interviews with Friedman for radio broadcast.
Writings by Friedman include manuscripts of novels, short stories, plays, articles, monographs, and art criticism, some published versions of his work, and a variety of notes. Also found are recordings of lectures by B. H. Friedman and panel discussions in which he participated. Other authors represented are John Cage, W. B. Henry, and Jon Schueler. Friedman's diaries, 1948-1993 (41 volumes) record activities, thoughts, and events.
Subject files compiled by Friedman reflect professional and personal interests, activities, and projects. Many concern publicity for published writings or efforts to find publishers. Especially well documented is his interest in Jackson Pollock, Timothy Leary, and Alfonso Ossorio, and his affiliation with the Whitney Museum of American Art.
The majority of printed material is about or mentions Friedman. Five scrapbooks consist mainly of printed material.
Most photographs are of B. H. and Abby Friedman, their family, and friends. Among the individuals pictured are: Elise Asher, Cary and Norman Bluhm, Sandy Friedman, Joellen Hall, Doug Huebler, Howard Kanowitz, Stanley Kunitz, Lee Krasner, Sheridan Lloyd, Barnett and Annalee Newman, Alfonso Ossorio, Magda Salvesen, Salvatore Scarpitta, John Schueler, and Myron Stout. A photograph album records scenes from a 1979 performance of Whispers, a stage adaptation by Alan Wynroth from Friedman's novel of the same title.
Arrangement:
This collection is arranged as 9 series:
Series 1: Biographical Materials, 1926-2011 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1946-2011 (Boxes 1-15; 14.7 linear feet)
Series 3: Interviews, 1969-2001 (Box 15; 0.2 linear feet)
Series 4: Writings, 1940s-2010 (Boxes 16-23; 8 linear feet)
Series 5: Diaries, 1948-1993 (Boxes 24-25; 1.75 linear feet)
Series 6: Subject Files, 1940-2010 (Boxes 25-30; 4.45 linear feet)
Series 7: Printed Material, 1954-2010 (Box 30-31; 0.2 linear feet)
Series 8: Scrapbooks, 1960-2006 (Boxes 30-32; 0.8 lilnear feet)
Series 9: Photographs, circa 1950s-2008 (Box 30; 0.4 linear feet)
Biographical / Historical:
Bernard Harper Friedman (1926-2011), a writer best known as the author of the first biography of Jackson Pollock, was also an art critic and art collector involved in the cultural life of New York City.
Bernard Harper Friedman, known professionally as B. H. Friedman, was called Bob by family and friends. After interrupting his studies at Cornell University to serve in the U.S. Navy during World War II, he graduated in 1948 with a degree in English. Friedman and his new bride, fellow student Abby G. Noselson (1926-2003), returned home to New York City and he began a real estate career in his uncles' firm, Uris Buildings Corporation. While a businessman, Friedman spent much of his spare time writing. He produced fiction, plays, and criticism; Friedman's articles on art, literature and music appeared in a wide variety of periodicals. During this period, Friedman also pursued his interests in jazz, collecting abstract art, and psychedelic drug experiences with Timothy Leary.
His first published novel, Circles, about the Abstract Expressionist milieu, appeared in 1962. A year later, B. H. Friedman became a full-time writer. For nearly 20 years, he divided his time between New York City and Provincetown, Massachusetts, where he was affiliated with the Fine Arts Work Center as a director and consultant. During this period, he published several novels and two biographies: Jackson Pollock: Energy Made Visible and Gertrude Vanderbilt Whitney, written with Flora Biddle. More novels and short story collections were published, and staged readings of seven plays were presented between 1987 and 2007. Tripping, a memoir of using psychedlics with Timothy Leary, appeared in 2006.
A founding member of Fiction Collective, a nonprofit publishing group run by and for writers, Friedman was also a member of several national writers' organizations. He served as a trustee of the Whitney Musuem of American Art, 1961-1968, and then as honorary trustee. B. H. Friedman died from complications of pneumonia on January 4, 2011 in New York City.
Related Materials:
Also available is an oral history interview with Bernard Harper Friedman, 1972 November 10, conducted by Paul Cummings for the Archives of American Art.
Provenance:
The Bernard Harper Friedman papers were donated to the Archives of American Art in 2012 by his daughter, Daisy Friedman.
Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Bernard Harper Friedman papers are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Access requires written permission.
Occupation:
Art critics -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
The records of the Long Point Gallery measure 7.1 linear feet and date from 1959 to 1999, bulk 1976 to 1998. The collection documents the history of the gallery through administrative records, guest books, correspondence, exhibition files, artists' files, financial records, printed material, and photographic materials.
Scope and Contents:
The records of the Long Point Gallery measure 7.1 linear feet and date from 1959 to 1999, bulk 1976 to 1998. The collection documents the history of the gallery through administrative records, guest books, correspondence, exhibition files, artists' files, financial records, printed material, and photographic materials.
Administrative records consist of legal documents, contracts, mailing lists, price lists, membership files, correspondence, meeting minutes, gallery history, projects files, and one videocassette of the Long Point Gallery dinner filmed by Renate Ponsold Motherwell in 1993. Guest books document the signatures and salutations of attendees at gallery exhibitions. Correspondence is with artists, organizations, and gallery customers. Exhibition files contain correspondence, press releases, articles, and exhibition announcements. Artists' files consist of news clippings, exhibition records, price lists, and correspondence. Financial records contain bills, receipts, deposits, financial reports, gallery sales, and records for the transport of artwork. Printed material includes news clippings, exhibition announcements and catalogs, press releases, obituaries, publications, souvenirs, and posters signed by the artists. Photographic materials include slides and printed photographs of artwork, artists, exhibitions, parties, and candid moments. Overall the collection documents the activities of artist members, including Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Edward Giobbi, Budd Hopkins, Rick Klauber, Leo Manso, Robert Motherwell, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, Tony Vevers, Robert Beauchamp, Paul Bowen, Gilbert Franklin, Dimitri Hadzi, Renate Ponsold, and Michael Mazur.
Arrangement:
This collection is arranged as 8 series.
Series 1: Administrative Records, 1976-1999 (1.5 linear ft.; Box 1-2)
Series 2: Guest Books, 1986-1998 (7 folders; Box 2)
Series 3: Correspondence, 1979-1998 (0.8 linear ft.; Box 2-3)
Series 4: Exhibition Files, 1959-1998, bulk 1972-1998 (0.6 linear ft.; Box 3-4)
Series 5: Artists' Files, 1963-1997 (0.8 linear ft.; Box 4)
Series 6: Financial Records, 1976-1998 (0.8 linear ft.; Box 5)
Series 7: Printed Material, 1972-1998 (0.8 linear ft.; Box 5-6, OV 8)
Series 8: Photographic Materials, 1972-1998 (1.5 linear ft.; Box 6-7)
Biographical / Historical:
Long Point Gallery (est. 1977, closed 1998) was a cooperative art gallery in Provincetown, Massachusetts. The gallery operated in the American Legion building during the summer seasons as an artist cooperative. Members contributed financially, as well as artistically, enabling the promotion and preparation of exhibitions throughout the summer. The founding members were Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Edward Giobbi, Budd Hopkins, Rick Klauber, Leo Manso, Robert Motherwell, Paul Resika, Judith Rothschild, Sidney Simon, Nora Speyer, and Tony Vevers. Later in the gallery's history Robert Beauchamp, Paul Bowen, Gilbert Franklin, Dimitri Hadzi, Renate Ponsold, and Michael Mazur also became members. Some notable friends of the gallery were Nassos Daphnis, Jack Tworkov, and Myron Stout. The gallery's first director was Rick Librizzi.
The Long Point Gallery gained a reputation for showing progressive, expressionist and abstract paintings and sculptures that veered away from the traditional tourist scenes of Cape Cod. During the 1980's, Provincetown was becoming a popular tourist destination, which caused real estate values to climb. Fortunately, members of the cooperative were able to afford the rising costs and remain in Provincetown allowing the gallery to become a fixture within the community. The gallery often held dual exhibits featuring two artists who presented their artwork individually. Other exhibitions include "Homeric Themes" (1987), "Myth & Ritual" (1989), "From the Studio Wall" (1990), "A Long Point Portfolio" (1991), "Keyworks" (1991), "Those Lovely Golden Thighs" (1991), and "A Story to Tell" (1996). Members also represented the Long Point Gallery in exhibitions at the Fine Arts Work Center (FAWC), the Cape Museum of Fine Arts (CMFA), the Archives of American Art, and exhibitions in Europe. For over 20 years, the Long Point Gallery was the site of art exhibitions, poetry readings, musical performances, and parties until its closing in 1998.
In 1998, the American Legion building was sold at a price that was too high for the gallery to continue in the same location. The advanced ages and deaths of a few members prior to the sale of the building contributed to the members' decision to dissolve the gallery, which was under the direction of Rosalind Pace at the time of closing.
Provenance:
Donated in 1999 and 2013 by the Long Point Gallery via Rosalind Pace, former Director.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Long Point Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Artists -- Massachusetts -- Provincetown Search this
