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Esta Nesbitt papers

Topic:
Everyman (motion picture)
Creator:
Nesbitt, Esta  Search this
Names:
Parsons School of Design -- Faculty  Search this
Whitney Museum of American Art  Search this
Xerox Corporation  Search this
Ambert, Anibal  Search this
Beckett, Samuel, 1906-1989  Search this
Einstein, Albert, 1879-1955  Search this
English, Merle  Search this
Ginsberg, Allen, 1926-  Search this
Leder, Alan J.  Search this
Lyle, David  Search this
Wood, R. F.  Search this
Extent:
10.05 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Date:
circa 1942-1981
bulk 1964-1975
Summary:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
Restrictions:
Use of original papers requires an appointment. 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:
Educators -- New York (State) -- New York  Search this
Topic:
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Women filmmakers  Search this
Women illustrators  Search this
Women educators  Search this
Genre/Form:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Citation:
Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesbesta
See more items in:
Esta Nesbitt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c57916c9-f891-4116-a32d-d1f4e83c624f
EDAN-URL:
ead_collection:sova-aaa-nesbesta
Online Media:

Oral history interview with Ida Kohlmeyer

Interviewee:
Kohlmeyer, Ida, 1912-1997  Search this
Interviewer:
Berman, Avis  Search this
Names:
Glade, Luba B.  Search this
Hofmann, Hans, 1880-1966  Search this
Rothko, Mark, 1903-1970  Search this
Still, Clyfford, 1904-1980  Search this
Sweeney, James Johnson, 1900-  Search this
Trivigno, Pat, 1922-  Search this
White , Ruth  Search this
Extent:
177 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 May 17-20
Scope and Contents:
An interview of Ida Kohlmeyer conducted 1989 May 17-20, by Avis Berman, for the Archives of American Art.
Kohlmeyer discusses how she became an artist, her training, her marriage, the New Orleans art scene, her teaching and students, her work in sculpture, and the "Clusters and Circus" series. She recalls Pat Trivigno, Mark Rothko, Hans Hofmann, Clyfford Still, James Johnson Sweeney, Luba Glade, and Ruth White.
Biographical / Historical:
Ida Kohlmeyer (1912-1997) was a painter from New Orleans, La.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 6 hr.
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. Funding for this interview provided by the Lannan Foundation.
Restrictions:
For information on how to access this interview contact Reference Services.
Occupation:
Painters -- Louisiana -- New Orleans  Search this
Educators -- Louisiana -- New Orleans  Search this
Sculptors -- Louisiana -- New Orleans  Search this
Topic:
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kohlme89
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw997d588d5-2290-41c3-b7da-8e0f728e1576
EDAN-URL:
ead_collection:sova-aaa-kohlme89
Online Media:

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-1984  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.
Arrangement:
The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-57; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)
Biographical Note:
Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
Restrictions:
Use of original papers requires an appointment. 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:
Sculptors -- New York (State) -- New York  Search this
Set designers -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Topic:
Architects -- New York (State) -- New York  Search this
Exhibition designers  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Women performance artists  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Ada Rasario Cecere papers

Creator:
Cecere, Ada Rasario, 1894 or 1898-1971  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1938-1972
Summary:
The scattered papers of painter and muralist Ada Cecere measure 0.2 linear feet and date from 1938 to 1972. Found are letters from artists, galleries, institutions, and museums, and photographs of Cecere's works of art.
Scope and Contents:
The scattered papers of painter and muralist Ada Cecere measure 0.2 linear feet and date from 1938 to 1972. Found are letters from artists, galleries, institutions, and museums, and photographs of Cecere's works of art.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Ada Rasario Cecere (1898-1983) was a painter, muralist, and designer active in New York City, New York, and Rome, Italy. Ada Rasario was born in New York and studied art in Paris and Rome. She married Gaetano Cecere, a Roman sculptor and together they settled in Manhattan. She was president of the Pen and Brush Society. Cecere died in New York in 1983.
Provenance:
Ada Cecere donated her papers to the Archives of American Art in 1972.
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:
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Mural painting and decoration  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women muralists  Search this
Citation:
Ada Rasario Cecere papers, 1938-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ceceada
See more items in:
Ada Rasario Cecere papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f1903057-4920-40d2-8013-ea68c4608d83
EDAN-URL:
ead_collection:sova-aaa-ceceada

Oral history interview with Jennifer Bartlett

Interviewee:
Bartlett, Jennifer, 1941-  Search this
Interviewer:
Berman, Avis  Search this
Names:
Mills College -- Students  Search this
Yale University. School of Fine Arts -- Students  Search this
Murray, Elizabeth, 1940-  Search this
Serra, Richard, 1938-  Search this
Tworkov, Jack  Search this
Extent:
4 Cassettes (Sound recording: (5 hrs. 20 min.), analog.)
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1987 June 18-September 28
Scope and Contents:
An interview of Jennifer Bartlett conducted 1987 June 18-September 28, by Avis Berman, for the Archives of American Art.
Bartlett discusses her family background and the dynamics within the family; her childhood interest in art; growing up in suburban Long Beach, California; attending Mills College and Yale School of Fine Arts; and her teachers and co-students there. She remembers in particular Elizabeth Murray, Jack Tworkov, and Richard Serra. She speaks about themes and intentions in her work, especially "Rhapsody" and various commissions including works created for ISI, Saatchi, Volvo, and Battery Park. Bartlett speaks about her writings "Cleopatra" and "History of the Universe" and their relationship to her painting. She concludes the interview with philosophical musings about art and taste.
Biographical / Historical:
Jennifer Bartlett (1941-2022) was a painter, writer, and art instructor in New York, New York.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 15 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Conceptual artists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bartle87
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90758e593-0844-45c5-bbbc-c8bd16d2bc9b
EDAN-URL:
ead_collection:sova-aaa-bartle87
Online Media:

Oral history interview with Amalia Mesa-Bains

Interviewee:
Mesa-Bains, Amalia  Search this
Interviewer:
Zavala, Adriana, 1964-  Search this
Extent:
9 Items (sound files (5 hrs., 6 min.) Audio, digital, wav)
101 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2019 Nov. 3 and 4
Scope and Contents:
An interview with Amalia Mesa-Bains conducted 2019 Nov. 3 and 4, by Adriana Zavala, for the Archives of American Art, at Mesa-Bains's studio in San Juan Bautista, Calif.
Biographical / Historical:
Interviewee Amalia Mesa-Bains (1943- ) is is a visual artist and educator in San Jan Bautista, Calif. Interviewer Adriana Zavala (1964- ) is is an Associate Professor in the Department of History of Art and Architecture at Tufts University in Medford, Massachusetts.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Installation artists -- California -- San Juan Bautista  Search this
Topic:
Latino and Latin American artists  Search this
Chicano artists  Search this
Women educators  Search this
Political activists  Search this
Women artists  Search this
Installations (Art)  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mesa19
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f0bdf0b5-7b78-47bc-b1a9-738d6d2625fa
EDAN-URL:
ead_collection:sova-aaa-mesa19
Online Media:

Doris Rosenthal papers, 1932-circa 1971

Creator:
Rosenthal, Doris Patty, 1889-1971  Search this
Citation:
Doris Rosenthal papers, 1932-circa 1971. Archives of American Art, Smithsonian Institution.
Topic:
Women painters  Search this
Women artists  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8382
(DSI-AAA_SIRISBib)210556
AAA_collcode_rosedori
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210556

Joan Combs Rudman papers, 1969-1997

Creator:
Rudman, Joan Combs  Search this
Citation:
Joan Combs Rudman papers, 1969-1997. Archives of American Art, Smithsonian Institution.
Topic:
Watercolorists -- United States -- Sources  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6274
(DSI-AAA_SIRISBib)216619
AAA_collcode_rudmjoan
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216619

Nation of Islam Sister Clara Muhammad School uniform worn by Medina Rowell

Created by:
Unidentified  Search this
Issued by:
Sister Clara Muhammad Schools, renamed 1975  Search this
Worn by:
Medina Rowell, American  Search this
Subject of:
Nation of Islam, American, founded 1930  Search this
Medium:
synthetic fiber and plastic button
Dimensions:
H x W x D (.1-.2 on form): 33 × 14 × 14 1/2 in. (83.8 × 35.6 × 36.8 cm)
H x W x D (.1 Jumper on form): 32 3/4 × 9 × 14 1/2 in. (83.2 × 22.9 × 36.8 cm)
H x W (.1 Jumper flat): 32 1/4 × 13 3/4 in. (81.9 × 34.9 cm)
H x W x D (.2 Shirt on form): 20 1/4 × 14 × 6 in. (51.4 × 35.6 × 15.2 cm)
H x W (Shirt flat): 20 5/8 × 12 1/4 in. (52.4 × 31.1 cm)
Type:
blouses
jumpers (dresses)
Place used:
Chicago, Cook County, Illinois, United States, North and Central America
Date:
1978-1979
Topic:
African American  Search this
Clothing and dress  Search this
Education  Search this
Nation of Islam  Search this
Religion  Search this
Urban life  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Jamilah Sahib
Object number:
2013.224.7.1-.2
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Clothing-Historical
Exhibition:
Making a Way Out of No Way
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5cf906888-dd4f-4aff-b956-473de7ae0c4c
EDAN-URL:
edanmdm:nmaahc_2013.224.7.1-.2
Online Media:

Nation of Islam Sister Clara Muhammad School uniform beret worn by Medina Rowell

Created by:
Unidentified  Search this
Issued by:
Sister Clara Muhammad Schools, renamed 1975  Search this
Worn by:
Medina Rowell, American  Search this
Subject of:
Nation of Islam, American, founded 1930  Search this
Medium:
polyester
Dimensions:
H x W x D (On form): 9 1/2 × 11 × 6 1/2 in. (24.1 × 27.9 × 16.5 cm)
H x W (Flat): 12 × 11 3/4 in. (30.5 × 29.8 cm)
Type:
berets
Place used:
Chicago, Cook County, Illinois, United States, North and Central America
Date:
1978-1979
Topic:
African American  Search this
Clothing and dress  Search this
Education  Search this
Nation of Islam  Search this
Religion  Search this
Urban life  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Jamilah Sahib
Object number:
2013.224.8
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Clothing-Historical
Exhibition:
Making a Way Out of No Way
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5c32e4de4-2e87-48f2-a2e8-4310fe7643a5
EDAN-URL:
edanmdm:nmaahc_2013.224.8

Doris Rosenthal papers

Creator:
Rosenthal, Doris Patty, 1889-1971  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1932-circa 1971
Summary:
The scattered papers of painter Doris Rosenthal measure 0.2 linear feet and date from 1932 to circa 1971. Found are writings by Rosenthal on Mexico, an inventory of works of art, photographs, and printed material.
Scope and Contents:
The scattered papers of painter Doris Rosenthal measure 0.2 linear feet and date from 1932 to circa 1971. Found are writings by Rosenthal on Mexico and Latin America, an inventory of works of art, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Doris Patty Rosenthal (1889-1971) was a painter, lithographer, designer, and educator who traveled frequently throughout Mexico and painted scenes of Mexican life and culture.

Rosenthal earned a degree in teaching from Los Angeles State Teachers College in 1910, and Teachers College of Columbia University in 1913. She taught painting and drawing in Columbia University's Teachers College from 1924 to 1931, and then taught at James Monroe High School in the Bronx.

Rosenthal moved permanently to Mexico in 1957, and died in the city of Oaxaca in 1971
Related Materials:
Additional papers of Doris Patty Rosenthal are held at Syracuse University.
Provenance:
The donor, Mary Gruskin, was the director of Midtown Galleries, Inc., which represented Rosenthal.
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
Educators -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Painters -- Mexico  Search this
Topic:
Women painters  Search this
Women artists  Search this
Women educators  Search this
Citation:
Doris Rosenthal papers, 1932-circa 1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosedori
See more items in:
Doris Rosenthal papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b85f6ff6-58eb-4df5-896b-9fb2bdc8fa8c
EDAN-URL:
ead_collection:sova-aaa-rosedori

Joan Combs Rudman papers

Creator:
Rudman, Joan Combs  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1969-1997
Summary:
The papers of watercolorist and educator Joan Combs Rudman measure 0.2 linear feet and date from 1969 to 1997. Found are materials relating to Rudman's incomplete book project on twenty contemporary American women watercolorists.
Scope and Contents:
The papers of watercolorist and educator Joan Combs Rudman measure 0.2 linear feet and date from 1969 to 1997. Found are materials relating to Rudman's incomplete book project on twenty contemporary American women watercolorists.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Joan Combs Rudman (1927- ) is a watercolorist and educator in Stamford, Connecticut. Rudman worked on a book project discussing twenty American women watercolorists.
Provenance:
Donated 1999 by Joan Combs Rudman.
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:
Watercolorists -- Connecticut -- Stamford  Search this
Educators -- Connecticut -- Stamford  Search this
Painters -- Connecticut -- Stamford  Search this
Topic:
Watercolorists -- United States -- Sources  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Citation:
Joan Combs Rudman papers, 1969-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rudmjoan
See more items in:
Joan Combs Rudman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9273c5fe8-b473-47f3-b920-bb1826c9a64f
EDAN-URL:
ead_collection:sova-aaa-rudmjoan

Adelaide Alsop Robineau papers, 1977, 1904-1929

Creator:
Robineau, Adelaide Alsop, 1865?-1929  Search this
Citation:
Adelaide Alsop Robineau papers, 1977, 1904-1929. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women ceramicists  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8339
(DSI-AAA_SIRISBib)210511
AAA_collcode_robiadel
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210511

Marilyn Quint-Rose papers, 1978-1998

Creator:
Quint-Rose, Marilyn  Search this
Citation:
Marilyn Quint-Rose papers, 1978-1998. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women sculptors  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6239
(DSI-AAA_SIRISBib)216551
AAA_collcode_quinmari
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216551

Marilyn Quint-Rose papers

Creator:
Quint-Rose, Marilyn  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1978-1998
Summary:
The scattered papers of sculptor and educator Marilyn Quint-Rose measure 0.2 linear feet and date from 1978 to 1998. Found are biographical materials, correspondence, and printed material.
Scope and Contents:
The scattered papers of sculptor and educator Marilyn Quint-Rose measure 0.2 linear feet and date from 1978 to 198. Found are biographical materials, correspondence, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Marylin Quint-Rose (1927-2022) was a sculptor and educator in New England. She studied at the Museum of Fine Arts, Boston, and settled in Worcester, Massachusetts. Later, Quint-Rose taught at the University of New England in Maine for sixteen years. She conducted art seminars and classes for both children and adults.
Provenance:
Donated 1999 by Marilyn Quint-Rose.
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:
Sculptors -- Massachusetts -- Worcester  Search this
Educators -- Maine  Search this
Sculptors -- Maine  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Women educators  Search this
Citation:
Marilyn Quint-Rose papers, 1978-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.quinmari
See more items in:
Marilyn Quint-Rose papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw992a7ba16-0acc-4f55-8380-dc75c488685e
EDAN-URL:
ead_collection:sova-aaa-quinmari

Adelaide Alsop Robineau papers

Creator:
Robineau, Adelaide Alsop, 1865?-1929  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1904-1929
1977
Summary:
The scattered papers of potter Adelaide Alsop Robineau measure 0.2 linear feet and date from 1904 to 1929, and 1977. Found is a mixed-media scrapbook containing correspondence, exhibition records, printed material, and writings and a magazine.
Scope and Contents:
The scattered papers of potter Adelaide Alsop Robineau measure 0.2 linear feet and date from 1904 to 1929, and 1977. Found is a mixed-media scrapbook containing correspondence, exhibition records, printed material, and writings and a magazine.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Adelaide Alsop Robineau (1865-1929) was a ceramicist and educator in Syracuse, New York. She studied ceramics at Alfred University and had a longtime career teaching at Syracuse University. Robineau is known for her Scarab Vase.
Provenance:
Donated 1973 by Elizabeth Lineaweaver, daughter of Adelaide Robineau.
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:
Educators -- New York (State) -- Syracuse  Search this
Ceramicists -- New York (State) -- Syracuse  Search this
Topic:
Women artists  Search this
Women ceramicists  Search this
Women educators  Search this
Citation:
Adelaide Alsop Robineau papers, 1904-1929, 1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robiadel
See more items in:
Adelaide Alsop Robineau papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw927a114c5-f04b-4a98-9c97-0a8af480a3b6
EDAN-URL:
ead_collection:sova-aaa-robiadel

Sylvia Lark papers, 1971- 1999, undated

Creator:
Lark, Sylvia, 1947-1990  Search this
Citation:
Sylvia Lark papers, 1971- 1999, undated. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6197
(DSI-AAA_SIRISBib)216467
AAA_collcode_larksylv
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216467

Sylvia Lark papers, 1971- 1999

Creator:
Lark, Sylvia, 1947-1990  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
undated
Scope and Contents:
Exhibition records, 1975- 1999; resumes; inventories; reviews; letters about Lark; research grants; College Art Association Outstanding Teacher Nominations; tenure information.
Biographical / Historical:
Professor, painter, printmaker; California.
Provenance:
Donated 1998 by Christine Carter.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Occupation:
Educators -- California  Search this
Painters -- California  Search this
Printmakers -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Identifier:
AAA.larksylv
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9957aa453-c0f7-4dd1-ad6b-0a2f02464fba
EDAN-URL:
ead_collection:sova-aaa-larksylv

Patricia Hills papers, circa 1900-2022

Creator:
Hills, Patricia, 1936-  Search this
Subject:
Lawrence, Jacob  Search this
Neel, Alice  Search this
Sargent, John Singer  Search this
Stevens, May  Search this
Women's Caucus for Art  Search this
Citation:
Patricia Hills papers, circa 1900-2022. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
Art, American -- 19th century  Search this
Art -- Political aspects  Search this
Women artists  Search this
Women educators  Search this
Women art historians  Search this
Women museum curators  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)17590
(DSI-AAA_SIRISBib)396402
AAA_collcode_hillspat
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_396402

Florence Arquin papers

Creator:
Arquin, Florence  Search this
Names:
Art Institute of Chicago -- Faculty  Search this
Federal Art Project (Ill.)  Search this
United States. Department of State  Search this
Kahlo, Frida  Search this
Rebay, Hilla, 1890-1967  Search this
Rivera, Diego, 1886-1957  Search this
Williams, Samuel  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Sketches
Date:
1923-1985
Summary:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Scope and Contents:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.

Biographical materials include awards, biographical sketches and resumes, travel papers, identification cards, and ten address books.

The bulk of correspondence is comprised of letters written by Florence Arquin to her husband, Samuel Williams. These letters discuss her trips to Mexico in the 1940s, her role in the Kodachrome Slide Project, and her friendships with fellow artists Diego Rivera and Frida Kahlo, and others. Also found are copies of letters from Frida Kahlo and Diego Rivera to Florence Arquin.

Writings and notes include extensive research notes, notebooks, and notecards by Florence Arquin, primarly on Latin American art and culture. Also found is a draft of Arquin's work on Diego Rivera, Diego Rivera (1886-1957): The Shaping of an Artist (Early Period--1889-1921). Writings by others include a draft of a foreword by Diego Rivera, and writings by Jose de Souza Pedreira, and Hilla Rebay.

Teaching and project files include materials from Arquin's time teaching at the Art Institute of Chicago, her work with the the Federal Art Project at the Art Institute of Chicago and the Kodachrome Slide Project. Teaching files are scattered and include student papers, class outlines, and a lecture. The Federal Art Project at the Art Institute of Chicago files include a proposal and project reports. The Kodachrome Slide Project files include correspondence, receipts, reports, educational guides and materials, slide sequences, and printed material.

Printed material includes exhibition catalogs and announcements, clippings, booklets, travel guides, magazines, education journals, subject files on Diego Rivera and Frank Lloyd Wright, and blank postcards from Arquin's travels. There are extensive booklets and pamphlets published by the Pan American Union, and travel guides and educational guides for Latin America. Some printed material is in Spanish.

Photographs include portraits and snapshots of Florence Arquin, Diego Rivera, Frida Kahlo and others. Photos of Florence Arquin show her in her office, giving lectures, and at events with others. Photographs of works of art are by Frida Kahlo and Diego Rivera.

Artwork is scattered and includes a sketchbook by Florence Arquin with watercolor and pencil sketches and a print signed by de Diego.

There are four scrapbooks created by Florence Arquin. Scrapbooks may include photographs, writings, maps, and printed materials. Materials relate to the Federal Art Project at the Art Institute of Chicago, travel, and the Kodachrome Slide Project.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1939-1962 (0.4 linear feet; Box 1, 11)

Series 2: Correspondence, 1940-1985 (0.8 linear feet; Box 1-2)

Series 3: Writings and Notes, 1929-circa 1964 (2.0 linear feet; Box 2-4)

Series 4: Teaching and Project Files, 1930-1963 (1.4 linear feet; Box 4-5)

Series 5: Printed Material, 1923-1964 (1.8 linear feet; Box 5-7, 11)

Series 6: Photographs, 1929-circa 1960 (0.7 linear feet; Box 7, 11)

Series 7: Artwork, circa 1940-circa 1950 (2 folders; Box 7, 11)

Series 8: Scrapbooks, 1935-1956 (0.9 linear feet; Box 8-10)
Biographical / Historical:
Painter, photographer, educator, writer, and critic, Florence Arquin (1900-1974) was active in Chicago, Illinois. She was widely known for her expertise in the field of Latin American studies and had a close relationship with Frida Kahlo and Diego Rivera. From 1935 to 1939 she worked as administrator for the Federal Art Project in Illinois and joined the Art Institute of Chicago in 1939 to develop education programs aimed at secondary school students.

Florence Arquin was born in 1900 in New York City. She graduated from the Art Institute of Chicago where she studied art education. After, she undertook post graduate studies at the National University of Mexico. In the early 1940s Arquin traveled to Mexico to paint, where she developed friendships with Diego Rivera and Frida Kahlo. In 1943 a solo exhibition of her paintings at the Benjamin Franklin Library in Mexico City was highly praised by Rivera in the catalog introduction. Arquin's book Diego Rivera: The Shaping of an Artist, 1889-1921 about the artist's formative years, was published by the University of Oklahoma Press in 1971.

Arquin traveled extensively in South America, the United States, and Europe throughout her life. From 1945 to 1951 she traveled to Brazil, Bolivia, Peru, and Ecuador as Director of the Kodachrome Slide Project under the sponsorship of the Department of State. Arquin photographed aspects of life and culture and gave lectures at bi-national cultural institutions throughout those countries and in the United States. The project was part of an effort to provide educational agencies with visual aids in the field of Latin American studies.

Under another State Department grant, duplicates of Arquin's photographs were then made available for sale to institutions and individuals interested in the field of Latin American studies. The Metropolitan Museum of Art assumed responsibility for publicity, sale, and distribution of the slides from 1950 to 1955. Although few sales originated through the sales office of the Museum, Arquin managed to generate sales through her own efforts. In 1961 she applied for another grant to take control of the original slides and to add slides that she had taken on other visits to Latin America, Morocco, Spain, Portugal, and other European countries since then.

Florence Arquin died in 1974.
Provenance:
The collection was donated to the Archives of American Art by Samuel Williams, Arquin's husband, in 1991.
Restrictions:
The Florence Arquin 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.
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 -- Illinois -- Chicago  Search this
Photographers -- Illinois -- Chicago  Search this
Educators -- Illinois -- Chicago  Search this
Authors -- Illinois -- Chicago  Search this
Art critics -- Illinois -- Chicago  Search this
Topic:
Latino and Latin American artists  Search this
Art, Latin American  Search this
Women artists  Search this
Women painters  Search this
Women photographers  Search this
Women educators  Search this
Women art critics  Search this
Women authors  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Prints
Sketches
Citation:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arquflor
See more items in:
Florence Arquin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw909303b02-1de7-44ba-8947-07b0fc7969fa
EDAN-URL:
ead_collection:sova-aaa-arquflor
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