Search Results

Collection Creator:

Robert Schoelkopf Gallery  Search this

Container:

Box 29, Folder 8-9

Type:

Archival materials

Date:

undated

Collection Restrictions:

The collection is open for research. Use requires an appointment.

Collection 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.

Collection Citation:

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

See more items in:

Robert Schoelkopf Gallery records

Robert Schoelkopf Gallery records / Series 3: Group Exhibition Files / Altar Pieces of World War II (1975)

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8a271d9-9a47-4651-9407-1c9eb6d4af22

EDAN-URL:

ead_component:sova-aaa-robeschg-ref835

Creator:

Higgins, Michael, 1908-  Search this

Names:

American Craftsmen's Council  Search this

Institute of Design (Chicago, Ill.)  Search this

Midwest Designer-Craftsmen  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Date:

1949-1973

Summary:

The papers of Illinois glass artist Michael Higgins measure 1.2 linear feet and date from 1949 to 1973. The collection documents Higgins's role in founding and furthering craft organizations in the Midwest through correspondence, professional files, exhibition records, transcripts, organizational files for several craft organizations including Midwest Designer-Craftsmen, and printed materials.

Scope and Contents:

The papers of Illinois glass artist Michael Higgins measure 1.2 linear feet and date from 1949 to 1973. The collection documents Higgins's role in founding and furthering craft organizations in the mid-west.

Records include correspondence regarding exhibitions and craft organization activities. Professional files contain drawings, photographs of the exhibition Contemporary Living (1952), exhibition records, transcripts for panel talks, a Kenneth Bates show review typescript, and organizational files for the American Craftsmen's Council, Midwest Designer-Craftsmen, and a few other organizations. Also found are printed materials consisting of clippings and exhibition catalogs.

Arrangement:

The collection is arranged as 3 series.

Series 1: Correspondence, 1951-1967 (0.4 linear feet; Box 1)

Series 2: Professional Files, 1951-1969 (0.5 linear feet; Box 1)

Series 3: Printed Materials, 1949-1973 (0.3 linear feet; Boxes 1-2)

Biographical / Historical:

Michael Higgins (1908-1999) was a glass artist in Riverside, Illinois.

Higgins was born in London, England and attended the London Central School of Arts and Crafts. He emigrated to the United States in 1939 becoming the head of Visual Design at the Chicago Institute of Design after World War II. There, he met his wife Frances Stewart, who was one of his students. They married in 1948 and opened their own glass studio outside of Chicago in Riverside.

In the early 1950s, Higgins became involved with a special crafts exhibit at the Chicago Art Institute and an eventual spin-off organization, the Midwest Designer-Craftsmen. The organization was interested in developing exhibitions, markets, and professional associations for craft professionals in the Midwest. Higgins was one of the main forces behind the organization and the body which followed it, the Illinois Craftsmen's Council.

Higgins died in Riverside in 1999.

Provenance:

The collection was donated in 1975 by Michael Higgins.

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:

Glass artists -- Illinois  Search this

Topic:

Decorative arts  Search this

Genre/Form:

Drawings

Scrapbooks

Citation:

Michael Higgins papers, 1949-1973. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.higgmich

See more items in:

Michael Higgins papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a8f5ba26-7eef-41fc-a3bb-041c67afeaac

EDAN-URL:

ead_collection:sova-aaa-higgmich

Collection Creator:

Presser, Josef, 1906-1967  Search this

Container:

Box 4, Folder 52

Type:

Archival materials

Date:

1956

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Collection 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.

Collection Citation:

Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Josef Presser and Agnes Hart papers

Josef Presser and Agnes Hart papers / Series 2: Agnes Hart / 2.4:: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw945d9e46a-6da8-42ad-ab2f-3fc097a819da

EDAN-URL:

ead_component:sova-aaa-presjose-ref259

Author:

Scurlock Studio (Washington, D.C.)  Search this

Series Creator:

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Extent:

1 Item (45.3" x 34.0".)

Container:

Box 1, Folder 3

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Ledgers (account books)

Place:

Washington (D.C.) -- 20th century

Date:

1928-1935

Scope and Contents:

Job Numbers: 21,500-27,200

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Listing of photo orders.

Subseries Restrictions:

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details..

Series Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Genre/Form:

Ledgers (account books) -- 20th century

Series Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Series 8: Scurlock Studio Business Records

Scurlock Studio Records, Series 8: Scurlock Studio Business Records / 8.1: Administrative Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88e89fbaa-c944-43f6-9734-c23bc3c7f150

EDAN-URL:

ead_component:sova-nmah-ac-0618-s08-ref21

Series Creator:

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Container:

Box 55, Folder 12

Type:

Archival materials

Date:

undated

Series Restrictions:

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Series Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Series Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Series 8: Scurlock Studio Business Records

Scurlock Studio Records, Series 8: Scurlock Studio Business Records / 8.6: Office Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep864777b1e-c7e1-46d6-805b-8f9306b9890d

EDAN-URL:

ead_component:sova-nmah-ac-0618-s08-ref676

Interviewee:

Fransioli, Thomas Adrian, 1906-1997  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Art Students League (New York, N.Y.) -- Students  Search this

National Gallery of Art (U.S.)  Search this

University of Pennsylvania -- Students  Search this

Brown, Margaret E., d. 1957  Search this

Eggers, O. R. (Otto Reinhold), 1882-1964  Search this

Feiss, Carl  Search this

Finley, David E. (David Edward)  Search this

Klauder, Charles Z. (Charles Zeller), 1872-1938  Search this

Pope, John Russell, 1874-1937  Search this

Walker, John, 1906-1995  Search this

Extent:

2 Items (Sound recording: 2 sound files, digital, wav file)

37 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1981 April 21

Scope and Contents:

Interview of Thomas Adrian Fransioli, conducted April 21, 1981, by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Wenham, Massachusetts.

Fransioli speaks of his upbringing in Seattle, Washington; training and friendships at architectural school at the University of Pennsylvania; working in North Carolina, Virginia, Philadelphia, and Cleveland as an architect, interior designer, and draftsman; his commission for a grand country house in Virginia, 1932-1934; his work for John Russell Pope on the National Gallery of Art in Washington, D.C.; work in photographic reconnaissance for the U.S. Army during World War II; visiting Hiroshima after the atomic bomb; his training at the Art Students League; his paintings of cityscapes and houses; the promotion of his career by Margaret Brown of Boston; and influences upon him. Fransioli also recalls Charles Klauder, Margaret Brown, Carl Feiss, Otto Eggers, John Walker, David Finley; and others.

Biographical / Historical:

Thomas Adrian Fransioli (1906- 1997) was an architect and painter from Massachusetts. He was born in Seattle, Washington.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Topic:

Architects -- Massachusetts -- Interviews  Search this

Architecture -- Study and teaching  Search this

Interior decorators -- Massachusetts -- Interviews  Search this

Painters -- Massachusetts -- Interviews  Search this

World War, 1939-1945 -- Japan -- Hiroshima  Search this

World War, 1939-1945 -- Photography  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.fransi81

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9624d6571-740e-4d07-882e-0c7715355229

EDAN-URL:

ead_collection:sova-aaa-fransi81

Interviewee:

Celmins, Vija, 1938-  Search this

Interviewer:

Brown, Julia K., 1951-  Search this

Extent:

45 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 February 11-October 15

Scope and Contents:

An interview of Vija Celmins conducted 2009 February 11-October 15, by Julia Brown, for the Archives of American Art, at the Celmins' home and studio, in New York, New York.

Celmins speaks of her family's Latvian roots; experiencing World War II as a child; surviving and overcoming the trauma of World War II; the difficulties of being a refugee and moving to the United States; the influence of books on her imagination and art; expressing herself through drawing after moving to Indiana; learning English; studying art at the John Herron School of Art; attending summer school at Yale University; moving to California to obtain her MFA at UCLA; using art to grapple with and understand both her past and her emotions; experimenting with various mediums; discovering the pencil as an art material; the difficulties of printmaking; experimenting with abstraction and Pop art; deciding to drop painting and collage work; finding her own artistic philosophy and practices; her love of nature and its impact on her work; not conforming to the male-dominated, L.A. art scene; her decision to leave L.A. for NYC. Celmins also speaks about Tony Berlant, Chas Garabedian, Ed Ruscha, David Stuart, Philip Guston, Chuck Close, Willem de Kooning, Brice Marden, Joan Mitchell, Robert Irwin, and Jasper Johns.

Biographical / Historical:

Vija Celmins (1938- ) is a multimedia artist in New York, New York. Julia Brown (1951- ) is an independent scholar in San Antonio, Texas.

General:

Originally recorded on 2 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 33 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Painters -- New York (State) -- New York  Search this

Multimedia artists -- New York (State) -- New York  Search this

Topic:

Multimedia (Art)  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.celmin09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91f7bbce5-686a-4d06-b5f6-e03b0ab79ee2

EDAN-URL:

ead_collection:sova-aaa-celmin09

Creator:

Lee, Sherman E.  Search this

Names:

Case Western Reserve University -- Faculty  Search this

Cleveland Museum of Art  Search this

Harvard University -- Faculty  Search this

Rockefeller, John D., 1906-  Search this

Extent:

10.3 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Travel diaries

Photographs

Date:

1947-1997

Summary:

The papers of Cleveland museum director and art historian Sherman E. Lee measure 10.3 linear feet and date from 1947-1997. The records document Lee's extensive career as an art historian, curator and expert on Asian art, director of the Cleveland Museum of Art, writer, educator, and consultant. His papers include scattered biographical materials, correspondence, writings, travel files, committees and organizations files, consulting files, teaching files, personal business records, printed material, photographs, and one pencil drawing.

Scope and Contents:

The papers of Cleveland museum director and art historian Sherman E. Lee measure 10.3 linear feet and date from 1947-1997. The records document Lee's extensive career as an art historian, curator and expert on Asian art, director of the Cleveland Museum of Art, writer, educator, and consultant. His papers include scattered biographical materials, correspondence, writings, travel files, committees and organizations files, consulting files, teaching files, personal business records, printed material, photographs, and one pencil drawing.

Correspondence is with friends, scholars, editors, collectors, dealers, art societies and organizations, and other museums. Writings consist of articles, lectures, book reviews by Lee and scattered writings by others. Writing project files contain correspondence with publishers, contracts, and printed material relating to the publication of Lee's writings. Travel files document numerous trips to Asian and European countries and include travel diaries, photographs, and lists of works of art viewed. There are files concerning Lee's membership and involvement with various committees, museums, and arts organizations. Consulting files mostly focus on Lee's work advising John D. Rockefeller III on the purchase of art, and with the Permanent Public Areas Advisory Committee of Cleveland, Ohio. Teaching files document classes he taught at Case Western Reserve and Harvard. Personal business records mostly concern Lee's personal art collection. Also found among the papers are general clippings, photographs of Lee and of artwork, and one pencil drawing.

Arrangement:

The collection is arranged as 12 series.

Missing Title

Series 1: Biographical Material, 1947-circa 1983 (0.4 linear feet; Box 1, 11)

Series 2: Correspondence, 1953-1996 (1.5 linear feet; Box 1-2)

Series 3: Writings and Notes, 1962-1983 (1.7 linear feet; Box 2-4)

Series 4: Writing Project Files, 1958-1997 (1.0 linear feet; Box 4-5)

Series 5: Travel Files, 1959-1994 (1.8 linear feet; Box 5-7)

Series 6: Committees and Organization Files, 1971-1997 (1.8 linear feet; Box 7-8)

Series 7: Consulting Files, 1960-1993 (1.1 linear feet; Box 8-9)

Series 8: Teaching Files, 1963-1977 (0.1 linear feet; Box 9)

Series 9: Personal Business Records, 1958-1995 (0.3 linear feet; Box 9)

Series 10: Printed Material, 1962-1987 (0.9 linear feet; Box 10-11)

Series 11: Photographs, circa 1952-1993 (0.2 linear feet; Box 10-11)

Series 12: Artwork, circa 1960s (1 folder; Box 10)

Biographical / Historical:

Sherman Emery Lee (1918-2008) was an recognized expert on Asian art and director of the Cleveland Museum of Art from 1958-1983.

Born in Seattle, Washington in 1918, Sherman E. Lee grew up in New York and received degrees from American University and a Ph.D. from Case Western Reserve University in Cleveland, Ohio. Lee began his art career as a curator at the Detroit Institute of Art and Seattle Art Museum. During World War II, he served with the U. S. Navy and was transferred to the Monuments, Fine Arts and Archives Section in Japan. After the war he continued working as a civilian advisor on the preservation of Japanese artworks.

Sherman Lee accepted a position as curator of Oriental art at the Cleveland Museum of Art in 1952 and became director in 1958, where he remained until 1983. During his long tenure there, he built one of this country's most remarkable collections of Asian art, transforming the museum from a regional presence to one of national significance. In 1973 Lee was chosen as Chairman of the Art and Archeology Delegation to the People's Republic of China, jointly sponsored by the Committee on Scholarly Communication of the People's Republic of China and the Scientific and Technical Association of the People's Republic of China.

Lee wrote or co-wrote a number of books including A History of Far Eastern Art (1964) and numerous articles for journals, magazines, and newspapers. He was the recipient of many honorary degrees, awards, and honors including the Order of the Sacred Treasure from Japan and Chevalier of the Legion d'Honneur. He taught art history courses at the Case Western Reserve University and Harvard and was consultant to John D. Rockefeller III and the Cleveland Permanent Public Advisory Committee. He retired to North Carolina where he taught at the University of North Carolina and was advisor to the University's Ackland Art Museum.

Lee was married to his wife Ruth for sixty-nine years. The two met in college and had three daughters and one son. Lee died July 9, 2008 at Chapel Hill, North Carolina.

Provenance:

Sherman E. Lee donated his papers to the Archives of American Art in 1997.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Conract Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art historians -- Ohio -- Cleveland  Search this

Art museum curators -- Ohio -- Cleveland  Search this

Museum directors -- Ohio -- Cleveland  Search this

Educators -- Ohio -- Cleveland  Search this

Topic:

Art, Chinese  Search this

Art, East Asian  Search this

Art, Asian  Search this

Painting, Chinese  Search this

Art, Japanese  Search this

Art -- Study and teaching  Search this

Genre/Form:

Drawings

Travel diaries

Photographs

Citation:

Sherman E. Lee papers, 1947-1997. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.leeshere

See more items in:

Sherman E. Lee papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94751114f-3ab9-47c5-9451-d6502f6c199b

EDAN-URL:

ead_collection:sova-aaa-leeshere

Interviewee:

Crain, E. Gene, 1934-  Search this

Interviewer:

Anderson, Susan  Search this

Names:

Walt Disney Productions  Search this

Brandt, Rex, 1914-2000  Search this

Dike, Phil, 1906-1990  Search this

Sheets, Millard, 1907-1989  Search this

Extent:

107 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1999 March 7-May 22

Scope and Contents:

An interview of Gene Crain, conducted 1999 March 7-May 22, by Susan Anderson, for the Archives of American Art, in the law offices of Gene Crain, Newport Beach, California.

Crain describes the focus of his collection of some 1000 works of art, and how it grew out of his longstanding relationships with artists Millard Sheets, Phil Dike, Rex Brandt, and others. He recalls his relationships with Sheets, Dike, and Brandt at some length, including their feelings for the land as well as their personalities and work. He discusses urban growth, disappearance of the locale and nostalgia in the context of art collecting, and his collection as an important record of a certain time and place. He discusses convenience, climate, and topography as contributing factors to the emergence of the watercolor school as well as other important influences: Pacific rim culture and Far Eastern Art and philosophy; Mexican art and culture; the film industry, especially the Disney Studios; and the federal art projects as a catalyst and support system. Crain discusses the impact of social and economic factors in Southern California during the Depression, contrasting them with harsher conditions in other parts of the country; the development of his eye an aesthetic taste and his patronage of the artists beginning in the early 1960s; the artists' critical standing in the post-World War II period and the "crowding out" of the school by other movements such as Abstract Expressionism and Pop; and the viability of the school in the post-war period, its legacy, and comments on the present market value of the art.

Biographical / Historical:

E. Gene Crain (1934- ) is a lawyer and art collector from Newport Beach, California. Full name Ernst Gene Crain. Crain's art collection includes extensive holdings of prominent artists of the California School, a West Coast watercolor movement that arose during the Depression era.

General:

Originally recorded on 8 sound cassettes. Reformatted in 2010 as 13 digital wav files. Duration is 5 hr., 38 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Art -- Collectors and collecting  Search this

Art -- Economic aspects  Search this

Abstract expressionism  Search this

Pop art  Search this

Depressions -- 1929 -- California  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funded by the Orange County Museum of Art Historical Collections Council.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.crain99

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90263dca9-32c3-4ce5-98b1-2ef0e1024a5f

EDAN-URL:

ead_collection:sova-aaa-crain99

Creator:

Tremaine, Emily Hall, 1908-1987  Search this

Names:

Wadsworth Atheneum  Search this

Johnson, Philip, 1906-2005  Search this

Mondrian, Piet, 1872-1944  Search this

Von Romberg, Maximillian (Baron)  Search this

Extent:

8.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sound recordings

Video recordings

Date:

circa 1890-2004

Summary:

The papers of art collector Emily Hall Tremaine measure 8.9 linear feet, date from circa 1890 to 2004, and document the development of Tremaine's seminal collection of modernist, pop, and contemporary art. The papers comprise biographical material including a sound recording, personal correspondence, art collection files, artist files, exhibition loan files including a video recording, and reproduction request files. Also found are two scrapbooks documenting Tremaine's first marriage to Baron Maximilian von Romberg; and photographs of Tremaine, her family and friends, and works of art from her collection.

Scope and Contents:

The papers of art collector Emily Hall Tremaine measure 8.9 linear feet, date from circa 1890 to 2004, and document the development of Tremaine's seminal collection of modernist, pop, and contemporary art. The papers comprise biographical material including a sound recording, personal correspondence, art collection files, artist files, exhibition loan files including a video recording, and reproduction request files. Also found are two scrapbooks documenting Tremaine's first marriage to Baron Maximilian von Romberg; and photographs of Tremaine, her family and friends, and works of art from her collection.

Biographical material relates to the Hall, von Romberg, and Tremaine families, and includes a sound recording about the Tremaine family. Correspondence is with family members, including Tremaine's three husbands, her mother, and her sister Elizabeth, and includes Christmas cards with reproductions of artwork from Tremaine's collection.

Art collection files include inventory binders and document the purchase dates, prices, market value, and provenance of artwork purchased by the Tremaines. Artist files provide further detail on works by individual artists, and track the purchase, sale, trade, loan, and donation of many of those works. Of note is extensive documentation of the provenance, restoration, and sale of Piet Mondrian's Victory Boogie Woogie which was sold in 1988.

Exhibition loan files document loans from the Tremaine collection for exhibitions in the United States and abroad. Records of a 1984 Wadsworth Atheneum exhibition of artwork from the Tremaine collection include a video recording of a lecture by Philip Johnson. Requests for permission to reproduce images from the Tremaine collection document the extensive publication history of many of the works of art.

Two scrapbooks document the courtship and marriage of Emily Hall and Maximilian von Romberg and record von Romberg's passions for polo and aviation.

Photographic material primarily documents Tremaine's personal life, through portraits of Tremaine, her sister, and parents; wedding pictures from her marriage to von Romberg; photos of friends and members of Santa Barbara high society, including Clark Gable, Ruth and Walter Pidgeon, and Jeanne and Juan Reynal; and photos of the home Emily shared with von Romberg on the Brunninghausen Estate in Montecito, California. Two dismantled photograph albums include photos of artwork in the Tremaine collection.

Arrangement:

The collection is arranged as eight series.

Missing Title

Series 1: Biographical Materials, circa 1910-1980 (7 folders; Box 1)

Series 2: Correspondence, circa 1905-1985 (0.4 linear feet; Box 1)

Series 3: Art Collection Files, circa 1950-1985 (0.6 linear feet; Boxes 1, 9)

Series 4: Artist Files, 1936-2004 (4.6 linear feet; Boxes 2-6, 9)

Series 5: Exhibition Loan Files, 1960-2001 (1.5 linear feet; Boxes 6-7)

Series 6: Reproduction Request Files, circa 1964-1989 (0.6 linear feet; Box 8)

Series 7: Scrapbooks, 1931-1937 (0.3 linear feet; Boxes 9-10)

Series 8: Photographic Materials, circa 1890-1997 (0.8 linear feet; Boxes 8, 10-11)

Biographical / Historical:

Art collector Emily Hall Tremaine (1908-1987) lived in New York City and Madison, Connecticut, and was known for having assembled one of the most noteworthy collections of post World War II art focused on modernist, pop, and contemporary artists.

Tremaine was born in Butte, Montana, to mining executive William Hubbard Hall and his wife, Elizabeth Smith Hall. Her first marriage to Baron Maximilian von Romberg was well publicized in the society pages of the time and ended with von Romberg's death in a plane accident in 1938. Tremaine's second marriage to sugar heir Adolph B. Spreckels, Jr., ended in divorce in 1940.

While Tremaine collected art in the 1930s, it was not until her 1945 marriage to industrial executive Burton Tremaine that she began acquiring works in earnest. Together, the Tremaines assembled a collection that initially focused on American and European modern artists and would eventually include emerging pop and contemporary art. Their first purchase was Piet Mondrian's unfinished painting, Victory Boogie Woogie, now owned by the Gemeentemuseum. The collection would eventually number over four hundred works of art and range from paintings by Picasso, Kandinsky, and Georges Braque to works by Jasper Johns, Claes Oldenburg, Roy Lichtenstein, and Jean-Michel Basquiat. While single pieces were sold, traded, or donated throughout Tremaine's active collecting years, the bulk of the collection was sold at auction in 1988 and 1991 to raise funds for the Emily Hall Tremaine Foundation. Tremaine died from complications of emphysema in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Emily Hall Tremaine conducted by Paul Cummings, January 24, 1973.

Provenance:

The papers were donated in 2005 by Tremaine's step-grandson, Burton G. Tremaine III.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Collectors -- Connecticut  Search this

Collectors -- New York (State) -- New York  Search this

Topic:

Art -- Collectors and collecting  Search this

Genre/Form:

Scrapbooks

Sound recordings

Video recordings

Citation:

Emily Hall Tremaine papers, circa 1890-2004. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the The Brent R. Harris Charitable Fund. Funding for the digitization of the papers was provided by the Emily Hall Tremaine Foundation. Researchers are invited and encouraged to inform the Emily Hall Tremaine Foundation of publication efforts at collection@tremainefoundation.org.

Identifier:

AAA.trememil

See more items in:

Emily Hall Tremaine papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e24e4f17-ece1-4794-a312-e11aa6e0b047

EDAN-URL:

ead_collection:sova-aaa-trememil

Collection Creator:

Tremaine, Emily Hall, 1908-1987  Search this

Container:

Box 5, Folder 48

Type:

Archival materials

Date:

1961-1985

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection 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.

Collection Citation:

Emily Hall Tremaine papers, circa 1890-2004. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the The Brent R. Harris Charitable Fund. Funding for the digitization of the papers was provided by the Emily Hall Tremaine Foundation. Researchers are invited and encouraged to inform the Emily Hall Tremaine Foundation of publication efforts at collection@tremainefoundation.org.

See more items in:

Emily Hall Tremaine papers

Emily Hall Tremaine papers / Series 4: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw931d5b755-85bc-4eef-aef0-150546eb999b

EDAN-URL:

ead_component:sova-aaa-trememil-ref240

Creator:

Stapleton, Joseph, 1921-1994  Search this

Extent:

3.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1942-1998

Scope and Contents:

The papers of painter and teacher Joseph Stapleton include personal and professional correspondence, gallery announcements and catalogs, photographs, clippings, and business records documenting Stapleton's career. Gallery announcements and catalogs include the Allan Gallery, Carlebach Gallery, Kleemann Galleries, Perls Gallery, Staempfi Gallery and the World House Galleries.

Biographical / Historical:

Joseph Stapleton served in World War II as a Japanese interpreter for the Navy and worked in intelligence on the staff of General MacArthur in allied-occupied Japan. He studied at the Art Students League with Will Barnet, Morris Kantor, and Carl Holty and taught at Pratt (1970-85) and at the League (1973-94). He was represented by the Egan and later by the Ingber galleries.

Provenance:

Donated 1999 by Bonnie Re, the painter's companion. Twelve feet of gallery announcements and exhibition brochures collected by Stapleton since the mid-1950s were transferred to the National Museum of American Art, January 2000.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Identifier:

AAA.stapjose

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ee752311-e6b7-4259-80e5-b6b3430a879b

EDAN-URL:

ead_collection:sova-aaa-stapjose

Creator:

Spandorf, Lily  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

3 Cubic feet (754 drawings (visual works))

Type:

Collection descriptions

Archival materials

Sketches

Drawings

Date:

1967-1998, undated

Summary:

This collection consists of 754 pen-and-ink, watercolor, and gouache drawings and paintings by artist Lily Spandorf. They depict scenes from various years of the Festival of American Folklife and its successor, the Smithsonian Folklife Festival.

Scope and Contents:

The Lily Spandorf drawings consist of 754 pen-and-ink, watercolor, and gouache drawings and paintings and date from 1967-1998. Some pieces contain drawings on both the recto and verso, and some drawings are unfinished. Lily Spandorf, an Austrian-born, Washington, D.C.-based artist, created the drawings each year at the Festival of American Folklife (later the Smithsonian Folklife Festival) over a thirty-year span. Many Festival programs are represented, particularly the bicentennial programs of 1976.

Many drawings were recieved with no label information, so at present, these drawings remain undated and only very generally described. As more information regarding individual drawings is gathered, more specific descriptive information will be added.

Arrangement note:

Arranged by size in appropriate folders and boxes (oversized flat boxes and document case) and further arranged by number assigned to drawings. Numbers were randomly assigned to drawings after the collection was acquired and do not reflect a specific order, chronological or otherwise.

Sixteen drawings and paintings are framed and displayed in the Smithsonian Center for Folklife and Cultural Heritage offices.

Biographical/Historical note:

Lily Spandorf was born in Vienna, Austria in 1914. An honors graduate of the Vienna Academy of Arts, she left Austria in 1938 to continue her art education at London's St. Martin's School of Art. During World War II, she volunteered for the Red Cross in Scotland. She also worked and lived in Italy, where she became attracted to painting scenes outdoors. She first moved to New York City in 1959, but found the city too vast and hectic and eventually moved to Washington D.C. in 1960, where she settled into an apartment in Dupont Circle.

From the very first Festival of American Folklife (later the Smithsonian Folklife Festival) in 1967, she brought her cart full of materials and supplies to the National Mall and sketched Festival scenes, documenting people, performances, settings, and activities for over three decades. Her work often appeared in the Washington Star newspaper. Her paintings and drawings of Washington, D.C. scenes and cityscapes were featured in a 1988 book called Washington Never More, as well as the Washington Post, Washingtonian Magazine, and National Geographic. She was also the subject of a documentary film produced and directed by Barr Weissman. In 1988, she was the first local solo artist to be exhibited at the National Museum of Women in the Arts. Her annual paintings and drawings of the White House Christmas decorations were acquired by the White House Historical Association, and her work documenting the filming of Advise and Consent was acquired by the U.S. Senate. She continued to produce work until she passed away in February 2000 at the age of 85.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Provenance:

The Lily Spandorf drawings were acquired by Richard Kurin, former director of the Center for Folklife and Cultural Heritage and Diana Parker, former director of the Smithsonian Folklife Festival. Thanks to generous donations and support from the Smithsonian Women's Committee and the general public, the Smithsonian purchased Spandorf's drawings from the Lily Spandorf Distribution Trust in 2001.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk musicians  Search this

Folk singers  Search this

Genre/Form:

Sketches

Drawings

Citation:

Lily Spandorf drawings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SPAN

See more items in:

Lily Spandorf drawings

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5feaec0d7-bf2d-4156-96f9-729f051198db

EDAN-URL:

ead_collection:sova-cfch-span

Interviewee:

Schulze, Franz, 1927-2019  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Chicago Art and Artists: Oral History Project  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Extent:

4 Items (sound files (3 hrs., 7 min.), digital, wav)

103 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2015 October 19-21

Scope and Contents:

An interview with Franz Schulze conducted 2015 October 19-21, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Schulze's home in Lake Forest, Illinois.

Schulze speaks of his early life near Pittsburgh, PA; studying at the University of Chicago and the School of the Art Institute of Chicago; working for Raymond Loewy after World War II; teaching at Purdue University and Lake Forest College; the artists he admires, including Lucien Freud, Masaccio, John Singleton Copley, Rembrandt, Georges Braque, and Max Beckmann; moving from primarily painting to writing and teaching; writing arts criticism in Chicago versus in New York; developing the terms Monster Roster and Chicago Imagists; writing a biography of Mies van der Rohe; the development of the artists' groups The Hairy Who and Momentum; the lack of interest in Abstract Expressionism in Chicago; Chicago arts publications, including The New Art Examiner; how he got interested in writing about architecture; his opinions on newer Chicago artists; the development of Art Brut; his interest in portraiture; and his love of music, especially Bach; Schulze also recalls Mies van der Rohe, Raymond Loewy, Leon Golub, Seymour Rosofsky, Alan Frumkin, John Canaday, Paul Carroll; Peter Selz; Kathleen Blackshear; Katherine Kuh; Vera Klement, Martin Hurtig, Larry Solomon, Alan Artner, Nancy Spero, Blair Kamin, Dennis Adrian, H.C. Westermann, Jim Nutt, Evelyn Statsinger, Studs Terkel, Don Baum, Phyllis Kind, and others.

Biographical / Historical:

Franz Schulze (1927-2019 ) was an art historian, art critic, and educator in Lake Forest, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

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:

The transcript and recording are open for research. Contact Reference Services for more information.

Occupation:

Art historians -- Illinois -- Interviews  Search this

Topic:

Art, American -- Illinois -- Chicago  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.schulz15

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw954b07a8e-969e-450d-8764-6eec5370a14e

EDAN-URL:

ead_collection:sova-aaa-schulz15

Interviewee:

Diamond, Hester  Search this

Interviewer:

Richards, Judith Olch  Search this

Names:

Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this

Extent:

87 Pages (Transcript)

2 Items (sound files (3 hr., 14 min.) Audio, digital, wav)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2017 October 4-5

Scope and Contents:

An interview with Hester Diamond conducted 2017 October 4-5, by Judith Olch Richards, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Diamond's home in New York, New York.

Ms. Diamond discusses the lives of her parents and grandparents in New Jersey as European immigrants; her life as a student during World War II attending Hunter College in Manhattan, and her exploration of the city's art museums, especially the Museum of Modern Art; her early interest in modern art and her friendship and subsequent marriage with Harold Diamond; her work as a social worker and Mr. Diamond's work as a school teacher, and their growing interest in the New York museum and gallery scene; their time working part-time for Martha Jackson at her gallery; their organization of a traveling exhibition in the United States for the British sculptor Barbara Hepworth; their first trip together to Europe in 1955 and their subsequent introduction to the business of art dealing; Mr. Diamond's illness and death and Ms. Diamond's transition out of the art dealing business. Ms. Diamond also describes her first work as an interior designer for J. Seward Johnson; her subsequent decision to leave the decorating business; her second husband Ralph Kaminsky and his daughter Rachel Kaminsky; the shift of her art collecting focus towards Renaissance paintings; her help founding the Medici Archive Project; her relationships with fellow collectors and curators; her new interest in Spanish sculpture; and her third husband, Dr. David Wilson. Ms. Diamond also recalls Ben Nicholson; Nan Roberts; E. L. Hodgkins; G. David Thompson; Joseph Hirshhorn; Alastair Stair; Eugene Thaw; Shepard and Birgitta Schreiber; as well as Dr. Jacques Koerfer; Thomas Ammann; Edward Goldberg; Robert Strassler; Maryan Ainsworth; Jon Landau; and Rose Fried, among others.

Biographical / Historical:

Hester Diamond (1928-2020) was an art collector in New York, New York. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.

Topic:

Art -- Collectors and collecting -- New York (State) -- New York -- Interviews  Search this

Women art collectors  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by Barbara Fleischman.

Identifier:

AAA.diamon17

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97c1477f2-9901-433a-801b-f5b10141141d

EDAN-URL:

ead_collection:sova-aaa-diamon17

Collection Creator:

Gibbons, Margarita  Search this

Extent:

1.3 Linear feet (Box 1-2)

Type:

Archival materials

Date:

circa 1938-1973

Scope and Contents:

Correspondence is arranged alphabetically and consist mostly of letters and sketches from Gibbon's husband, painter and illustrator Arthur Getz, which are arranged chronologically. Most of the letters were written during World War II when Getz was in the army stationed in the Philippines and the United States. Also included are holiday cards from painter Moses Soyer.

Collection 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.

Collection Rights:

Terms of Use statement: 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.

Collection Citation:

Margarita Gibbons papers, circa 1920-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.gibbmarg, Series 2

See more items in:

Margarita Gibbons papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9211ded96-136b-45f3-ac19-80e8730ca071

EDAN-URL:

ead_component:sova-aaa-gibbmarg-ref7

Creator:

Chanenson, Gloria Kolodny  Search this

Names:

Society for Sanity in Art (Chicago, Ill.)  Search this

Logan, Frank G., 1852-1937  Search this

Logan, Josephine Hancock, 1862-1943  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1939-1974

Summary:

The scattered papers documenting the activities of pre-World War II Chicago art patron Josephine Hancock Logan measure 0.2 linear feet and date from 1939 to 1974. The papers also relate to her husband, Frank G. Logan, and the Society for Sanity in Art and were compiled by Gloria Kolodny Chanenson. Found are printed materials, a mailing list, photographs, and printed poetry by Logan.

Scope and Contents:

The scattered papers documenting the activities of pre-World War II Chicago art patron Josephine Hancock Logan measure 0.2 linear feet and date from 1939 to 1974. The papers also relate to her husband, Frank G. Logan, and the Society for Sanity in Art and were compiled by Gloria Kolodny Chanenson. Found are printed materials, a mailing list, photographs, and printed poetry by Logan.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Arts administrator Gloria Kolodny Chanenson (1920-2010) was a scholarship student at the School of the Art Institute of Chicago. From 1938-1943, she was the secretary of Josephine Hancock Logan.

Josephine Hancock Logan (1862-1943) was prominent art patron from Chicago, Illinois. She was an opponent of modernism who founded the Society for Sanity in Art in 1936.

Provenance:

Donated 1988 by Gloria K. Chanenson.

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:

Collectors -- Illinois -- Chicago  Search this

Arts administrators -- Illinois -- Chicago  Search this

Topic:

Modernism (Art)  Search this

Art patronage  Search this

Art -- Collectors and collecting  Search this

Women arts administrators  Search this

Citation:

Gloria Kolodny Chanenson papers on Josephine Hancock Logan, 1939-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.changlor

See more items in:

Gloria Kolodny Chanenson papers on Josephine Hancock Logan

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a4c64e1e-c791-4180-8489-ef5c6c581a0c

EDAN-URL:

ead_collection:sova-aaa-changlor

Interviewee:

Bronson, AA, 1946-  Search this

Interviewer:

Kerr, Theodore  Search this

Names:

Visual Arts and the AIDS Epidemic: An Oral History Project  Search this

Extent:

13 Items (sound files (9 hrs., 37 min.), digital, wav)

201 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2017 March 3, 5, and 6

Scope and Contents:

An interview with AA Bronson conducted 2017 March 3, 5, and 6, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Bronson's home and studio, in Berlin, Germany.

Bronson speaks of his mother's comparison between WWII-era London and New York City during the AIDS crisis; the community that formed in St. Vincent's Hospital in New York during the AIDS crisis; his early childhood in Fort Nelson, Edmonton, St. Jean d'Iberville, and Ottawa, Canada; the development of his sexuality; early childhood fascination with library books; regular visits to the Royal Ontario Museum and National Gallery of Canada as an adolescent ; collecting architecture books and later studying architecture at the University of Manitoba; dropping out of university in 1967 to help form a commune and free school in Winnipeg; watching the commune grow to 65 people and operate on a consensus model of governance; working in Toronto for Coach House Press and Theatre Passe Muraille; the beginnings and interpersonal dynamic of General Idea; leading Gestalt therapy workshops; General Idea's interest in countering the notion of artist as individual genius; organizing File magazine and Art Metropole as correspondence-driven endeavors; having regular exhibitions in Europe by the late 1970s; moving to New York in 1986; the genesis of the AA Bronson persona; General Idea's aesthetic and output; General Idea's AIDS-related artwork; caring for Jorge Zontal and Felix Partz from General Idea, during the height of their HIV-related illnesses in the early 1990s; going to nightclubs and sex clubs in New York as a reprieve from caretaking; the difference in AIDS healthcare and AIDS activism in Toronto and New York; Zontal and Partz's deaths; the ongoing trauma of losing loved ones to HIV/AIDS; the beginnings and development of his solo art career from the mid-1990s to the present; creating the General Idea archive and catalogue raisonne in the early 2000s; developing a professional healing practice in the 1990s and early 2000s; the incorporation of healing into his artistic persona; directing Printed Matter from 2004 to 2011; developing several book fairs, including the LA Art Book Fair; attending Union Theological Seminary; studying Tibetan Buddhism; and the role of the internet in his current collaborations and community-building work. Bronson also recalls Robert Henforth, Murray McLauchlan, Alison and Peter Smithson, Danny Freedman, Gilbert & George, Joseph Beuys, John Armleder, Ray Johnson, Chrysanne Stathacos, Lawrence Weiner, Susan Harrison, Barbara London, Ydessa Hendeles, Matthias Herrmann, Barr Gilmore, Jean-Cristophe Ammann, Ealan Wingate, Andrew Zealley, Max Schumann, Thurston Moore, Serene Jones, Terence Koh, Garrick Gott, Jonathan Katz, and others.

Biographical / Historical:

Interviewee AA Bronson (1946- ) is an artist, magazine publisher, and curator in Berlin, Germany, and Toronto, Ontario, Canada. Interviewer Theodore Kerr (1979- ) is a writer and organizer in New York, New York.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Topic:

Artists -- Germany -- Interviews  Search this

Curators -- Germany -- Interviews  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funded by the Keith Haring Foundation.

Identifier:

AAA.bronso17

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93eecb898-1dfa-4903-bf68-0b91ee10e3ed

EDAN-URL:

ead_collection:sova-aaa-bronso17

Collection Creator:

Landor Associates  Search this

Landor, Walter  Search this

Extent:

1 Motion picture film (551 feet, 16mm color composite optical track print)

Container:

Item AC0500-OF0034

Item RV Tape 24

Type:

Archival materials

Motion picture films

Date:

circa 1977

Scope and Contents:

Production Company: The FilmMakers of Minneapolis, MN Content Description: Film traces the history of 7Up from the 1920s through the 1960s. Scenes include WWI soldiers, the Depression, dancing, 7Up billboards, drugstore lunch counters, WWII factories and soldiers, rationing, youth in the 1950s, supermarkets in the 1960s and the new marketing beginning in 1968 of "the uncola."

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.

See more items in:

Landor Design Collection

Landor Design Collection / Series 5: Motion Picture Films / 5.3: Promotional Films Acquired by Landor Associates

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8aa327777-dc66-43a4-b187-1a917113c3bd

EDAN-URL:

ead_component:sova-nmah-ac-0500-ref116

Collection Creator:

Landor Associates  Search this

Landor, Walter  Search this

Container:

Box 69, Folder 2

Type:

Archival materials

Date:

undated

Scope and Contents:

Sixteen page typescript focusing on Landor's early life through World War II and a a brief assessment of his professional contributions.

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.

See more items in:

Landor Design Collection

Landor Design Collection / Series 2: Walter Landor Papers / 2.1: Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86220db6f-d107-4e00-a081-58de29589a7d

EDAN-URL:

ead_component:sova-nmah-ac-0500-ref1319