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Richard Artschwager papers

Creator:
Artschwager, Richard, 1923-  Search this
Names:
Adair Margo Gallery  Search this
Carpenter Center for the Visual Arts  Search this
Cornell University  Search this
Gagosian Gallery  Search this
Galerie Franck + Schulte  Search this
Harvard University  Search this
Herbert F. Johnson Museum of Art  Search this
Leo Castelli Gallery  Search this
Lorence-Monk Gallery (New York, N.Y.)  Search this
Museum Ludwig  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Museum of Fine Arts, Boston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Skowhegan School of Painting and Sculpture  Search this
University of Wisconsin  Search this
Whitney Museum of American Art  Search this
Alloway, Lawrence, 1926-1990  Search this
Castelli, Leo  Search this
Copley, William Nelson, 1919-1996  Search this
Fischl, Eric, 1948-  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Katz, Alex, 1927-  Search this
Kimmelman, Michael  Search this
Lawler, Louise  Search this
LeWitt, Sol, 1928-2007  Search this
Murray, Elizabeth, 1940-  Search this
Namuth, Hans  Search this
Neuendorf, Hans  Search this
Ruscha, Edward  Search this
Schaffner, Ingrid  Search this
Schjeldahl, Peter  Search this
Waters, John, 1946-  Search this
Woodman, Betty, 1930-  Search this
Extent:
5.6 Linear feet
9.33 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Date:
1959-2013
Summary:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.
Scope and Contents:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.

Artschwager's correspondence is with museums, galleries, artists, art historians, academic institutions, and publishers and concerns exhibitions, speaking engagements, and teaching. Frequent correspondents include Lawrence Alloway, Leo Castelli Gallery, Gagosian Gallery, Galerie Franck + Schulte, Herbert F. Johnson Museum, Ivan Karp, Museum Ludwig, Museum of Contemporary Art, Los Angeles, Ingrid Schaffner, and the Whitney Museum of American Art. Also found are letters from fellow artists, including William Copley, Eric Fischl, Ray Johnson, Louise Lawler, Sol Lewitt, Ed Ruscha, John Waters, and Betty Woodman. Some letters are annotated or illustrated with sketches by Artschwager.

The collection includes a lecture and recorded talks by Richard Artschwager held at the University of Wisconsin, Madison, Skowhegan School of Painting & Sculpture, and the Carpenter Center of the Visual Arts, Harvard University, and other venues. One of the recordings is from the "Conversations with Contemporary Artists" series of the Museum of Modern Art. Also included in this series is a recorded discussion with artists Alex Katz and Elizabeth Murray and art critics Michael Kimmelman and Peter Schjeldahl.

Exhibition files are found for exhibitions held at Adair Margo Gallery, Lorence Monk Gallery, Museum of Fine Arts, Boston, Cornell University, and numerous others, including many in Europe. Files typically contain correspondence, price lists, announcements, printed material, photographs, and a few sound and video recordings.

Printed material includes invitations and announcements as well as posters, reproductions, and brochures, mostly related to Richard Artschwager's exhibitions. Newspaper and magazine clippings document exhibition openings and the critical reception of his work.

There are also a few photographs including images of Leo Castelli by Hans Namuth used by Artschwager in preparing for his portrait of Castelli.
Arrangement:
The collection is arranged as 5 series.

Missing Title

Series 1: Correspondence, circa 1970-2013 (Boxes 1-3; 3.0 linear feet, ER01-ER02; 0.555 GB)

Series 2: Talks and Lecture, 1985-2009 (Box 4; 0.8 linear feet, ER03-ER10; 8.77 GB)

Series 3: Exhibition Files, 1973-2007 (Boxes 4-5; 1.0 linear feet)

Series 4: Printed Material, 1959-2012 (Boxes 5-6, OV 7; 0.6 linear feet)

Series 5: Photographs, circa 1973, 2007 (Box 6, OV 8; 0.1 linear feet)
Biographical / Historical:
Richard Artschwager (1923-2013) lived and worked in New York City and Hudson, New York and was known primarily for his paintings and sculptures. Artschwager was born in Washington, D.C. and grew up in New Mexico. As a youth, Artschwager showed a talent for drawing. He studied chemistry and mathematics at Cornell University. In 1944, Artschwager interrupted his studies to enlist in the U.S. Army. After the war, he returned to Cornell to complete his Bachelor of Arts degree in 1948. Encouraged by his first wife, Elfriede Wejmelka to develop his interest in art, Artschwager moved to New York to study at the Studio School of Amédée Ozenfant. His paintings and drawings from this period were featured in two group shows at the Terrain Gallery in 1957 and at the Art Directions Gallery on Madison Avenue in 1959, where they were recognized by Donald Judd.

In the 1950s, in order to support his family, Artschwager turned to designing and manufacturing modern furniture. His woodworking skills inspired him to create sculptures from utilitarian objects such as tables, chairs, and mirrors. He is best known for the use of building materials Celotex and Formica in his work and for inventing an abstract form he called "blps" reliefs, stencils or decals that were installed randomly in museum, gallery and public spaces. From the mid-1980s to late 1990s, Artschwager designed large scale projects, though he continued to incorporate everyday domestic objects in his sculptures and paintings.

In 1965, Artschwager was given his first one-man exhibition at the Castelli Gallery and he remained with the Gallery for thirty years. He was also represented by Mary Boone, David Nolan, and the Gagosian Gallery. In the 1980s, Artschwager served on the Visual Arts Policy Committee at the National Endowment of the Arts. He was elected to the American Academy of Arts in 1992. He was a visiting artist at New Mexico State University, Soka University, Skowhegan School of Painting and Sculpture, and the University of Arizona. Artschwager's work was the subject of a major surveys, including the Kunstmuseum Winterthur, Neues Museum, and Serpentine Gallery. He participated in numerous international group shows including the Venice Biennale and Documenta in Kassel, Germany. The Whitney Museum of American Art honored Artschwager with two travelling retrospective exhibitions in 1988 and 2012. In late 2012, Artschwager had one-man shows at the Gagosian Gallery and David Nolan Gallery.

Richard Artschwager died at the age of 89 years in 2013. He is survived by his wife, Ann Sebring Artschwager and three children from previous marriages.
Related Materials:
Also found among the resources at the Archives of American Art is an oral history interview with Artschwager, March 3-28, 1972, conducted by Paul Cummings.
Provenance:
The collection was donated by Richard Artschwager and his wife Ann Artschwager in 2013.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact 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 critics  Search this
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Citation:
Richard Artschwager papers, 1959-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artsrich
See more items in:
Richard Artschwager papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1669278-fbd8-48b5-832c-ad4b93ec08bd
EDAN-URL:
ead_collection:sova-aaa-artsrich
Online Media:

Helen DeMott papers

Creator:
DeMott, Helen, 1920-1997  Search this
Names:
Art Students League (New York, N.Y.) -- Photographs  Search this
Bland, Celia  Search this
Burkhardt, Rudy  Search this
Chester, Alfred, 1928-1971  Search this
Eastman, Max, 1883-1969  Search this
Finkelstein, Miriam  Search this
Johnson, Ray, 1927-  Search this
Ponsot, Marie  Search this
Rolick, Esther G., 1922-  Search this
Schloss, Edith, 1919-  Search this
Wright, Clifford, 1919-  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Sketches
Watercolors
Photographs
Manuscripts
Travel diaries
Poems
Notes
Video recordings
Sound recordings
Date:
1896-1997
Summary:
The papers of painter Helen DeMott measure 7.9 linear feet and date from 1896-1997. DeMott's painting career from 1940-1996 is documented through her numerous sketchbooks and original artwork. Also found is biographical material, correspondence, writings and poems, scrapbooks, printed material, photographic material, audio and video recordings, and scattered material from collagist Ray Johnson.
Scope and Content Note:
The papers of painter Helen DeMott measure 7.9 linear feet and date from 1896-1997. DeMott's painting career from 1940-1996 is documented through her numerous sketchbooks and original artwork. Also found is biographical material, correspondence, writings and poems, scrapbooks, printed material, photographic material, audio and video recordings, and scattered material from collagist Ray Johnson.

The scattered biographical material contains official documents, DeMott's resume, circulars and receipts from the Art School of the National Academy of Design, and two obituaries. Correspondence includes letters from publishers regarding DeMott's book proposal "Geography into Landscape," correspondence with universities and scientific institutions regarding her Wave series, and personal correspondence including letters from photographer, filmmaker, and painter Rudy Burckhardt, writer Alfred Chester, painter Clifford Wright, and collagist Edith Schloss.

The bulk of the writings is DeMott's poetry, as well as some artist's statements, loose notes, a speech, travel diaries, and handwritten, typed, and edited manuscripts, including a typed manuscript of "Geography into Landscape." Writings by others include poetry by Celia Bland, Miriam Finkelstein, and Marie Ponsot. Scrapbooks document DeMott's research and artwork related to waves and includes clippings, photographs of artwork, sketches and notations, and typed notes on painting waves. Printed material includes magazine and newspaper articles about Helen DeMott and various other artists, and many articles related to water waves.

Photographic material includes black and white photographs of DeMott's artwork and personal photographs. Of interest is a 1943 photograph of a group at the Art Students League which includes Ester Rolick, Edith Schloss, Max Eastman, and Helen DeMott. Also found are slides and transparencies of artwork and slides for lectures on waves. Audiovisual Recordings include one reel-to-reel tape and five videotapes, some related to DeMott's study of waves.

There is one folder of material from collagist Ray Johnson containing scattered letters and mail art, exhibition fliers, and collages. Measuring 4.2 linear feet, the bulk of DeMott's papers are sketchbooks and original artwork spanning her artistic career. There are numerous loose sketches, notes, sketchbooks, holiday cards, watercolors, and oversized drawings in pencil, ink, and oil pastels, much of which is related to waves. Original artwork by others includes Esther Rolick and Edith Schloss.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Material, 1911-1997 (Boxes 1, 9; 7 folders)

Series 2: Letters and Correspondence, 1896, 1930-1995 (Boxes 1-2; 1.1 linear feet)

Series 3: Writings, 1950-circa 1996 (Boxes 2-3; 1.0 linear feet)

Series 4: Scrapbooks, 1967-1989 (Box 3; 2 folders)

Series 5: Printed Material, 1961-1996 (Boxes 3, 9; 0.2 linear feet)

Series 6: Photographic Material, circa 1920s-1996 (Boxes 3-4, 9; 0.8 linear feet)

Series 7: Audiovisual Recordings, 1975, 1978, undated (Box 4; 0.4 linear feet)

Series 8: Ray Johnson, 1947, 1963, undated (Box 4; 1 folder)

Series 9: Artwork, 1941-1996 (Boxes 4-9, OV 10-13; 4.2 linear feet)
Biographical Note:
Helen DeMott (1920-1997) was a New York City based painter and poet and well-known East Village community activist.

In the 1940s, DeMott attended the National Academy of Design and Art Students League. In the late 1960s, DeMott began focusing her work on the scientific study of waves, specifically the structure of water wave surfaces, a theme that remained in her work for the rest of her career. In 1974-1975, DeMott completed two building murals of water wave structures in New York City: Wave Spill, located at 155 First Avenue and 10th Street; and River Wave, at 509 Amsterdam Avenue. She had a solo exhibition at the Green Mountain Gallery in 1969, and exhibited at the ground-breaking alternative space, 112 Workshop/112 Greene Street in 1979. DeMott was received a number of grants and awards throughout her career including National Community Arts Competition winner in 1974, a grant from the New York State Council on the Arts (CAPS) in 1976, a National Endowment for the Arts Fellowship in 1978, and a Gottleib Foundation grant in 1983. She passed away in 1997.
Provenance:
The Helen DeMott papers were a bequest to the Archives of American Art in 2003 by James Goldiner, executive for the estate of Helen DeMott.
Restrictions:
The collection is open for research. Use requires an appointment.
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
Political activists -- New York (State) -- New York  Search this
Poets -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women authors  Search this
Genre/Form:
Scrapbooks
Drawings
Sketches
Watercolors
Photographs
Manuscripts
Travel diaries
Poems
Notes
Video recordings
Sound recordings
Citation:
Helen DeMott papers, 1896-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.demohele
See more items in:
Helen DeMott papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c19f5a9b-a27a-4b38-b252-e26840f61b16
EDAN-URL:
ead_collection:sova-aaa-demohele
Online Media:

Robert Pincus-Witten papers

Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Names:
Gagosian Gallery  Search this
Bochner, Mel, 1940-  Search this
Hecht, Leon  Search this
Hesse, Eva, 1936-1970  Search this
Twombly, Cy, 1928-  Search this
Extent:
12.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Drawings
Interviews
Sound recordings
Date:
1942-2017
bulk 1962-2005
Summary:
The papers of art historian, critic, and curator Robert Pincus-Witten measure 12.4 linear feet and date from 1942-2017. The collection consists of biographical material; color and black and white photographs and negatives; writings by Pincus-Witten; teaching files and printed material; journals; sketches by Pincus-Witten; professional files related to curatorial work; correspondence; artist files maintained by Pincus-Witten; and audiovisual and born digital materials.
Scope and Contents:
The papers of art historian, critic, and curator Robert Pincus-Witten measure 12.0 linear feet and date from 1942-2017. The collection consists of biographical material; color and black and white photographs and negatives; writings by Pincus-Witten; teaching files and printed material; journals; sketches by Pincus-Witten; professional files related to curatorial work; correspondence; artist files maintained by Pincus-Witten; and audiovisual and born digital materials.

The collection includes biographical material such as passports, address books, calendars, report cards, diplomas, and other academic ephemera; journals that document Pincus-Witten's daily personal and professional activities; drafts of articles, essays and other writings by Pincus-Witten; correspondence with friends and colleagues; teaching files from City University of New York that include lecture notes, slide lists, and student correspondence; research files on artists from the circa 1970s-1996; professional files that document Pincus-Witten's work at Gagosian Gallery and other curatorial activities; and photographs and negatives of family, friends, events and works of art. Also included are audio visual material consisting of two reel-to-reel tape recordings and seventeen sound cassettes documenting panels that featured Pincus-Witten, artist interviews, and Pincus-Witten dictating essays; born digital material including a CD-R from Rose Cabot's "The Marks Project" and 5.25 floppy disk(s) that include Pincus-Witten's writings; pencil, ink, and watercolor sketches and sketchbooks; and printed material consisting of exhibition announcements and invitations, pamphlets, press releases, event programs, newsletters, flyers, and clippings.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1942-circa 2010s (1.00 linear feet; Box 1)

Series 2: Correspondence, 1952-2015 (1.60 linear feet, Box 1, 2, 4)

Series 3: Journals, 1958-2015 (3.30 linear feet, Box 3, 12-18)

Series 4: Writing, 1953-2016 (1.50 linear feet, Box 4-5)

Series 5: Artist Files, 1950-2016 (1.60 linear feet, Box 5-7)

Series 6: Professional Files, 1959-2009 (1.50 linear feet, Box 7-8)

Series 7: Teaching Files, circa 1970s-1996 (0.50 linear feet, Box 8-9)

Series 8: Printed Material, 1962-2017 (0.95 linear feet, Box 9-10)

Series 9: Artwork, 1959-1996 (0.25 linear feet, Box 10)

Series 10: Unidentified Born Digital Materials, 1980s-2000s (0.2 linear feet, Box 10)
Biographical / Historical:
Robert Pincus-Witten (1935-2018) was an art historian, educator, critic, and curator in New York, New York.

Born in the Bronx, Pincus-Witten attended PS4, the New York High School of Music and Art, and The Cooper Union. During this time Pincus-Witten met his husband, Leon Hecht, who lived on the same block and was in the same kindergarten class at PS4. He also formed a lifelong friendship with high school classmate and artist, Ray Johnson. Pincus-Witten received a Master of Fine Arts and PhD from the University of Chicago and lived abroad in the late 1950s and early 1960s. Pincus-Witten became interested in art at a very early age and received recognition in the Regional and National Scholastic Art Awards in 1950 and 1952.

While living abroad and finishing his doctorate, Pincus-Witten accepted a teaching position at Queens College, part of the City University of New York (CUNY) network, where he taught art history courses until his retirement in 1991. Coining the term, "postminimalism," Pincus-Witten played a central role in explicating postmodern art as it emerged between 1960 and his death in 2018. He exhaustively documented his daily life on the front lines of the art world as a contributing editor for Artforum for nearly fifty years, including a stint as senior editor from 1973-1974. In addition to his long teaching career at the CUNY, Pincus-Witten worked for Larry Gagosian and Robert Mnuchin, curating exhibitions and writing catalog essays for their galleries. He was the author of several books, including Postminimalism (1977).
Related Materials:
Also found in the Archives of American Art is an oral history interview with Robert Pincus-Witten conducted by Francis M. Naumann, March 23-24, 2016.
Provenance:
The papers were donated in 2019 by Leon Hecht, Robert Pincus-Witten's husband.
Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
LGBTQ+  Search this
Postmodernism  Search this
Genre/Form:
Diaries
Drawings
Interviews
Sound recordings
Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
Identifier:
AAA.pincrobe
See more items in:
Robert Pincus-Witten papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw901f20149-a4b4-48e1-99b6-38e9f74f4d40
EDAN-URL:
ead_collection:sova-aaa-pincrobe

Professional Files

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Extent:
1.5 Linear feet (Box 7-8)
Type:
Archival materials
Date:
1959-2009
Scope and Contents:
Professional files document different aspects of Pincus-Witten's career from 1973-2009. The Gagosian Gallery files date from 1989-1993 and include daily logs in memorandum format and addressed to Larry Gagosian, correspondence, lists of catalogs published by the gallery, invoices, facsimiles, transcribed journal entries, clippings, exhibition catalogs, draft essays, press releases, meeting notes, Yves Klein litigation regarding a possible fake, and a faxed photograph of Pincus-Witten and Leon Hecht. Other materials include documentation related to Pincus-Witten's travels to the 11th Annual International Sculpture Conference in 1980; a 2007 Adi Foundation Symposium in Jerusalem; the 1997 Cunard Cruise to Hamburg where Pincus-Witten gave a series of lectures; a 1995 Paris flight itinerary; an International Art Press Group to Israel in 1986; and color photographs of a trip to Washington, D.C. in circa 1990 and photographs from Israel trips taken between 1975 and 1977. There is a folder from Omni Art Co. that includes correspondence, invoices, email printouts, exhibition announcements, invitations, and a photocopied group photo; correspondence related to a post-minimalism exhibition Pincus-Witten wanted to curate at MoMA that includes correspondence between himself and Bill (William) Rubin from 1973, where they politely discuss a disagreement regarding what defines modern art; and a draft MoMA PS1 Deputy Director contract from 2003. Audiovisual materials in this series include audio recordings on sound cassettes of lectures and panel discussions featuring Pincus-Witten, a Marcel Duchamp interview by Richard Hamilton; and two sound reels of panel discussions with Pincus-Witten including "Disintegration of Minimalism" at the High Museum in 1973. Also included are photographs of Iris Clert artwork, Ray Johnson collages, Jeff Koon's "Pink Panther" in a crate, and 12 folders of reference photographs depicting artist artworks and installations including artists such as Albert Ryder, George Segal, Henry O. Tanner, Joshua Neustein, Eva Hesse, Hector Guimard, Rachel Lalique, Giorgio de Chirico, Bruce D. Kurt, Margaret Wharton, and others.
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
Identifier:
AAA.pincrobe, Series 6
See more items in:
Robert Pincus-Witten papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96905671d-37e3-4660-8e40-12be94930306
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref20

Photographs of Ray Johnson Collages

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 8, Folder 9
Type:
Archival materials
Date:
2009
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 6: Professional Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9681384a1-35b5-477c-83b1-8f027d495036
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref284

Ray Johnson

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 6, Folder 10
Type:
Archival materials
Date:
1969-1995
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 5: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96ac9035b-b722-46a5-97f1-7b48fad9b8c2
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref380

Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
70.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2010
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015 and 2021.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact 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:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Twombly, Cy

Collection Creator:
Stable Gallery  Search this
Container:
Box 2, Folder 30
Type:
Archival materials
Date:
1953-1958
Scope and Contents:
Includes photograph of the artist.
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. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
See more items in:
Stable Gallery records
Stable Gallery records / Series 2: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c409ad32-90e5-4882-9cb1-7da2f2ef213c
EDAN-URL:
ead_component:sova-aaa-stabgall-ref66
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Ray Johnson papers, 1970-1971

Creator:
Johnson, Ray, 1927-1995  Search this
Subject:
New York Correspondence School  Search this
Citation:
Ray Johnson papers, 1970-1971. Archives of American Art, Smithsonian Institution.
Topic:
Mail art  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6888
(DSI-AAA_SIRISBib)209017
AAA_collcode_johnray
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209017

Marcel Duchamp scrapbooks, 1916-1969

Creator:
Duchamp, Marcel, 1887-1968  Search this
Citation:
Marcel Duchamp scrapbooks, 1916-1969. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century  Search this
Dadaism  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7604
(DSI-AAA_SIRISBib)209766
AAA_collcode_duchmarc
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209766

Betty Esman papers, 1936-1979

Creator:
Esman, Betty, 1904-1996  Search this
Subject:
Johnson, Ray  Search this
Lipchitz, Jacques  Search this
Tamayo, Rufino  Search this
Citation:
Betty Esman papers, 1936-1979. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Mail art  Search this
Jewish artists  Search this
Women artists  Search this
Women painters  Search this
Scrapbooks  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8043
(DSI-AAA_SIRISBib)210214
AAA_collcode_esmabett
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210214

Ultra Violet papers, 1959-1969

Creator:
Ultra Vio, Ultra Violet, 1935-  Search this
Subject:
Chamberlain, John  Search this
Graham, John  Search this
Johnson, Ray  Search this
Citation:
Ultra Violet papers, 1959-1969. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9237
(DSI-AAA_SIRISBib)211432
AAA_collcode_ultrultr
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211432

Chuck Welch papers relating to mail art, 1974-2019

Creator:
Welch, Chuck, 1948-  Search this
Subject:
Johnson, Ray  Search this
Higgins, Dick  Search this
Held, John  Search this
Citation:
Chuck Welch papers relating to mail art, 1974-2019. Archives of American Art, Smithsonian Institution.
Topic:
Mail art  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22047
AAA_collcode_welcchuc
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22047

Ted and Joan Wilentz collection of Fluxus-related materials, 1963-1983

Creator:
Wilentz, Ted, 1915-2001  Search this
Wilentz, Joan  Search this
Subject:
Kaprow, Allan  Search this
Higgins, Dick  Search this
Johnson, Ray  Search this
Kostelanetz, Richard  Search this
Citation:
Ted and Joan Wilentz collection of Fluxus-related materials, 1963-1983. Archives of American Art, Smithsonian Institution.
Topic:
Fluxus (Group of artists)  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6318
(DSI-AAA_SIRISBib)224932
AAA_collcode_wileted
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_224932

Helen DeMott papers, 1896-1997

Creator:
DeMott, Helen, 1920-1997  Search this
Subject:
Bland, Celia  Search this
Chester, Alfred  Search this
Burkhardt, Rudy  Search this
Eastman, Max  Search this
Finkelstein, Miriam  Search this
Johnson, Ray  Search this
Ponsot, Marie  Search this
Rolick, Esther G.  Search this
Schloss, Edith  Search this
Wright, Clifford  Search this
Art Students League (New York, N.Y.)  Search this
Type:
Scrapbooks
Drawings
Sketches
Watercolors
Photographs
Manuscripts
Travel diaries
Poems
Notes
Video recordings
Sound recordings
Citation:
Helen DeMott papers, 1896-1997. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women authors  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)11100
(DSI-AAA_SIRISBib)243969
AAA_collcode_demohele
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_243969
Online Media:

Barbara A. Roux papers, circa 1979-2017

Creator:
Roux, Barbara A., 1946-  Search this
Subject:
Johnson, Ray  Search this
Type:
Drawings
Interviews
Video recordings
Citation:
Barbara A. Roux papers, circa 1979-2017. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women sculptors  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)11101
(DSI-AAA_SIRISBib)243971
AAA_collcode_rouxbarb
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_243971
Online Media:

Vincent Grimaldi papers, [ca. 1967-2004]

Creator:
Grimaldi, Vincent  Search this
Citation:
Vincent Grimaldi papers, [ca. 1967-2004]. Archives of American Art, Smithsonian Institution.
Theme:
Photography  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13385
(DSI-AAA_SIRISBib)256976
AAA_collcode_grimvinc
Theme:
Photography
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_256976

Jack Mitchell photographs of artists, 1966-1977

Creator:
Mitchell, Jack, 1925-2013  Search this
Citation:
Jack Mitchell photographs of artists, 1966-1977. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- Photographs  Search this
Artists -- Photographs  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)15622
(DSI-AAA_SIRISBib)281809
AAA_collcode_mitcjack
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_281809

John Evans papers, 1957-2012, bulk 1970-2012

Creator:
Evans, John, 1932-2012  Search this
Subject:
Küstermann, Peter  Search this
Leigh, Michael  Search this
Miller, David M.  Search this
Morilla, Robert  Search this
Pittore, Carlo  Search this
Plunkett, Edward M. (1922-2011)  Search this
Random, S. (Steven)  Search this
Rocola, Robert  Search this
Rosenberg, Marilyn K.  Search this
Senser, Andreas  Search this
Tavenner, Pat  Search this
Spiegelman, Lon  Search this
Tostada, John  Search this
Tisa, Benedict J.  Search this
Von der Burg, Sonja  Search this
Trianfellos, Marya  Search this
Kaufmann, Peter W.  Search this
Warren, Robert Penn  Search this
Jorgenssen, Tod  Search this
Kasnowski, Chester  Search this
Janssen, Ruud  Search this
Johnson, Ray  Search this
Held, John  Search this
Higgins, E. F.  Search this
Evans, Walt  Search this
Gaglione, Bill  Search this
Kawara, K. (Japanese)  Search this
Dorenfeld, Morris David  Search this
D'Angelo, Jerome, D.  Search this
Crozier, Robin  Search this
Cleveland, Buster  Search this
Cohen, Ryosuke  Search this
Chew, C. T. (Carl T.)  Search this
Caldera, Leslie  Search this
Bleus, Guy  Search this
Ackerman, Blaster Al  Search this
Behmenburg, Christa  Search this
Banana, Anna  Search this
Dreva, Jerry  Search this
Evans, Donald  Search this
Evans, James  Search this
Arenella, Roy  Search this
Type:
Illustrated letters
Citation:
John Evans papers, 1957-2012, bulk 1970-2012. Archives of American Art, Smithsonian Institution.
Topic:
Mail art  Search this
Collage  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)16087
(DSI-AAA_SIRISBib)361438
AAA_collcode_evanjohn
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_361438
Online Media:

Kit Schwartz interviews with artists, 1977-1978

Creator:
Schwartz, Kit  Search this
Subject:
Andre, Carl  Search this
Arman  Search this
Arneson, Robert  Search this
Charlesworth, Sarah  Search this
Graham, Dan  Search this
Johnson, Ray  Search this
Karp, Ivan C.  Search this
Kosuth, Joseph.  Search this
Paik, Nam June  Search this
Warhol, Andy  Search this
Wegman, William  Search this
Weiner, Lawrence  Search this
Marianne Deson Gallery  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Type:
Interviews
Sound recordings
Citation:
Kit Schwartz interviews with artists, 1977-1978. Archives of American Art, Smithsonian Institution.
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)16298
(DSI-AAA_SIRISBib)373776
AAA_collcode_schwkit
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_373776

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