Search Results

Author:

American Institute for Conservation of Historic and Artistic Works Objects Specialty Group Session  Search this

Physical description:

v. : ill. ; 28 cm

Type:

Congresses

Conference papers and proceedings

Date:

1994

2003

[1995-2003]

Topic:

Art objects--Conservation and restoration  Search this

Monuments--Conservation and restoration  Search this

Museum conservation methods  Search this

Call number:

N8560 .A515

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_768364

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2019-09-25T19:56:10.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_uh8PZ3qdM0M

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2011-02-03T18:50:36.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_7C8qgEYJTGo

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2010-01-20T16:48:53.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_wL7Ds-Cy3xI

Creator:

National Museum of African American History and Culture  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2022-04-21T15:08:47.000Z

YouTube Category:

Education  Search this

Topic:

African Americans  Search this

See more by:

WatchNMAAHC

Data Source:

National Museum of African American History and Culture

YouTube Channel:

WatchNMAAHC

EDAN-URL:

edanmdm:yt_McwbJNAAMTI

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2021-05-07T17:21:21.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_MLBf3orYtkY

Creator:

Tryon, Dwight William, 1849-1925  Search this

Names:

Freer, Charles Lang, 1856-1919  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Clippings

Cartes-de-visite

Photographs

Letters

Sketchbooks

Place:

New York

Hartford (Conn.)

South Dartmouth (Mass.)

Japan

Date:

1872-1930

Summary:

Dwight William Tryon (1849-1925) was a noted American landscape painter whose painting style is associated with American tonalism. His paintings gained international recognition from the 1880s through the 1920s. Charles Lang Freer was his primary patron. Tryon taught art at Smith College and became head of the Art Department. The Tryon papers, dating from circa 1872 to 1930, document Tryon's professional and personal life and include correspondence, photographs, a sketchbook, and newspaper clippings.

Scope and Contents:

The Dwight William Tryon papers span circa 1872 to 1930 and measure .5 linear feet. The collection contains: nineteen photographs, a sketchbook, a letter, and five newspaper clippings.

Arrangement:

The collection is arranged into 4 series: Series 1: Photographs, circa 1872 - 1915, no date, Series 2: Sketchbook, 1887-1888, no date, Series 3: Correspondence, June 17, 1895, Series 4: Newspaper Clippings, 1923, 1925, 1930, no date

Biographical / Historical:

American landscape painter Dwight William Tryon was born in Hartford, CT on August 13, 1849. When Tryon was about 2 years old, his father Anson Tryon was killed in a hunting accident and he was raised at his maternal grandparents' home. At the age of fourteen, Tryon began work as a machinist at Colt's Firearms Factory in Hartford to support his mother and himself. He enrolled in evening classes at Hannum's Business School and developed calligraphic skills which supplemented his income.

In 1864 Tryon became a bookkeeper and clerk at Brown and Gross, the finest booksellers in Hartford and a gathering place for local literary people such as Harriet Beecher Stowe and Mark Twain. During his ten-year appointment there, Tryon self-studied art using the bookstore's large stock in art books and made weekend sketching trips to the Connecticut River. In 1872 Tryon was appointed Secretary of the Hartford Art Association and began exhibiting his works. In 1873 he exhibited at the National Academy of Design in New York. In that year he married Alice Hepzibah Belden whom he had met in the bookstore.

In December, 1876, the Tryon family moved to Paris, France to pursue art with financial support from the Cheney family, wealthy silk manufacturers in South Manchester, CT. Tryon received formal training under Jacquesson de la Chevreuse, a Barbizon painter Charles-Francois Daubigny, and others. He also attended the École des Beaux-Arts.

On returning to the United States in 1881, Tryon took a studio in New York and taught for several years. In the following year, he became a member of the Society of American Artists. Throughout the 1880s when the Barbizon paintings were highly regarded, Tryon's French-inspired American landscape paintings received international as well as national acclaim, winning him numerous medals and awards. In 1899, Tryon was awarded the Webb prize by the Society of American Artists for The First Leaves, a recognition given annually to the best landscape painting by a young American artist. In the same year, Tryon sold his first painting to Charles Lang Freer (1854-1919), a Detroit industrialist and collector, who became Tryon's principal patron.

From 1886 to 1923, Tryon taught at Smith College, MA, as Professor of Art and took charge of the Art Department. He advised on the college's art collection and acted as the department's representative in the New York art world. Tryon resigned from the College in May 1923, and in June of the same year he received an honorary Master of Arts degree from Smith College.

In 1887, the Tryon family built a house ("The Cottage") in Padanaram, a coastal village in South Dartmouth, MA, where they would spend every year from spring to autumn until his death. In Padanaram, Tryon made sketches which he developed into paintings in his New York apartment during the winter months. Tryon also took immense pleasure in fishing and sailing in Padanaram.

In 1904, the Montross Gallery in New York held a one-man show on Tryon's painting, and in 1913 they launched Tryon's Retrospective Exhibition. In 1923, the Freer Gallery of Art opened in Washington, D. C., including a permanent collection of Tryon's paintings.

Tryon died of cancer at his summer house on July 1, 1925, at the age of 75. Upon his death, Tryon bequeathed a large number of his works to Smith College. In September of the following year, the Tryon Gallery at Smith College opened.

1849, August 1st -- Born, Hartford, CT. Son of Anson Tryon and Delia O. Roberts Tryon

[1851-1852] -- Anson Tryon is killed in a hunting accident

1863 -- Machinist at Colt's Firearms Factory, Hartford

1864 -- Begins work as a bookkeeper and clerk at Brown and Gross, Hartford

1872 -- Appointed Secretary of the Hartford Art Association

1873 -- Exhibits at the National Academy of Design

1873 -- Marries Alice Hepzibah Belden

1876-1881 -- Studies art in Paris with Jacquesson de la Chevreuse, Charles-Francois Daubigny, and at the École des Beaux-Arts

1881 -- Returns to the United States and settles in New York

1882 -- Becomes a Member of the Society of American Artists

1886-1923 -- Professor of art at Smith College, Northampton, MA

1889 -- Awarded the Webb Prize for The First Trees by the Society of American Artists

1889 -- Sells his first painting to Charles Lang Freer

1891 -- Elected Associate of the National Academy of Design

1913 -- Retrospective Exhibition

1923 -- Freer Gallery of Art opens, including a permanent collection of Tryon's paintings

1923 -- Retires from Smith College and is conferred an Honorary degree of M.A.

1925, July 1st -- Dies at his summer house in South Dartmouth, MA

1926 -- The Tryon Gallery at Smith College opens

Related Material:

Charles Lang Freer papers housed in the Freer Gallery of Art and the Arthur M. Sackler Gallery Archives include Tryon's correspondence.

Nelson and Henry C. White research material housed in the Archives of American Art include Tryon's correspondence, notes, and photographs.

Alfred Vance Churchill Papers housed in Smith College Archives include Tryon's correspondence.

The Freer Gallery of Art and Smith College Museum of Art are major repositories that house Tryon's work.

Provenance:

An anonymous donor and Linda Merrill donated Tryon's papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1989.

Restrictions:

Collection is open for research.

Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Art, American  Search this

Landscape painting  Search this

Genre/Form:

Clippings

Cartes-de-visite

Photographs

Letters

Sketchbooks

Citation:

Dwight William Tryon papers, FSA.A1989.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of an anonymous donor and Linda Merrill, 1989.

Identifier:

FSA.A1989.02

See more items in:

Dwight William Tryon Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc338443f81-d1f5-4f95-b36b-005fd5ad7d1c

EDAN-URL:

ead_collection:sova-fsa-a1989-02

Creator:

O'Connor, Francis V.  Search this

Names:

Federal Art Project  Search this

National Endowment for the Arts  Search this

United States. Work Projects Administration  Search this

United States. Works Progress Administration  Search this

Extent:

23.4 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

1920-2009

Summary:

The papers of New York art historian Francis O'Connor measure 23.4 linear feet and 0.001 GB and date from 1920-2009. Found within the papers are artist and exhibition files, questionnaires, transcripts, writings, project files, and printed and digital material that pertain to O'Connor's research and publications on the New Deal and the Federal Arts Project of the Works Progress Administration.

Scope and Contents:

The papers of New York art historian Francis O'Connor measure 23.4 linear feet and date from 1920-2009. Found within the papers are artist and exhibition files, questionnaires, transcripts, writings, project files, and printed and digital material that pertain to O'Connor's research and publications on the New Deal and the Federal Arts Project of the Works Progress Administration.

The "NCFA Library" consists of research materials collected, created, and compiled during the course of O'Connor's research project supported by the National Endowment for the Humanities for his books Federal Support for the Visual Arts (1969) and Art for the Millions (1973). Files contain administrative records, artists' files, and questionnaires and essays that document the administration of New Deal art projects. The files were collated by O'Connor into a set that remains intact.

The publications series consists of additional research and administrative materials specifically related to O'Connor's four publications on the WPA/FAP and New Deal artists: Federal Support for the Visual Arts: The New Deal and Now (1969), New Deal Art Projects: An Anthology of Memoirs (1972), Art for the Millions (1973), and Federal Art Patronage Notes (newsletter, 1974-1984).

New Deal research files are more general research materials collected by or sent to O'Connor in the course of his academic career. These include information on New Deal administrators and state specific WPA projects; photocopies of original WPA activity and reports; and New Deal scholarship, academic symposia, and conferences.

New Deal exhibitions include announcement and catalogs of contemporary New Deal art exhibitions in the U.S. from the 1960s to the 1990s. Project files are related to three publically and privately funded New Deal research projects O'Connor directed or participated in. Printed materials consists of press coverage of federal arts patronage in the United States dating from the 1960s to 2008.

Arrangement:

The collection is arranged as 6 series. There is some overlap in series reflecting O'Connor's original order.

Missing Title

Series 1: NCFA Library, 1920-1974 (6.7 linear feet; Boxes 1-7, OV 28)

Series 2: Publications, 1939-1985 (4.3 linear feet; Boxes 7-11, BV 25-26, OV 27)

Series 3: New Deal Research Files, 1930-2009 (5.6 linear feet; Boxes 11-16)

Series 4: New Deal Exhibitions, 1961-1997 (1.4 linear feet; Boxes 17-18)

Series 5: Project Files, 1935-1999 (2 linear feet; Boxes 18-20, ER01; 0.001 GB)

Series 6: Printed Material, 1963-2008 (3.4 linear feet; Boxes 20-24)

Biographical / Historical:

New York art historian and poet Francis O'Connor (1937- ) is best known for his research and writings on the New Deal art programs of the Depression and the Roosevelt Administration. O'Connor received his Ph. D. from Johns Hopkins University in 1965 and taught contemporary European and American art history at the University of Maryland from 1964 to 1970. While at Maryland, he organized the country's first comprehensive exhibition of New Deal art programs since their ending in 1943. From 1967 to 1968, he also headed a research program for the National Endowment for the Arts to analyze the effectiveness of New Deal art patronage, which eventually led to the publication of Federal Support for the Visual Arts: The New Deal and Now (1969), New Deal Art Projects: An Anthology of Memoirs (1972), Art for the Millions (1973).

In addition to his work on New Deal art patronage, throughout the 1980s and 1990s, O'Connor continued to teach and lecture at universities, consulted on federally and privately funded research projects, and published critical essays for exhibition catalogs, anthologies and academic journals. He is a member of the College Art Association, International Association of Art Critics, and founded the Association of Independent Historians of Art in 1982.

Separated Materials:

Bound assemblies of periodicals were transferred to the Smithsonian Art Libraries in 2010, which retained relevant volumes and made final decisions regarding disposition of any remaining items.

Provenance:

The papers were donated by Francis O'Connor to the National Collection of Fine Arts, now the Smithsonian American Art Museum, which subsequently transferred the papers, with O'Connor's permission, to the Archives of American Art in 1974. In 2010, O'Connor donated an additional 15.8 linear feet of papers to the Archives.

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 and born-digital records in this collection must use access copies. Contact References Services for more information.

The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.

Rights:

Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.

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  Search this

Topic:

Federal aid to the arts  Search this

New Deal, 1933-1939  Search this

Transcripts  Search this

Citation:

Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.oconfran

See more items in:

Francis V. O'Connor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw928830ed7-4840-4fdf-a797-217fa306c1e7

EDAN-URL:

ead_collection:sova-aaa-oconfran

Creator:

Goodman, Cynthia  Search this

Names:

Everson Museum of Art  Search this

Kwangju Piennalle  Search this

Hofmann, Hans, 1880-1966  Search this

Paik, Nam June, 1932-2006  Search this

Extent:

33.2 Linear feet

.340 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Moving images

Motion pictures

Sound recordings

Video recordings

Panel discussions

Lectures

Date:

circa 1944-2001

bulk 1975-1996

Summary:

The papers of curator and writer, Cynthia Goodman, date from circa circa 1944-2001, bulk 1975-1996 and measure 33.2 linear feet and .340 Gigabytes. The collection is comprised of artist files, records documenting computer and technological art, and research on Hans Hofmann and the New York School. The papers document Goodman's graduate and professional career including her studies in art history and early career writing and organizing exhibitions around Hans Hofmann and his legacy, and later her research related to the nascent computer art. The papers, organized primarily by project and artist files, include biographical material, interviews with artists, correspondence, writings, printed material, photographs and audio-visual material.

Scope and Contents:

The papers of curator and writer, Cynthia Goodman, date from circa circa 1944-2001, bulk 1975-1996 and measure 33.2 linear feet and .340 Gigabytes.

The artist file series is comprised of correspondence and promotional materials in various formats including resumes, invitations, slides, and audio-visual and born-digital portfolio submissions.

The computer and technological art series is comprised of research material, conference materials, writings, and exhibition files relating to two major exhibitions organized by Cynthia Goodman: Digital Visions: Computers and Art, Everson Museum of Art (1987), and the InfoArt Pavilion at Kwangju Biennale (1995), co-curated with artist Nam June Paik. Both shows were accompanied by exhibition catalogs, the latter in CD-ROM format, innovated as one of the first of its kind.

The Hans Hofmann and the New York School Material series consists of Goodman's early academic career studying Hofmann and his contemporaries, culminating in a PhD dissertation from University of Pennsylvania in 1982. This material includes records related to the Chester Dale Fellowship at the Metropolitan Museum of Art where Goodman worked on a catalogue raisonné for the artist. Also included are records related to the 1986 monograph on Hofmann as well as the exhibition file for a Hofmann retrospective staged at the Whitney Museum of American Art in 1990, as well as other traveling exhibitions on Hofmann and his students, as well as Fritz Bultman. Research material includes numerous original sound recordings and interviews.

Arrangement:

The collection is arranged as three series:

Series 1: Artist Files, circa 1964-2000 (13.4 Linear feet: Boxes 1-12, 33-35)

Series 2: Computer and Technological Art, circa 1960s-2001 (14.6 Linear feet: Boxes 13-26, 33-35; 0.34 Gigabytes: ER0001)

Series 3: Hans Hofmann and the New York School, circa 1944-1996 (5.2 Linear feet: Boxes 26-32, 34)

Biographical / Historical:

Cynthia Goodman is an independent curator and writer born in, and currently based in Cincinnati, Ohio. She is particularly well-known for her work with emergent art technologies, particularly those relevant to Computer Art. Cynthia Goodman received her Ph.D. in Art History from the University of Pennsylvania in 1982. She curated the traveling exhibition Digital Visions: Computers and Art , Everson Museum of Art in 1987, and the InfoArt Pavilion at Kwangju Biennale (1995), co-curated with artist Nam June Paik. Both shows were accompanied by exhibition catalogs, the latter in CD-ROM format, innovated as one of the first of its kind. Following the success of the Digital Visions Cynthia briefly taught art history and aesthetics in the Master of Fine Arts program in Computer Art at the School of Visual Arts in New York City.

Goodman's early career was devoted to her investigations into the work and legacy of artist Hans Hofmann and his contemporaries, culminating in a PhD dissertation from University of Pennsylvania in 1982. She was awarded the position of Chester Dale Fellowship at the Metropolitan Museum of Art where Goodman worked on a catalogue raisonné for the artist and towards the end of her time organized Hans Hofmann as Teacher: Drawings by His Students, Metropolitan Museum of Art, 1979. She also authored the monograph and exhibition catalog Hans Hofmann, for Abbeville Press in 1986 and organized a retrospective exhibition for the artist at the Whitney Museum of American Art in 1990.

Goodman has acted as advisor to corporations including IBM, Polaroid, and Time Warner. In addition she acted as Director of the IBM Gallery of Science and Art, New York, New York from 1987-1990. She was appointed Fellow at the Center for Advanced Visual Studies, Massachusetts Institute of Technology, she was Director of Arttransition '90, an international conference on art, science and technology.

Provenance:

The collection was donated in 2019 by Cynthia Goodman.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Curators -- Ohio -- Cincinnati  Search this

Authors -- Ohio -- Cincinnati  Search this

Topic:

Computer Art  Search this

Women authors  Search this

Abstract expressionism  Search this

Interviews  Search this

Video art  Search this

Genre/Form:

Moving images

Motion pictures

Sound recordings

Video recordings

Panel discussions

Lectures

Citation:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.goodcynt

See more items in:

Cynthia Goodman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b647b5a4-6a83-47db-bac0-73e1906029e8

EDAN-URL:

ead_collection:sova-aaa-goodcynt

Collection Creator:

Goodman, Cynthia  Search this

Extent:

14.6 Linear feet (Boxes 13-26, 33-35)

0.34 Gigabytes (ER0001)

Type:

Archival materials

Gigabytes

Date:

circa 1960s-2001

Scope and Contents:

The computer and technological art series is comprised of research material, conference materials, writings, and exhibition files relating to two major exhibitions organized by Cynthia Goodman: Digital Visions: Computers and Art, Everson Museum of Art (1987), and the InfoArt Pavilion at Kwangju Biennale (1995), co-curated with artist Nam June Paik. Both shows were accompanied by exhibition catalogs, the latter in CD-ROM format, innovated as one of the first of its kind.

Arrangement:

The series is arranged as eight subseries:

2.1: Exhibitions, circa 1980-1997

2.2: Conferences, circa 1982-2001

2.3: Correspondence, General, circa 1980s-2000

2.4: Research Material, circa 1960s-1998

2.5: Writings, circa 1970-1999

2.6: Teaching, circa 1986-1988

2.7: Printed Material, circa 1964-2001

2.8: Photographic Material, circa 1970-1999

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 born-digital records or 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:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.goodcynt, Series 2

See more items in:

Cynthia Goodman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99baa74f3-bc23-4f73-a0ce-da0eb75bb6ae

EDAN-URL:

ead_component:sova-aaa-goodcynt-ref28

Collection Creator:

Goodman, Cynthia  Search this

Extent:

1 Sound cassette

Container:

Box 35, Item 15

Type:

Archival materials

Sound cassettes

Date:

circa 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 born-digital records or 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:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

See more items in:

Cynthia Goodman papers

Cynthia Goodman papers / Series 2: Computer and Technological Art / 2.2: Conferences

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a6df7d77-91b7-4a06-9748-8687d4f1279e

EDAN-URL:

ead_component:sova-aaa-goodcynt-ref438

Collection Creator:

Goodman, Cynthia  Search this

Extent:

2 Sound cassettes

Container:

Box 35, Item 16

Type:

Archival materials

Sound cassettes

Date:

1985 April 14-18

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 born-digital records or 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:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

See more items in:

Cynthia Goodman papers

Cynthia Goodman papers / Series 2: Computer and Technological Art / 2.2: Conferences

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aec805ee-8b0a-414d-a779-73ab1de7ae7c

EDAN-URL:

ead_component:sova-aaa-goodcynt-ref439

Collection Creator:

Goodman, Cynthia  Search this

Extent:

1 Sound cassette

Container:

Box 34, Item 17

Type:

Archival materials

Sound cassettes

Date:

circa 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 born-digital records or 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:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

See more items in:

Cynthia Goodman papers

Cynthia Goodman papers / Series 2: Computer and Technological Art / 2.2: Conferences

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ce94f373-a039-400d-8f69-10668d22c83f

EDAN-URL:

ead_component:sova-aaa-goodcynt-ref440

Collection Creator:

Goodman, Cynthia  Search this

Extent:

1 Sound cassette

Container:

Box 34, Item 18

Type:

Archival materials

Sound cassettes

Date:

circa 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 born-digital records or 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:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

See more items in:

Cynthia Goodman papers

Cynthia Goodman papers / Series 2: Computer and Technological Art / 2.2: Conferences

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96bbb2384-0e6c-4f2b-9bcd-26bffba6f2c1

EDAN-URL:

ead_component:sova-aaa-goodcynt-ref441

Creator:

White, Charles (1918-1979)  Search this

Names:

Belafonte Enterprises  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Barthé, Richmond, 1901-1989  Search this

Catlett, Elizabeth, 1915-2012  Search this

White, Frances Barrett  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Scrapbooks

Date:

1933-1987

bulk 1960s-1970s

Summary:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Scope and Contents:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)

Biographical / Historical:

Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.

Related Materials:

The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.

Separated Materials:

The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.

Provenance:

Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.

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:

Painters -- California -- Los Angeles  Search this

Printmakers -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Genre/Form:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

Identifier:

AAA.whitchar

See more items in:

Charles W. White papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648

EDAN-URL:

ead_collection:sova-aaa-whitchar

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2010-01-22T15:51:45.000Z

YouTube Category:

Music  Search this

See more by:

SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_IkcKJzpjaO0

Artist:

Rethi, Lili, 1894-1969  Search this

Extent:

8 Cubic feet (21 boxes, 8 map folders)

Type:

Collection descriptions

Archival materials

Bookplates

Books

Christmas cards

Drawings

Newspaper clippings

Photographs

Transcripts

Watercolor drawings

Date:

1918-1969

Summary:

Papers document artist and illustrator Lili Réthi who was best known for her drawings of industrial subjects such as bridges, construction scenes and mines.

Scope and Contents:

Drawings, sketches, watercolors, biographical material, photographs, printed material, correspondence and books relating to the career of artist and illustrator Lili Réthi. The bulk of the collection consists of originals and copies of Réthi's drawings and sketches for various projects in Europe and the United States.

Arrangement:

The collection is arranged into five series.

Series 1: Biographical Materials, 1928-1968

Series 2: Projects, 1918-1969

Series 3: Exhibits, 1940-1943, 1965

Series 4: Portraits, 1919-1965

Series 5: Illustrated Books, 1916-1969

Biographical / Historical:

Lilly (Lili) Maria Réthi (1894-1969) was born in Vienna, Austria to Leopold Réthi (1857-1924), a professor of medicine and Marie née Mauther (1863-1955). Réthi had one sister, Elizabeth "Elsie" (1889-1970). Lili attended the Viennese Kunstschule für Frauen und Mädchen (The Art School for Women and Girls), established in 1897. The school existed until 1945, but it closed to Jewish women artists in 1938, when the school was subordinated to the municipality of Vienna and used to inculcate Nazi ideology. (Ben-Eli, 1999). Réthi learned to sketch the human form at the Vienna Anatomical Institute—training, no doubt, that her physician father encouraged. This training, which sharpened her sense of form and function, helped her later when drawing complicated machinery and illustrating Victor Hecht's book, Leitfaden der Physikalisch-Therapeutischen, (Guide to Physical Therapy, 1916). Réthi became fascinated with construction at a young age. "When I was a little girl in Vienna, I used to take walks and watch men building houses. I was fascinated by the men working as well as the excitement of watching the building grow." (Constructor, December 1967, page 25) Her burgeoning interest would grow, and she became one of the best-known illustrators of engineering, construction, and industrial sites. She was named a Royal Society of Art Fellow in 1961.

During the inter-war years (1918-1939) Réthi interrupted her academic studies to work across Europe, illustrating sites in Austria, Belgium, Czechoslovakia, Denmark, France, Germany, the Netherlands, and Switzerland. The bulk of her work captured coal mines, coal yards, factories, chemical plants, blast furnaces, iron foundries, shipyards, steel production, buildings, aircraft, and bridges.

In 1929, Réthi moved to Berlin where she worked recording engineering projects and was an illustrator for the magazine "Der Bücherkreis" (Book Circle). She illustrated many of the "Dortmunder Union" activities during this period. The Union, a vertically integrated mining group (mining and iron and steel production), was founded in 1872 and was located in the Ruhr area of Germany. This work for the Union resulted in an exhibition in Berlin at the Verein Deutscher Ingenieure (1931) and "Wien- Berlin: Das Gesicht zwei Städte" (Vienna and Berlin: The Face of Two Cities") (1932); at the World Power Conference in Stockholm (1933); and the Technical Museum of Vienna (1934). While in the Ruhr, Rethi documented workers, elevating their significance as subjects in their own right. She recorded the working conditions, many of which depicted harsh and dangerous physical labor. Her published work Germinal (1924) highlighted, through seven lithographs, the terrible conditions in French mines. Her work with the Union provided exposure and elevated her growing artistic status, especially with the Third Reich. With war imminent in Europe, the erosion of her personal rights as a Jewish woman, and a commission invitation by Hermann Göring to create propaganda images for the Nazi Regime, she left for England, never to return to her homeland in Austria.

Her portfolio of work is immense and while she primarily focused on engineering, industrial and construction sites, trade publications, industry magazines and newspapers, she branched into other areas. She illustrated the German version of Upton Sinclair´s Letters to Judd, an American Workingman (Briefe an einen Arbeiter, Leipzig- Wien, 1932) and was widely published in Austrian, Danish and German newspapers such as Aften-Avisen, Bergland Wien, Børsen, Der Welt Spiegel, Beitbilder, and VDI Nachrichten. Later projects included books, primarily for children, commissions to sketch churches, portraits of individuals, illustrated book plates, pamphlets, and Christmas cards. Catholic entities such as St. John the Divine and the Capuchin Friars in New York, also sought her services to sketch church interiors and illustrate brochures. And, in 1950, Réthi sketched the interior renovation (1948-1952) of the White House during the Truman Administration.

The Illustrated London News hired Réthi in 1937 to sketch the coronation of King George. While in England, she also created sketches for a booklet issued by the London, North Eastern Railway (L.N.E.R.) posters for the London, Midland and Scottish Railway (L.M.S.) and the General Post Office (GPO): Post Office Motor Transport Depot (1937); the Post Office Underground Mail Train (1935); and LMS Crewe Works, Building Coronation Class Engine (1937). The Illustrated London News sent her to the 1939 New York World's Fair where her introduction and love of New York City was launched. Réthi arrived in the United States on March 23, 1939, and became a citizen in 1944.

In the United States, Réthi continued illustrating engineering and construction activities, many of which were major post war projects. Réthi was attracted to the great industrial scene of 1940s America, and New York City provided a fertile location for most of her projects. The first public showing of her work in the United States was at the Architectural League of New York (1940) and her "American Industry at War" exhibit was held at the Metropolitan Museum of Art (1943). She documented some of the most significant projects in North America such as the New York City Pavilion at the World's Fair (1964), the United Nations Building (1949), the Pan Am Building (1962), Pennsylvania Station (1965), and the World Trade Center (1967-1968).

She had commissions from Surveyer, Nenniger & Chênevert (an engineering and construction firm that used her images on company Christmas cards), Sperry Gyroscope Company, U.S. Tobacco Company, Turner Construction, Walsh Construction, Atlas Steel Plant, Bliss Manufacturing, George A. Fuller Company, Standard Chemicals, and the United States Pipe and Foundry Company, to name a few.

Réthi also worked with several book publishers, especially, McGraw-Hill and Harcourt Brace. She illustrated over 40 books, many for children. Her work also appeared on the covers of many trade publications and magazines such as Pencil Points, Service, Factory, Product Engineering, and the Journal of the American Society of Automotive Engineers. Réthi was one of a few, if not the only female artist who devoted her career to portraying engineering works.

Related Materials:

Materials at the Smithsonian Institution

Archives Center, National Museum of American History

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

Contains negatives and prints of drawings for the Verranzo-Narrows Bridge, New York, New York

Smithsonian Instituton Archives

Records, circa 1948-1988

Contains documentation about a Lili Réthi exhibit, 1964-1965, curated by the then Museum of the History of Technology.

Archives of American Art

Associated American Artists Records, circa 1934-1983

Includes three file folders in the Series: Artists Files about Lili Réthi.

Materials at Other Organizations

Hagley Museum and Library

Sperry Gyroscope Company Division photographs and films (1986-273)

Contains Lili Réthi graphic arts, 1943, consisting of 24 reproductions.

Provenance:

The collection was bequeathed by Lili Réthi to the United States National Museum (now known as the National Museum of American History) through Herbert G. Fenison in 1971.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Occupation:

Artists  Search this

Book illustrators  Search this

Illustrators  Search this

Topic:

Bridges  Search this

Buildings  Search this

Construction  Search this

Construction and civil engineering  Search this

Engineering -- 20th century  Search this

Illustrated books, Children's  Search this

Women artists -- United States  Search this

Genre/Form:

Bookplates

Books -- 20th century

Christmas cards

Drawings -- 20th century

Newspaper clippings

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Transcripts -- 20th century

Watercolor drawings

Citation:

Lili Réthi Papers, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0749

See more items in:

Lili Réthi Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep876ee6154-c5e2-4c2f-a217-9c4044b6a002

EDAN-URL:

ead_collection:sova-nmah-ac-0749

Editor:

Canepa, Matthew P. 1975-  Search this

Issuing body:

Getty Research Institute  Search this

Physical description:

287 pages color illustrations, color maps 26 cm

Type:

Books

Congresses

Congrès

Place:

Iran

Date:

2024

Topic:

Civilization  Search this

Relations  Search this

History  Search this

Antiquities  Search this

Civilisation  Search this

Histoire  Search this

Antiquités  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1165960

Artist:

Ireland, David, 1930-2009  Search this

Names:

American Academy in Rome  Search this

Arts Club of Chicago  Search this

California College of Arts and Crafts (San Francisco, Calif.)  Search this

Center for the Arts at Yerba Buena Gardens  Search this

Gallery Paule Anglim  Search this

Helmhaus Zürich  Search this

Mattress Factory  Search this

New Museum of Contemporary Art (New York, N.Y.)  Search this

Perth Institute of Contemporary Arts  Search this

San Francisco Art Institute  Search this

San Francisco Museum of Modern Art  Search this

Skowhegan School of Painting and Sculpture  Search this

Stanford University  Search this

Walker Art Center  Search this

Washington State Arts Commission  Search this

Western Washington University  Search this

Coppola, Eleanor  Search this

Grobart, Jeffrey  Search this

Lee, Margie  Search this

Lienhard, Marie-Louise  Search this

Marion, Paul  Search this

Tingle, Alta  Search this

Extent:

24.8 Linear feet

8.39 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Sketches

Interviews

Prints

Sound recordings

Drawings

Photographs

Date:

circa 1910s-circa 2009

bulk 1960-2005

Summary:

The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.

Scope and Contents:

The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.

Arrangement:

This collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)

Biographical / Historical:

David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.

Provenance:

The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

Sculptors -- California -- San Francisco  Search this

Conceptual artists -- California -- San Francisco  Search this

Topic:

Artists' studios -- Photographs  Search this

Art -- Study and teaching  Search this

Installations (Art)  Search this

Public art  Search this

Genre/Form:

Video recordings

Sketches

Interviews

Prints

Sound recordings

Drawings

Photographs

Citation:

David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by The David Ireland Revocable Trust.

Identifier:

AAA.ireldavi

See more items in:

David Ireland Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw927567772-c71f-4f30-a427-adbd535e1009

EDAN-URL:

ead_collection:sova-aaa-ireldavi

Creator:

Smithsonian Latino Center  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2017-11-27T22:16:16.000Z

YouTube Category:

Education  Search this

Topic:

Latinos  Search this

See more by:

TheLatinoCenter

Data Source:

Smithsonian Latino Center

YouTube Channel:

TheLatinoCenter

EDAN-URL:

edanmdm:yt_8Pt4AimTccE