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Design for a Stained Glass Window: Grammatica

Artist:
Hans Kaspar Lang the Elder, Swiss, 1571 – 1645  Search this
Medium:
Pen and brown ink, brown wash
Type:
glasswares
Drawing
Object Name:
Drawing
Date:
1606
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1911-28-129
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1911-28-129

Unique Align Scoliosis Brace, process

Medium:
Video
Type:
Exhibitions
Video
Object Name:
Video
Accession Number:
s-e-2277
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Exhibitions Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_s-e-2277

Fossil whale excavation site MPC 675

Collector:
Museo Paleontologico de Caldera, Chile  Search this
Site Name:
Cerro Ballena
Taxonony:
Vertebrata, Mammalia, Eutheria, Cetacea, Mysticeti
Field Identifier:
MPC 675
Data Source:
NMNH - Paleobiology Dept.
EDAN-URL:
edanmdm:dpo_3d_200020

Oral history interview with William Morris

Interviewee:
Morris, William, 1957-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
California State University, Chico -- Students  Search this
Central Washington University -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Pilchuck Glass Center (Stanwood, Wash.)  Search this
San Carlos Borromeo Basilica (Carmel, Calif.)  Search this
Benaroya, Jack, 1921-2012  Search this
Benaroya, Rebecca  Search this
Campbell, Joseph, 1904-1987  Search this
Carpenter, James, 1949-  Search this
Chihuly, Dale, 1941-  Search this
Demarco, Ricky  Search this
Graves, Nancy Stevenson, 1940-1995  Search this
Hauberg, John H. (John Henry), 1916-  Search this
Hydman-Vallien, Ulrica, 1938-2018  Search this
Jung, C. G. (Carl Gustav), 1875-1961  Search this
Karan, Donna, 1948-  Search this
Kirkpatrick, Joey  Search this
Libenský, Stanislav, 1921-2002  Search this
Lipofsky, Marvin, 1938-2016  Search this
Lipski, Donald, 1947-  Search this
Mace, Flora, 1949-  Search this
Marioni, Dante, 1964-  Search this
Moore, Benjamin P.  Search this
Oppenheim, Dennis, 1938-2011  Search this
Pfaff, Judy, 1946-  Search this
Saxe, Dorothy  Search this
Saxe, George  Search this
Scanga, Italo, 1932-2001  Search this
Seguso, Livio, 1930-  Search this
Signoretto, Pino, 1944-  Search this
Smith, Kiki, 1954-  Search this
Stroemple, George R.  Search this
Tagliapietra, Lino  Search this
Vallien, Bertil, 1938-  Search this
Extent:
7 Items (Sound recording: 7 wav files (5 hr., 5min.), digital)
105 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
British Isles -- Description and Travel
Date:
2009 July 13-14
Scope and Contents:
An interview of William Morris conducted 2009 July 13-14, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Morris' home, in Stanwood, Washington.
William Morris speaks of his decision to stop working in glass in 2005; his deep connection to the natural world; working now with stone; the longstanding theme of man and nature in his work; his influence on the studio glass movement; use of installations; relationship to the greater art world; Cache [1993]; the importance of working in a team, particularly with Jon Ormbrek; studio practice and philosophy of working in the studio; series Man Adorned and first use of the human form; how his work evolves artistically; the influence of his travels on his work and his particular affinity for Mesoamerican culture; the process of choosing his subjects; growing up in Carmel, California, and frequenting the museum at the Carmel Mission Basilica; his early fascination with Native American artifacts and history in the museum; childhood spent hiking in the hills around Carmel and youth spent camping and rock-climbing; art instruction during childhood; ceramics work in high school; introduction to ideas of Carl Jung and Joseph Campbell by his high school teacher, Lloyd Baskerville; undergraduate work at California State University, Chico, working with Vernon Patrick; first experience with glass in high school, through the Fort Ord military base crafts department; brief studies at Central Washington University in Ellensburg, Washington; arriving at Pilchuck Glass School, Stanwood, Washington, in 1977 as a shop assistant/maintenance person; his first encounter with Dale Chihuly; 10 years as Chihuly's main assistant and de facto apprenticeship; his greater overall technical education at Pilchuck; the development of his own team as he continued to work with Chihuly; working with Chihuly and Italo Scanga; the synergy of working in a group and artistic cross-pollination at Pilchuck; the influence and mentorship of Judy Pfaff; working with Italian glass masters at Pilchuck; the influence of Pino Signoretto; his trip with Chihuly to the British Isles, which inspired his series Stone Vessels and series Standing Stones in the mid-1980s; his practice of working in series; series Petroglyph Vessels, and the beginning of narrative in his work; the importance of naiveté, experimentation, and a "confidence in innocence"; series Artifacts; the influence of Donald Lipski on Morris' installations; series Burial Urns and series Burial Rafts; series Canopic Jars; commissions for George Stroemple; the genesis of the series Rhyton; the transcendental/mythic qualities in his work; series Crow and Raven; more discussion of series Man Adorned; series Rattles; collaboration with fashion designer Donna Karan; the importance of glass as a material, and the importance of "play"; the value of an apprentice-type program; his work in bronze and with Nancy Graves; series Cinerary Urns and coming to terms with the deaths of close friends; series Mazorca; series Idolo and Idolito; series Native Species (2006); series Fish Traps; more discussion of his decision to leave glassworking; documentary film Creative Nature, 2008; "Myth, Object, and the Animal" exhibition; the adventurous spirit of the American studio glass movement, particularly in the early years; his preference for short workshops rather than longer teaching sessions; the aesthetic continuity of his work throughout his career; his appreciation of the community of collectors of glass art. He also recalls Ken Wiese, Robert and Terrie Kvenild, Bertil and Ulrica Vallien, Gary Galbraith, Stan Price, Dennis Oppenheim, Kiki Smith, Dante Marioni, Livio Seguso, Marvin Lipofsky, Benjamin Moore, Jamie Carpenter, Checco Ongaro, Lino Tagliapietra, Ricky DeMarco, Flora Mace, Joey Kirkpatrick, Trumaine Mason, Karen Willenbrink, Ross Richmond, Randy Walker, John Hauberg, Stanislav Libenský, Graham Graham, Charlie Cowles, George and Dorothy Saxe, and Jack and Rebecca Benaroya.
Biographical / Historical:
William Morris (1957- ) is a glass artist in Stanwood, Washington.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 5 hr., 5 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art -- Study and teaching  Search this
Ceramics -- Study and teaching  Search this
Glass artists -- Washington (State) -- Interviews  Search this
Sculptors -- Washington (State) -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.morris09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-morris09

Jackson Pollock and Lee Krasner papers

Creator:
Pollock, Jackson, 1912-1956  Search this
Krasner, Lee, 1908-1984  Search this
Names:
Betty Parsons Gallery  Search this
Martha Jackson Gallery  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cavaliere, Barbara  Search this
Davis, Bill  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Eames, Ray  Search this
Forge, Andrew  Search this
Friedman, B. H. (Bernard Harper), 1926-  Search this
Glaser, Jane R.  Search this
Gray, Cleve  Search this
Greenberg, Clement, 1909-1994  Search this
Gruen, John  Search this
Holmes, Doloris  Search this
Isaacs, Reginald R., 1911-  Search this
Janis, Sidney, 1896-  Search this
Johnson, Philip, 1906-2005  Search this
Kadish, Reuben, 1913-1992  Search this
Maddox, Charles  Search this
Matter, Mercedes  Search this
McCoy, Sanford, Mrs.  Search this
Miller, Daniel  Search this
Miller, Robert, 1932 Apr. 17-  Search this
Motherwell, Robert  Search this
Namuth, Hans  Search this
Ossorio, Alfonso, 1916-1990  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rose, Barbara  Search this
Rouche, Burton  Search this
Smith, Tony, 1912-  Search this
Still, Clyfford, 1904-  Search this
Valliere, James  Search this
Wasserman, Tamara E.  Search this
Wright, William  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
16.1 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Date:
circa 1914-1984
bulk 1942-1984
Summary:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.

The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.

James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.

Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.

Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.

There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.

Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.

Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:

Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)

Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.

In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.

In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.

Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.

In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.

For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Jackson Pollock and Lee Krasner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Economic aspects  Search this
Abstract expressionism  Search this
Painters -- New York (State)  Search this
Genre/Form:
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.polljack
See more items in:
Jackson Pollock and Lee Krasner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-polljack
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Charles Hoffbauer papers

Creator:
Hoffbauer, Charles, 1875-1957  Search this
Names:
Jefferson Memorial (Washington, D.C.)  Search this
Schweitzer Gallery  Search this
Walt Disney Productions  Search this
Extent:
6.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1891-1975
Summary:
The papers of painter Charles Hoffbauer measure 6.5 linear feet and date from 1891 to 1975. The papers document his career through biographical material, correspondence, writings and notes, personal business records, printed materials, and photographic materials.
Scope and Contents:
The papers of painter Charles Hoffbauer measure 6.5 linear feet and date from 1891 to 1975. The papers document his career through biographical material, correspondence, writings and notes, personal business records, printed materials, and photographic materials.

Biographical materials include biographical sketches, certificates and awards, diary excerpts, French Ministry of Foreign Affairs documents, and other records. Correspondence is with family and colleagues, including letters from Rudulph Evans describing work on the Jefferson Memorial statue, letters relating to Hoffbauer's military service during World War I, and other letters regarding murals. Writings and notes include notebooks, drafts, manuscripts, photographs of artwork, and other material for "The Incredible Prophecy," "Napoleon's Russian Campaign," and "War and Peace." Personal business records consist of inventories and price lists, project and exhibition files, business files for Schweitzer Gallery and Walt Disney Productions, and studio records. Booklets, clippings, exhibition announcements and catalogs, a scrapbook, and other printed materials document Hoffbauer and his career. Photographic materials include slides, glass slides and negatives, and vintage photographs of Hoffbauer, friends and family, Europe and World War I, and works of art.
Arrangement:
The collection is arranged as six series.

Series 1: Biographical Materials, 1898-circa 1950s (0.3 linear feet; Box 1, OV 8)

Series 2: Correspondence, 1891-1974 (2.0 linear feet; Boxes 1-3)

Series 3: Writings and Notes, circa 1908-circa 1955 (1.0 linear feet; Boxes 3-4, 7)

Series 4: Personal Business Records, 1912-1975 (0.6 linear feet; Box 4)

Series 5: Printed Materials, circa 1905-1967 (0.8 linear feet; Boxes 5, 7, OV 9)

Series 6: Photographic Materials, 1893-circa 1970 (1.8 linear feet; Boxes 5-7)
Biographical / Historical:
Charles Hoffbauer (1875-1957) was a painter primarily in Paris, France, and New York, NY.

Hoffbauer was born in Paris and came to the United States in 1909 and established himself in the New York art community. Eventually, he became represented by the Knoedler Galleries and maintained a close, professional relationship with Roland Knoedler throughout his life. Before moving to the U.S., Hoffbauer attended the École des Beaux-Arts in Paris for three years before entering mandatory military service in Normandy. Once his military duty was fulfilled in 1897, he returned to Paris to begin his career as an artist. Years later he returned to France to fight in World War I.

Hoffbauer produced murals for the Confederate Memorial Institute, Missouri State Capitol, Arras town hall in France, New England Life Insurance Company, and Hayden Planetarium. In the 1930s, he proposed the idea of an animated, historical film based on Napoleon's invasion of Russia in 1812 to Walt Disney. Hoffbauer prepared a set of paintings titled "Napoleon's Russian Campaign" to support this idea. Disney declined to make the film, however he hired Hoffbauer as a research artist and remained at Disney for several years.

Hoffbauer died in Boston in 1957.
Provenance:
The Charles Hoffbauer papers were donated in 1977-1978 by Joseph Gropper, except for correspondence dated 1905-1957, which was donated in 1978 by Lewis Gelbert.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- France -- Paris  Search this
Topic:
World War, 1914-1918  Search this
Mural painting and decoration  Search this
Genre/Form:
Scrapbooks
Citation:
Charles Hoffbauer papers, 1891-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hoffchar
See more items in:
Charles Hoffbauer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hoffchar

Oral history interview with Alanna Heiss

Interviewee:
Heiss, Alanna  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Biennale di Venezia  Search this
Clocktower Gallery  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Institute for Art and Urban Resources  Search this
Lawrence University  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New Museum (New York, N.Y.)  Search this
P.S. 1 Contemporary Art Center  Search this
University of Chicago -- Students  Search this
Callahan, Harry M.  Search this
Finkelpearl, Tom  Search this
Gill, Brendan, 1914-1997  Search this
Highstein, Jene, 1942-2013  Search this
Matta-Clark, Gordon, 1943-1978  Search this
Nonas, Richard, 1936-  Search this
Extent:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2010 June 15-October 28
Scope and Contents:
An interview of Alanna Heiss conducted 2010 June 15 and October 28, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Art International Radio, on Leonard Street, in New York, New York.
Heiss speaks of the Clocktower Gallery and the AIR offices; New York galleries and museums and the economic depression of the 1970s; art shows in Germany, France, Switzerland, and England and the role of foreign and West Coast curators in New York shows during the 1960s; founding the Institute for Art and Urban Resources with Brendan Gill; her lack of interest in collecting and the problems she feels it poses for organizations showing art; her attitudes about displaying art in the 1970s; growing up in a small town in Southern Illinois; spending summers as a child in South Dakota; her musical training; art in relation to Midwestern cultural values; her work on the exhibition "Stalin's Choice: Soviet Socialist Realism, 1932-1956" in 1993; her degree in music and the philosophy of aesthetics from Lawrence University; taking classes at the University of Chicago; moving to New York and deciding to focus on visual arts; her time in Europe and the various jobs she took while abroad including teaching, inspecting monuments for the Society for Ancient Buildings and Monuments, writing about animals, selling and transporting used cars, and serving as an artist liaison; and the exhibitions she saw during her travels.
Heiss also discusses trips she made across the United States after returning from Europe; working as a band road crew manger; her work in 1993 on the John Cage tribute show for the Venice Biennale called "Il Suono Rapido delle Cose" and the album produced in conjunction with the show called Caged/Uncaged - A Rock/Experimental Homage To John Cage; her marriage to the artist Jene Highstein and their friendships with the artists Richard Nonas and Gordon Matta-Clark; her return to New York from Europe around 1970 and her use of old or abandoned real estate as locations for contemporary art exhibitions; her first show, "Under the Brooklyn Bridge" in 1971; founding PS1; her work as a parole officer and her exposure to the culture of Harlem; the various shows held at PS1; urban art spaces in New York including the New Museum and the Coney Island Sculpture Museum; her exhibition space on Bleecker Street in New York; her disenchantment with the idea of community art; her work with Tom Finkelpearl; the way she publicized exhibitions; the underground culture of the 1970s; and the relationship between the Museum of Modern Art and PS1 and their eventual merger.
Biographical / Historical:
Alanna Heiss (1943-) is director of Art International Radio in New York, New York. James McElhinney (1952-) is an artist and educator in New York, New York.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 39 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Teachers  Search this
Topic:
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Gallery directors -- New York (State) -- New York -- Interviews  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.heiss10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-heiss10

Are Giraffes Doomed to Be Struck by Lightning Because of Their Height?

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Thu, 24 Sep 2020 17:45:32 +0000
Topic:
Custom RSS  Search this
See more posts:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_b9b5c7845728a3ee7f9ccb95e2dba74f

East Baltimore Documentary Survey Project

Artist:
Elinor Cahn, born 1925  Search this
Medium:
gelatin silver print
Dimensions:
image: 7 1/8 × 7 1/8 in. (18.1 × 18.1 cm) sheet: 10 × 8 in. (25.4 × 20.3 cm)
Type:
Photography-Photoprint
Date:
ca. 1975
Topic:
Figure group  Search this
Dress\accessory\eye wear  Search this
Animal\dog\terrier  Search this
Object\furniture\mirror  Search this
Architecture Interior\detail\window  Search this
Object\furniture\couch  Search this
Architecture Interior\domestic\living room  Search this
Credit Line:
Smithsonian American Art Museum, Transfer from the National Endowment for the Arts
Object number:
1983.63.288
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk70230456a-030b-4814-a821-9cd4bdb49f69
EDAN-URL:
edanmdm:saam_1983.63.288

E.O. Wilson, Ant Sculpture

Associated Person:
Edward Osborne Wilson, born 10 Jun 1929  Search this
Medium:
Unknown metal, wood
Dimensions:
22.5 × 34.3 × 15.2 cm (8 7/8 × 13 1/2 × 6")
Base: 5.4 × 30.2 × 20.6 cm (2 1/8 × 11 7/8 × 8 1/8")
Type:
Artifact
Date:
c. 1989
Topic:
Nature & Environment\Animal  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Ian M. and Annette P. Cumming
Object number:
AD/NPG.2019.3
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4d1f90c91-3015-4706-b31b-3c125e067110
EDAN-URL:
edanmdm:npg_AD_NPG.2019.3

Heavy Weights - Arrival of a Party at League Island

Artist:
John Osler, active mid-1800s  Search this
Sitter:
Mary Bird, active 1856  Search this
Isaac Forman, active 1856  Search this
Sophia Gray, active 1856  Search this
Henry Gray, active 1856  Search this
Mary Gray, active 1856  Search this
Rebecca Lewey, active 1856  Search this
Sarah Saunders, active 1856  Search this
Winfield Scott, active 1856  Search this
William Seymour, active 1856  Search this
Harriet Taylor, active 1856  Search this
Henry Williams, active 1856  Search this
Medium:
Engraving on paper
Dimensions:
Book closed: 24.4 × 17.5 × 5.8 cm (9 5/8 × 6 7/8 × 2 5/16")
Book open: 24.4 × 31.6 × 5.8 cm (9 5/8 × 12 7/16 × 2 5/16")
Type:
Print
Date:
1872
Topic:
Nature & Environment\Plant\Tree  Search this
Nature & Environment\Animal\Horse  Search this
Vehicle\Boat  Search this
Equipment\Rope  Search this
Nature & Environment\Water\River  Search this
Vehicle\Carriage  Search this
Book  Search this
Exterior\Waterscape\Riverscape  Search this
Isaac Forman: Male  Search this
Mary Bird: Female  Search this
Sophia Gray: Distinction  Search this
Sophia Gray: Female  Search this
Henry Gray: Distinction  Search this
Henry Gray: Male  Search this
Mary Gray: Distinction  Search this
Mary Gray: Female  Search this
Rebecca Lewey: Distinction  Search this
Rebecca Lewey: Female  Search this
Sarah Saunders: Female  Search this
Winfield Scott: Male  Search this
William Seymour: Male  Search this
Harriet Taylor: Female  Search this
Henry Williams: Male  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.2018.89.43
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4796d5a33-18d7-4b16-af0d-e4adde4ab071
EDAN-URL:
edanmdm:npg_S_NPG.2018.89.43

Plays of Negro Life: A Source-Book of Native American Drama

Published by:
Harper & Brothers, American, 1817 - 1962  Search this
Illustrated by:
Aaron Douglas, American, 1899 - 1979  Search this
Edited by:
Alain LeRoy Locke, American, 1885 - 1954  Search this
Thomas Montgomery Gregory, American, 1887 - 1971  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 8 7/8 × 6 1/8 × 1 1/2 in. (22.5 × 15.5 × 3.8 cm)
H x W x D (closed): 8 13/16 × 6 1/4 × 1 5/8 in. (22.4 × 15.9 × 4.1 cm)
Type:
hardcover books
Date:
1927
Topic:
African American  Search this
Drama (Theatre)  Search this
Literature  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.53.5
Restrictions & Rights:
© Aaron Douglas Foundation/Licensed by Visual Artists & Galleries Association, Inc (VAGA), New York, NY. Permission required for use.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd52fafe156-a30e-4a15-a0a9-887bf0be06c6
EDAN-URL:
edanmdm:nmaahc_2014.53.5
Online Media:

Garment hook (daigou) with animals and logenzes

Medium:
Bronze with gilding, and silver and turqoise (?) inlay
Dimensions:
H x W x D (overall): 1 x 13.9 x 1.9 cm (3/8 x 5 1/2 x 3/4 in)
Type:
Metalwork
Jewelry and Ornament
Origin:
China
Date:
770-221 BCE
Period:
Eastern Zhou dynasty
Topic:
animal  Search this
Eastern Zhou dynasty (770 - 221 BCE)  Search this
inlay  Search this
casting  Search this
China  Search this
Chinese Art  Search this
gilding  Search this
Paul Singer collection  Search this
Credit Line:
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and Humanities, and the Children of Arthur M. Sackler
Accession Number:
S2012.9.2341
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3d90df2f8-f573-4653-a9ac-0770566e199d
EDAN-URL:
edanmdm:fsg_S2012.9.2341

Bead, perforated, shape of animal

Medium:
Amber (?)
Dimensions:
H x W x D (overall): 0.9 x 1.6 x 0.7 cm (3/8 x 5/8 x 1/4 in)
Type:
Jewelry and Ornament
Origin:
China
Date:
770 BCE-9 CE
Period:
Eastern Zhou to Western Han dynasty
Topic:
Eastern Zhou dynasty (770 - 221 BCE)  Search this
Western Han dynasty (206 BCE - 9 CE)  Search this
China  Search this
Chinese Art  Search this
Credit Line:
Gift of the John Hadley Cox Archaeological Study Collection
Accession Number:
FSC-O-42
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3c88c1633-3611-4e26-b27b-d259dd891b05
EDAN-URL:
edanmdm:fsg_FSC-O-42

Bead, perforated, shape of animal

Medium:
Amber (?)
Dimensions:
H x W x D (overall): 1.3 x 1.8 x 0.7 cm (1/2 x 11/16 x 1/4 in)
Type:
Jewelry and Ornament
Origin:
China
Date:
770 BCE-9 CE
Period:
Eastern Zhou to Western Han dynasty
Topic:
Eastern Zhou dynasty (770 - 221 BCE)  Search this
Western Han dynasty (206 BCE - 9 CE)  Search this
China  Search this
Chinese Art  Search this
Credit Line:
Gift of the John Hadley Cox Archaeological Study Collection
Accession Number:
FSC-O-43
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye330662b8f-e551-496f-a38e-def2484358b6
EDAN-URL:
edanmdm:fsg_FSC-O-43

Base fragment of dish, carved; splayed foot-rim

Medium:
Stoneware with celadon glaze
Style:
Yue ware
Type:
Ceramic
Vessel
Origin:
Zhejiang province, China
Date:
10th century
Period:
Tang dynasty, Five Dynasties period, or Northern Song dynasty
Topic:
bird  Search this
Yue ware  Search this
Tang dynasty (618 - 907)  Search this
Five Dynasties period (907 - 960)  Search this
Northern Song dynasty (960 - 1127)  Search this
China  Search this
Chinese Art  Search this
Credit Line:
Purchase — Charles Lang Freer Endowment
Accession Number:
FSC-P-240
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye305e7423a-b2d5-4076-b727-827b9adab98c
EDAN-URL:
edanmdm:fsg_FSC-P-240

Mat weight (?) in the form of a rabbit

Medium:
Gilt bronze inlaid with gold or silver(?) wire
Dimensions:
H x W x D: 4.5 x 4.7 x 6.9 cm (1 3/4 x 1 7/8 x 2 11/16 in)
Type:
Metalwork
Tool and Equipment
Origin:
China
Date:
ca. 220-907
Period:
Possibly Period of Division or Tang dynasty
Topic:
rabbit  Search this
Tang dynasty (618 - 907)  Search this
inlay  Search this
casting  Search this
Period of Division (220 - 589)  Search this
China  Search this
Chinese Art  Search this
gilding  Search this
WWII-era provenance  Search this
Credit Line:
Gift of Elizabeth Meyer Lorentz
Accession Number:
F2000.8
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye36f6b8fcf-ba72-43ab-a898-30b45dc73605
EDAN-URL:
edanmdm:fsg_F2000.8
Online Media:

Fragments of a mirror; paired bird design

Dimensions:
Diam (approx.): 8.5 cm (3 3/8 in)
Type:
Metalwork
Mirror
Date:
206 BCE-9 CE
Period:
Western Han dynasty
Topic:
bird  Search this
Western Han dynasty (206 BCE - 9 CE)  Search this
casting  Search this
China  Search this
Chinese Art  Search this
Credit Line:
Gift of the John Hadley Cox Archaeological Study Collection
Accession Number:
FSC-B-503a-b
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3e0420bae-5302-4278-8fca-f2060913b633
EDAN-URL:
edanmdm:fsg_FSC-B-503a-b

Fragments of Mirror.Molded design of 6 animals & inscription

Dimensions:
Diam (approx.): 20.3 cm (8 in)
Type:
Metalwork
Mirror
Date:
25-220
Period:
Eastern Han dynasty
Topic:
Eastern Han dynasty (25 - 220)  Search this
casting  Search this
China  Search this
Chinese Art  Search this
Credit Line:
Gift of the John Hadley Cox Archaeological Study Collection
Accession Number:
FSC-B-513
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye34929d179-3774-4946-a008-c0be2b69202b
EDAN-URL:
edanmdm:fsg_FSC-B-513

Fragment of Mirror. Linear design: animals and humans

Dimensions:
Diam (overall): 11.3 cm (4 7/16 in)
Type:
Metalwork
Mirror
Date:
25-220
Period:
Eastern Han dynasty
Topic:
Eastern Han dynasty (25 - 220)  Search this
casting  Search this
China  Search this
Chinese Art  Search this
Credit Line:
Gift of the John Hadley Cox Archaeological Study Collection
Accession Number:
FSC-B-527
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3fb1e171c-a086-47ad-9360-3f97d172eca8
EDAN-URL:
edanmdm:fsg_FSC-B-527

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