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Oral history interview with Adolph Gottlieb, 1967 Oct. 25

Interviewee:
Gottlieb, Adolph, 1903-1974  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Subject:
Cézanne, Paul  Search this
Sloan, John French  Search this
Rothko, Mark  Search this
Works Progress Administration  Search this
Art Students League (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Topic:
Abstract expressionism  Search this
Ashcan school of art  Search this
Painters  Search this
Surrealism  Search this
Art, American  Search this
Expressionism (Art)  Search this
Art, Abstract  Search this
Record number:
(DSI-AAA_CollID)12369
(DSI-AAA_SIRISBib)214103
AAA_collcode_gottli67
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214103
Online Media:

Alan R. Solomon papers

Creator:
Solomon, Alan R., 1920-1970  Search this
Names:
Albright-Knox Art Gallery  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Art Gallery of Ontario  Search this
Artforum  Search this
Biennale di Venezia  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Cornell University. -- Faculty  Search this
Expo 67 (Montréal, Québec)  Search this
Harvard University -- Students  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Jewish Museum (New York, N.Y.)  Search this
Leo Castelli Gallery  Search this
Los Once (Artists' group)  Search this
Pasadena Art Museum  Search this
San Francisco Art Institute  Search this
University of California (System)  Search this
Velvet Underground (Musical group)  Search this
Bontecou, Lee, 1931-  Search this
Castelli, Leo  Search this
Chamberlain, John, 1927-2011  Search this
Childs, Lucinda  Search this
Dine, Jim, 1935-  Search this
Duchamp, Marcel, 1887-1968  Search this
Dunn, Judith  Search this
Fahlström, Öyvind, 1928-1976  Search this
Finkelstein, Nat  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Greenberg, Jeanine  Search this
Grisi, Laura  Search this
Hay, Alex  Search this
Hay, Deborah  Search this
Johns, Jasper, 1930-  Search this
Kron, Joan  Search this
Lichtenstein, Roy, 1923-1997  Search this
Louis, Morris, 1912-1962  Search this
MacElroy, Robert R.  Search this
Moore, Peter  Search this
Morris, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-2010  Search this
Novick, Elizabeth  Search this
Oldenburg, Claes, 1929-  Search this
Oldenburg, Patty  Search this
Paxton, Steve  Search this
Picasso, Pablo, 1881-1973  Search this
Poons, Larry  Search this
Provinciali, Michele  Search this
Rainier, Yvonne  Search this
Rauschenberg, Robert, 1925-2008  Search this
Redon, Odilon, 1840-1916  Search this
Reed, Lou  Search this
Rosenquist, James, 1933-  Search this
Sabol, Audrey, 1922-  Search this
Schute, Terry  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Segal, George, 1924-2000  Search this
Sisler, Mary  Search this
Sonnabend, Ileana  Search this
Stella, Frank  Search this
Warhol, Andy, 1928-  Search this
Whitman, Robert  Search this
Extent:
9.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Date:
1907-1970
bulk 1944-1970
Summary:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.
Scope and Contents:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Biographical material includes résumés, an engagement book, and a monthly planning book from 1965, identification cards, and educational transcripts.

Correspondence documents Solomon's education at Harvard College and Harvard University, and his teaching appointments at Cornell University. Correspondence also provides some documentation of his involvement with museums and arts organizations, including the Jewish Museum, Stedlijk Museum, the San Francisco Art Institute, the University of California, and Centro de Artes Visuales; his submission of writings for publications including Artforum, Art International, and Konstrevy; and his relationships with artists and colleagues including Jim Dine, Joan Kron, Audrey Sabol, and Ileana Sonnabend. Also found is correspondence related to Solomon's work for Mary Sisler, who employed Solomon to sell her collection of artwork by Marcel Duchamp in the late 1960s.

One series comprises transcripts of interviews with many of the artists who were central to the transition from Abstract Expressionism to later modern movements that occurred in the 1950s and 1960s, such as Neo-Dada and Pop art. Artists represented in the interviews include Jim Dine, Helen Frankenthaler, Jasper Johns, Barnett Newman, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella, and Andy Warhol.

Solomon's writings include many of his essays for exhibition catalogs, magazines, and journals, and are in a combination of annotated manuscript and published formats. There are writings on Jim Dine, Barnett Newman, Robert Rauschenberg, and Jasper Johns, and on the new movements in theater and performance art of the 1960s. His writings also document the art history education which informed all of his later work, with the inclusion of papers written as a student and teacher, his honors thesis on Odilon Redon, and his dissertation on Pablo Picasso. This material is supplemented by notes, and teaching and study files, documenting courses taken and taught at Harvard and Cornell universities. Also found is the manuscript of the text for New York: The New Art Scene, accompanied by a partial published copy of the book and photographs by Ugo Mulas.

Solomon's subject files augment several of the other series, comprising material on various art related subjects and individual painters and sculptors, arranged alphabetically. Material found here includes printed matter documenting exhibitions and other events, scattered letters from artists, related writings, and photographs.

One series documents Solomon's involvement with the First New York Theater Rally, which he co-produced with Steve Paxton in 1965. This material includes a drawing each by Jim Dine and Alex Hay, pieces of a combine by Robert Rauschenberg, and photographs of the group including Dine, Hay, and Rauschenberg, as well as Lucinda Childs, Judith Dunn, Deborah Hay, Robert Morris, Claes Oldenburg, the Once Group, Steve Paxton, Yvonne Rainier, Alan Solomon, and Robert Whitman. The series includes multiple contact sheets of photos of First New York Theater Rally events, by Peter Moore, Elizabeth Novick, and Terry Schute.

Exhibition files document Solomon's role as an organizer and curator for some of his most well-known exhibitions, including American Painting Now (1967) for Expo '67 in Montreal; Andy Warhol (1966) at the Institute of Contemporary Art in Boston; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and Albright-Knox Gallery; the American exhibition at the 1964 Venice Biennale; Young Italians (1968) at the Institute of Contemporary Art; and Painting in New York 1944-1969, a major retrospective installed for the opening of the new Pasadena Art Museum in fall, 1969. Records include correspondence, lists and notes, financial records, printed material, and photographs of artists and installations, including a series by Ugo Mulas taken at the Venice Biennale.

Solomon's business records include lists, notes, contracts, expense forms, vouchers, purchase orders, and receipts. They provide scattered documentation of exhibition-related expenses and purchases of artwork, as well as Solomon's income from teaching appointments, lectures, honorariums, and writings. Amongst Solomon's general business records is an American Federation of Musicians agreement between the Institute of Contemporary Art and "Louis Reed," with booking agent Andy Warhol, for a performance by the Velvet Underground and Nico, performing as The Exploding Plastic Inevitable on October 29, 1966. This seemingly mundane item documents an event that accompanied Solomon's landmark Warhol exhibition of nearly forty iconic works, and the accompanying show by The Exploding Plastic Inevitable was hailed by the Boston Phoenix newspaper as one of the greatest concerts in Boston history.

Printed material includes announcements, catalogs, and posters for exhibitions and art related events, including two Jasper Johns lithographs for a 1960 exhibition at Galerie Rive Droite, and a 1963 exhibition at Leo Castelli Gallery. Also found are news clippings, press releases, and other publications.

Photographs are of Solomon, artists, friends and colleagues, exhibitions and other events, and artwork. They include snapshots of Solomon, and a series of photographs of him at various events and parties, many taken by Ugo Mulas, as well as a photo taken by Robert Rauschenberg of Ugo Mulas, Michele Provinciali, and Solomon. Additional photos by Ugo Mulas include some which were probably taken for New York: The New Art Scene, and a series of photos of Robert Rauschenberg and others at the Venice Biennale. Photos of artists include Lee Bontecou, John Chamberlain, Jim Dine, Marcel Duchamp, Öyvind Fahlström, Laura Grisi, Jasper Johns, Roy Lichtenstein, Morris Louis, Barnett Newman, Kenneth Noland, Claes and Patty Oldenburg, Larry Poons, James Rosenquist, George Segal, Frank Stella, and Andy Warhol and The Factory. Photos of others include Leo Castelli, Clement and Jeanine Greenberg, and Ethel and Robert Scull. Also found are photos of the exhibition Toward a New Abstraction (1963), at The Jewish Museum, photos of Venice, and photos of artwork by many of the above named, and other, artists. In addition to Ugo Mulas, photographers represented in this series include Nat Finkelstein, Robert R. McElroy, and Hans Namuth.
Arrangement:
The collection is arranged as eleven series.

Series 1: Biographical Material, 1938-1968 (5 folders; Box 1)

Series 2: Correspondence, 1930-1970 (0.66 linear feet; Box 1)

Series 3: Interviews, 1965-1969 (0.25 linear feet; Box 1)

Series 4: Writings and Notes, 1945-1969 (1.35 linear feet; Boxes 1-3, 11)

Series 5: Teaching and Study Files, 1944-1958 (0.25 linear feet; Box 3)

Series 6: Subject Files, 1907-1969 (2.92 linear feet; Boxes 3-6, 1, OV 12)

Series 7: First New York Theater Rally, 1963-1965 (0.15 linear feet; Boxes 6, 11)

Series 8: Exhibition Files, 1954-1969 (1.42 linear feet; Boxes 6-7, 11, OV 12)

Series 9: Business Records, 1945-1970 (0.3 linear feet; Boxes 7-8)

Series 10: Printed Material, 1914-1970 (0.8 linear feet; Boxes 8-9, OV 12)

Series 11: Photographs, circa 1951-circa 1970 (1.7 linear feet; Boxes 9-11, OV 13)
Biographical / Historical:
New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.

Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.

In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital."

Solomon subsequently left the Jewish Museum, having engendered resistance to leading the museum in a more experimental direction, away from the traditional Jewish educational aspects of its mission. In the mid-sixties he worked as a consultant and writer for a National Educational Television series entitled "U. S. A. Artists," which drew on artist interviews, many conducted by Solomon. He also wrote the text for Ugo Mulas's classic photographic study, New York: The New Art Scene (1967: Holt Rinehart and Winston).

In 1966 Solomon was hired by the United States Information Agency to organize the United States contribution to the Canadian World Exhibition in Montreal, known as Expo '67. His stunning American Painting Now installation placed large scale paintings by twenty-three artists, including Jim Dine, Ellsworth Kelly, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist, inside Buckminster Fuller's twenty-story Biosphere of Montreal.

Other important exhibitions organized by Solomon included Andy Warhol (1966) at the Institute of Contemporary Art, Boston, which was only the second of two exhibitions dedicated to the artist; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and the Albright-Knox Art Gallery; and Young Italians (1968) at the Institute of Contemporary Art.

Solomon was also interested in contemporary theater and organized the First New York Theater Rally with Steve Paxton in 1965, a series of performances which combined new dance and a revival of the Happenings of the early 1960s, in which Claes Oldenburg, Jim Dine and others were involved.

Following a six-week appointment as a senior lecturer at the University of California, Irvine, in spring 1968, Solomon became chairman of the University's art department and director of the art gallery. His last exhibition, Painting in New York, 1944-1969 (1969-1970), was held at the Pasadena Art Museum and closed in January 1970, just a few weeks before Solomon's sudden death at the age of forty-nine.
Provenance:
The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to the Archives of American Art in 1974 and 2007.
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.
Rights:
The Alan R. Solomon 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:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art historians -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Painters  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soloalan
See more items in:
Alan R. Solomon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soloalan
Online Media:

Oral history interview with Joan Snyder, 2010 February 25-26

Interviewee:
Snyder, Joan, 1940-  Search this
Interviewer:
Richards, Judith Olch, 1947-  Search this
Subject:
Lippard, Lucy R.  Search this
Snyder-Fink, Molly  Search this
Cammer, Maggie  Search this
Fink, Larry  Search this
Wilke, Ulfert  Search this
Hirschl & Adler Galleries  Search this
Bykert Gallery (New York, N.Y.)  Search this
Parsons School of Design  Search this
Rutgers University  Search this
School of Visual Arts (New York, N.Y.)  Search this
Women Against War  Search this
Type:
Sound recordings
Interviews
Topic:
Poverty  Search this
Women painters  Search this
Art, Abstract  Search this
AIDS (Disease) and the arts  Search this
Gay artists  Search this
Social justice  Search this
Feminism and art  Search this
Feminism  Search this
Record number:
(DSI-AAA_CollID)15788
(DSI-AAA_SIRISBib)288669
AAA_collcode_snyder10
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_288669
Online Media:

Modern painting and sculpture : 1880 to the present at the Museum of Modern Art / edited by John Elderfield

Author:
Museum of Modern Art (New York, N.Y.)  Search this
Elderfield, John  Search this
Subject:
Museum of Modern Art (New York, N.Y.)  Search this
Physical description:
536 p. : ill. (chiefly col.) ; 31 cm
Type:
Books
Place:
New York (State)
New York
Date:
2004
C2004
Topic:
Painting  Search this
Sculpture  Search this
Painting, Modern  Search this
Sculpture, Modern  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_772095

Keith Warner papers

Creator:
Warner, Keith, 1895-1959  Search this
Names:
"291" (Gallery)  Search this
American Place (Gallery)  Search this
Whitney Museum of American Art  Search this
Calder, Alexander, 1898-1976  Search this
Dorcely, Roland  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Marin, John, 1870-1953  Search this
Mondrian, Piet, 1872-1944  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Rosenburg, Paul  Search this
Russell, Morgan, 1886-1953  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, Max, 1881-1961  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Illustrated letters
Sketches
Date:
1935-1975
Summary:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.
Scope and Contents:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.

Warner's relationships with artists are documented in extensive letters which make up the bulk of the collection. Subjects range from exhibitions, the art market, artists' methods and works, art criticism, and collecting to personal subjects. Letters from Roland Dorcely and Alexander Calder include illustrated letters and postcards. Letters from Calder discuss a mix of business and personal matters, including a discussion of the design of jewelry commissioned for Warner's wife, Edna. Letters from Dorcely document Warner's cultivation, criticism, and collection of Dorcely's work, as well as the hardships of Haitian artists and Dorcely's views on art. The letters are in French with some English translations.

Correspondence with Alfred Stieglitz documents his common endeavor with Warner in collecting the paintings of John Marin, and Stieglitz's gallery, An American Place. Letters associated with An American Place continue after Stieglitz's death in 1946. Found with Alfred Stieglitz's letters are two letters from Georgia O'Keeffe. Max Weber letters include comments on his painting and sculpting, his retrospective show at the Whitney, the art press, national politics, and also refer to Stieglitz and Marin. An extensive group of correspondence with Stanton MacDonald-Wright is mostly undated; MacDonald-Wright writes freely about Stieglitz, the "291" group of artists, and his partner in Synchromism, Morgan Russell. Also included are letters from Piet Mondrian related to collecting, as well as letters from unidentified correspondents.

Warner's collecting files consist of diverse materials concerning his research, writing, and relationships with artists whose paintings he collected, particularly Roland Dorcely and Stanton MacDonald-Wright. Included are biographical sketches; writings about and by the artists, including manuscripts and published materials; newspaper and magazine clippings; exhibition announcements and catalogs; and photographs of works of art. Writings by Roland Dorcely, on the subject of his artistic process and perspective, include handwritten essays in French as well as typed English translations. Published articles from Script magazine (1945-1946) by Stanton MacDonald-Wright document his career as an art critic. Writings on Alexander Calder and Paul Rosenburg, taken from Warner's journal on Calder, and on the early relationship of Alfred Stieglitz and Georgia O'Keeffe, documented on a visit with Stieglitz on May 3, 1944, are also present.

Artwork consists of work by Alexander Calder and Roland Dorcely. Calder's work includes sketches proposing mobiles with notations as to material, scale, and cost. Dorcely's work includes sketches in graphite and ink of abstract figures and objects.
Arrangement:
The collection is arranged as 3 series.

Series 1: Correspondence, 1940-1963 (0.4 linear feet; Box 1-2)

Series 2: Collecting Files, circa 1940-1975 (12 folders; Box 2, OV 3)

Series 3: Artwork, circa 1945-circa 1965 (2 folders; Box 2)
Biographical / Historical:
Keith Warner (1895-1959) was an American art collector. Warner was born and lived in Gloversville, New York, and maintained a manufacturing business that took him to New York City intermittently. Warner began collecting Chinese porcelains after World War I, and a few years later his interest shifted to American abstract painting. Warner retired from business in 1944. His collection was sold gradually after his death, mostly to private collectors, though some works are in museums in the United States and Japan.
Provenance:
The Keith Warner papers were donated in 1992 by Edna K. Allen, wife of Keith Warner.
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.
Rights:
The Keith Warner 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.
Occupation:
Art -- Haiti  Search this
Topic:
Art -- Collectors and collecting -- New York (State)  Search this
Artists -- United States  Search this
Art, Abstract -- Collectors and collecting  Search this
Art criticism  Search this
Art, Modern -- 20th century -- Collectors and collecting  Search this
Synchromism (Art)  Search this
Art, American  Search this
Genre/Form:
Photographs
Illustrated letters
Sketches
Citation:
Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warnkeit
See more items in:
Keith Warner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warnkeit
Online Media:

Frank Stella papers

Creator:
Stella, Frank  Search this
Names:
Harvard University -- Faculty  Search this
Princeton University -- Students  Search this
Leider, Philip, 1929-  Search this
Extent:
12.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Sketchbooks
Date:
1941-1993
bulk 1978-1989
Summary:
The Frank Stella papers measure 12.4 linear feet and date from 1941 to 1993, with the bulk of the records spanning the period 1978 to 1989. The collection documents the professional and personal life of abstract artist, Frank Stella. Among the papers are correspondence, a small cache of records from his years as an undergraduate at Princeton University, writings by and about Stella, interview transcripts, sketchbooks, registers and inventories, financial records, printed matter, and photographs.
Scope and Content Note:
The Frank Stella papers, 12.4 linear feet, document the artist's professional and personal life. Papers date from 1941-1993, with the bulk spanning the period 1978-1989. Among the papers are correspondence, a small cache of records from his years as an undergraduate at Princeton University, writings by and about Stella, interview transcripts, sketchbooks, registers and inventories, financial records, printed matter, and photographs.

Correspondence, 1966-1989 and undated (Series 1), consists mainly of incoming letters, many annotated with brief notes indicating Stella's reply, and carbon copies of a small number of replies. Correspondence is with individuals, dealers, institutions and organizations and concerns professionals and personal business matters including awards and prizes, exhibitions, art loans and sales, fan mail; requests for autographs, interviews, studio tours, donations, jury service, exhibitions, critiques, information, lectures, and for Stella's participation in programs or events; legal matters, and political fund raising activities.

Princeton University records, 1954-1958 (Series 2), contain course materials, papers examinations, notes, and Stella's thesis, "Art in Wester Christendom." Correspondence regards university and personal business, including Stella's Selective Service student deferment. Also included are letters from Stella's parents and friends, pencil drawings and sketches, photographs of student work by Stella, and printed matter.

Writings, 1968-1993 and undated (Series 3), consist of articles, talks and lectures by Stella, his Norton Lectures delivered at Harvard published as Working Space, and miscellaneous notes. Writings about Stella are drafts of exhibition catalogs and manuscripts of articles. Interview Transcripts, 1964-1993 and undated (Series 4), include 13 published and unpublished interviews with Frank Stella conducted for publication as magazine articles or as research for exhibition catalogs, and a transcript of an interview with Philip Leider.

Sketchbooks, 1956-1968 and undated (Series 5), 10 volumes, contain sketches in pencil, ink, and colored markers. One includes notes on new paintings, color, and shape; another contains a list of artists and notes on abstract composition. Registers and Inventories, 1959-1983 and undated (Series 6), were compiled for various purposes and record paintings, works in mixed media, drawings, series, inventories prepared by dealers, and miscellaneous notes and lists compiled or collected by Stella.

Financial Records, 1972-1986 (Series 7), document both personal and professional expenses. They consist of banking records, paid bills, payroll, petty cash slips and receipts, and records of race horse expenses.

Printed Matter, 1957-1993 and undated (Series 8), includes articles by Stella and his book Working Space. Articles about Stella include feature stories and interviews, exhibition reviews, reviews of his book, and other articles that mention him briefly and/or include a reproduction of his work. Also included are catalogs, invitations and announcements for solo and group shows, and exhibitions juried by Stella. Other printed matter consists of announcements of limited edition prints, printed matter from events in which Stella participated, and miscellaneous items.

Photographs, 1941-1989 and undated (Series 9), are of people, exhibitions, works of art, places, and miscellaneous subjects. Photographs of Stella include an image of him as a young child, Stella with his wife Dr. Harriet McGurk, with his infant son, and with others. Exhibition photographs are of the opening of "Frank Stella: Neue Werke" at Galerie Würthle, 1984, and installation views of his 1989 show at Knoedler & Co., "Frank Stella: New Work." Photographs of works of art include prints, 35 mm color slides, and color transparencies of works by Stella. Places pictured are views of the Gemini G.E.L. studio, and miscellaneous subjects are horses and a banner at the Metropolitan Museum of art mimicking a black painting (not created or authorized by Stella).
Arrangement:
The collection is organized into nine series:

Series 1: Correspondence, 1966-1989, undated (Boxes 1-4; 3.25 linear feet)

Series 2: Princeton University, 1954-1958, undated (Box 4; 0.25 linear feet)

Series 3: Writings, 1968-1993, undated (Boxes 4-7; 2.3 linear feet)

Series 4: Interview Transcripts, 1964-1993, undated (Box 7; 0.25 linear feet)

Series 5: Sketchbooks, 1956-1968, undated (Box 8; 0.25 linear feet)

Series 6: Registers and Inventories, 1959-1983, undated (Box 8; 0.25 linear feet)

Series 7: Financial Records, 1972-1986 (Boxes 8-11; 4.0 linear feet)

Series 8: Printed Matter, 1957-1993, undated (Boxes 12-13 and ov fldr 14; 1.5 linear feet)

Series 9: Photographs, 1941-1989, undated (Box 13; 0.25 linear feet)
Biographical Note:
Frank Stella (b. 1936) achieved professional recognition at a young age and soon became internationally prominent and influential. Known for his amazing productivity and energy, for more than forty years this abstract artist has made paintings, prints, and sculpture in a variety of styles that have been described as ranging from minimalist to "maximalist."

While a student at Phillips Academy, Andover, Mass., Stella enrolled in an art appreciation course with a studio component held at the school's Addison Gallery of American Art. He then immersed himself in a studio program and became friendly with the instructor, abstract painter Patrick Morgan. Frank Stella, Carl Andre, and other students were often invited to Morgan's home where he and his wife Maude, also an artist, showed their collection of contemporary American art and discussed art seen at New York galleries. At Princeton University Stella decided to major in history, and continued to paint on his own. Studio art courses were not yet a part of the curriculum, but he soon learned that art history instructor and abstract painter William Seitz had started a not-for-credit painting studio that met at night in one of the architectural drawing studios. In this informal group Stella met Darby Bannard, a serious painter who was to become a close friend; he also developed a friendship with fellow student Michael Fried during their years at Princeton. Following Seitz's recommendation, Stella began visiting New York galleries. With the 1956 appointment of Stephen Greene as its first artist-in-residence, Princeton began offering studio courses which Stella took full advantage of. His work was influenced by what he had seen at the galleries on his many trips to New York - de Kooning and Frankenthaler, and later Rothko and Gottlieb - and his junior year essay about Hiberno-Saxon illuminated manuscripts, "Art in Western Christendom," made reference to Jackson Pollock.

Stella headed for New York City after his 1958 graduation from Princeton, where his family expect he would study law at Columbia or New York University. Instead, he rented a storefront studio on the Lower East Side and began his "transitional" paintings, earning a living by painting houses a few days a week. Before long he moved to a loft, and by winter had begun the Black series. Once settled in New York, Stella was introduced to critic Clement Greenberg and began meeting artists such as Jasper Johns and Robert Rauschenberg. He first exhibited professionally at the Tibor de Nagy Gallery in the spring of 1959 when one of his Black paintings, Club Onyx, was included in a group show. By the end of that summer the artist was represented by the Leo Castelli Gallery which soon sold a Black painting, Clinton Plaza, the first to be acquired by someone outside his immediate circle of friends. Stella's former teacher, William Seitz, recommended that Stella be included in an exhibition of emerging talent at the Allen Memorial Art Museum, Oberlin College; he also urged Museum of Modern Art curator Dorothy Miller to look at Stella's painting at the Tibor de Nagy Gallery, which resulted in an invitation participate in her exhibition, Sixteen Americans. The Museum of Modern Art purchased The Marriage of Reason and Squalor from the exhibition. Opportunities to show in group and solo exhibitions continued at a steady pace, and in1961 Stella had his first one-man show in Europe. He is one of the very few artists honored by The Museum of Modern Art with two retrospective exhibitions (1970 and 1987).

Frank Stella's work is characterized by changing styles. Abstract expressionist paintings of his student days gave way to minimalist work that soon incorporated shaped canvases and eventually stressed color and curved motifs. By the 1980s his minimalist aesthetic had been replaced by dynamic mixed media pieces. Shaped paintings developed into wall constructions with large, projecting, multiple components and lively brush stroke patterns. By the 1990s, much of Stella's work was fully three-dimensional.

The University of California at Irvine invited Stella to be its artist in residence in 1967; Barbara Rose (Stella's wife from 1961-1969), who was in the process of writing American Art Since 1960, was asked to lecture on contemporary art. With their young daughter and infant son, they moved to California. Upon arrival they were asked to sign a loyalty oath required of all state employees; Barbara signed, but Frank refused. While she lectured and wrote, he played lots of tennis. Soon master printer Ken Tyler persuaded Stella, who had never seriously pursued printmaking, to work with lithography. His first prints were Star of Persia I and Star of Persia II (designs from the Notched V series of 1964-65 not previously executed) and the entire edition sold by the end of the year. He has continued making prints, working in series as he does with his paintings; many of his print series are based on painting series of the same name. Stella's prints often rival paintings in their scale and bold color. Since 1967 Stella has produced prints with Ken Tyler, first in Los Angeles at Gemini G.E.L., and later in Bedford, N.Y. where Tyler Graphics Ltd. was established in 1974. Their close working relationship has resulted a large number of remarkable prints employing practically every graphic technique - sometimes in startling combinations - using a wide range of materials, and prompting innovative solutions to technical challenges. By 1972, Stella was also producing prints with Petersburg Press, Ltd. of London and New York; three years later, Petersburg installed a commercial lithography press on the first floor of Stella's home in New York City.

Throughout his career, Frank Stella has been sought after as a speaker, teacher, visiting critic, and artist in residence. Most noteworthy among these activities was his appointment as the Charles Eliot Norton Professor of Poetry at Harvard for the academic year 1983-84. Stella, Accompanied by his wife Harriet and their two small boys, Stella spent much of the preceding year at the American Academy in Rome looking at Italian art, particularly Caravaggio, planning and researching the lectures he would deliver at Harvard. His six Norton Lectures, which presented a nontraditional evaluation the work of Caravaggio, Rubens, Carracci, Picasso, Pollock, and others, related abstract painting of the twentieth century to the art of the past. These well-received lectures were published in 1986 as book titled Working Space.

In recent years Stella was commissioned to produce several large works for public spaces including several outdoor sculptures, a large decorative relief frieze and the interior dome of the Princess of Wales Theater in Toronto, and his first completed architectural project, a bandshell for the City of Miami.

1936 -- Born May 12, Malden, Mass.

1950-1954 -- Student at Phillips Academy, Andover, Mass.; studies painting with Patrick Morgan; meets Carl Andre and Hollis Frampton, fellow students.

1954-1958 -- Student at Princeton University; paints in William Seitz's non-credit open studio; Darby Bannard is a fellow student; begins visiting New York galleries to see contemporary art studies with Stephen Greene, 1956, artist-in-residence; meets Michael Fried, also a Princeton undergraduate; writes thesis on Hiberno-Saxon illuminated manuscripts.

1958 -- Moves to New York City, rents a storefront on the Lower East Side to use as a studio during the summer and works part-time as a house painter; in the fall moves to a loft on West Broadway; Darby Bannard introduces him to critic Clement Greenberg.

1959 -- Black series painting included in a group show at the Tibor de Nagy Gallery, Stella's first professional exhibition included in "Sixteen Americans" exhibition, Museum of Modern Art; joins Castelli Gallery; The Marriage of Reason and Squalor purchased by Museum of Modern Art; Carl Andre introduces him to Barbara Rose, a Columbia University graduate student in art history; resumes friendships with Carl Andre and Hollis Frampton.

1960 -- Paints first shaped canvases; first solo exhibition at the Leo Castelli Gallery.

1961 -- Applies for Fulbright Grant to study in Japan; first trip to Europe; first solo exhibition at Galerie Lawrence, Paris; marriage to Barbara Rose.

1962 -- Birth of daughter Rachel.

1963 -- Artist in Residence, Dartmouth College; travels in Iran.

1964 -- Included in U.S. section, XXXII Venice Biennale.

1965 -- Travels to Brazil.

1966 -- Performs in "Open Score," a game of tennis with racquets that transmitted sound and light composed by Robert Rauschenberg; birth of son Michael.

1967 -- Appointment as Artist in Residence, University of California, Irvine but refuses to sign the required loyalty oath and does not teach; makes first prints at Gemini G.E.L.; teaches advanced summer workshop, University of Saskatchewan; designs sets and costumes for "Scramble," Merce Cunningham's performance at Connecticut College Dance Festival.

1969 -- Divorce from Barbara Rose; teaches beginning painting to undergraduates at Brandeis University, spring semester.

1970 -- Retrospective exhibition at the Museum of Modern Art.

1973 -- Travels to Brazil, Paris, London.

1974 -- Honorary degree, Minneapolis College of Art and Design.

1975 -- Birth of daughter Laura to Shirley De Lemos Wyse.

1976 -- Car painted with design Stella created for BMW races at Le Mans.

1977 -- Travels to India, London, and Germany; meets race drivers Ronnie Peterson and Peter Gregg.

1978 -- Marries Dr. Harriet McGurk

1979 -- Receives Claude Moore Fuss Award for "distinguished contribution to public service," Phillips Academy; creates design for Peter Gregg's race car.

1980 -- Survives auto crash with Peter Gregg en route to Le Mans.

1981 -- Awarded Honorary Fellowship, Bezalel Academy of Arts and Design, Jerusalem; travels in Egypt and Venice; awarded Medal for Painting, Skowhegan School of Painting and Sculpture.

1982 -- Mayor's Award of Honor for Arts and Culture; birth of son Peter; Residency in Painting, American Academy in Rome (Nov.-Dec. and Spring 1983), where he begins researching and writing the lectures he will present at Harvard during the coming academic year.

1983-1984 -- Charles Eliot Norton Professor of Poetry, Harvard University; delivers a series of six lectures titled "Working Space" (Oct.-April)

1984 -- Honorary degree, Princeton University; birth of son Patrick.

1985 -- Honorary degree, Dartmouth College; Award of American Art, Pennsylvania Academy of the Fine Arts.

1986 -- Honorary degree, Brandeis University; travels to England; publication of Working Space.

1987 -- Second retrospective exhibition at the Museum of Modern Art.

1988 -- First architectural project, a proposal for a footbridge over the Seine River, in collaboration with engineer Peter Rice.

1990 -- The Symphony commissioned by Art In Embassies Program, U. S. State Department.

1991 -- The Leaves, a work created in collaboration with Peter Rice, Alexander, Cott, Earl Childress, and Bob Kahn for the New Groninger Museum, The Netherlands.

1992 -- Designs decorative relief frieze and interior dome, commissioned by David Mirvish, for the Princess of Wales Theatre, Toronto.
Provenance:
The collection was a gift of Frank and Harriet Stella in 1993.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Frank Stella 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
Painters -- New York (State) -- New York  Search this
Works of art  Search this
Printmakers -- New York (State) -- New York  Search this
Art, Abstract  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Photographs
Interviews
Sketchbooks
Citation:
Frank Stella papers, 1941-1993, bulk 1978-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stelfran
See more items in:
Frank Stella papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stelfran
Online Media:

Tanager Gallery records

Creator:
Tanager Gallery  Search this
Names:
Arnold, Anne, 1926-  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cajori, Charles, 1921-  Search this
Cherry, Herman  Search this
Dodd, Lois, 1927-  Search this
Fine, Perle, 1908-1988  Search this
Frankenthaler, Helen, 1928-2011  Search this
Geist, Sidney  Search this
Guston, Philip, 1913-1980  Search this
Hazelet, Sally  Search this
Hofmann, Hans, 1880-1966  Search this
Ippolito, Angelo  Search this
Katz, Alex, 1927-  Search this
King, William, 1925-2015  Search this
Pearlstein, Philip, 1924-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rivers, Larry, 1925-2002  Search this
Stamos, Theodoros, 1922-1997  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Photographs
Sketches
Date:
1952-1979
Summary:
The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.
Scope and Content Note:
The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.

Administrative files include four day books, lists of artists and exhibitions, historical sketches, and an address book. There are two ledger books of expenses for shows and four receipt books from 1959-1962 which are organized by date and list artist, and artwork, buyer, and price. Correspondence is arranged chronologically and comprised mainly of copies of letters sent by the Gallery to artists as invitations to exhibit. Also found are scattered letters from museums and artists.

There are artists' files for circa 70 artists that contain a variety of materials, including price lists and biographies or resumes. Artists files are found for Anne Arnold, James Brooks, Charles Cajori, Herman Cherry, Lois Dodd, Sally Hazelet Drummond, Perle Fine, Helen Frankenthaler, Sidney Geist, Philip Guston, Hans Hofmann, Angelo Ippolito, Philip Pealstein, Alex Katz, William King, Robert Rauschenberg, Larry Rivers, Theordore Stamos, and Tom Wesselmann among many others.

The collection includes two scrapbooks containing mostly newsclippings and exhibition announcements, as well as additional loose newsclippings, numerous exhibition announcements and catalogs, and press releases. There are five photographs of gallery openings and the exterior of the building, the latter taken by Rudy Burkhardt.
Arrangement:
The collection is arranged as 7 series:

Series 1: Administrative Files, 1952-1979 (Boxes 1, 4; 0.5 linear feet)

Series 2: Financial and Legal Records, 1952-1962 (Box 1; 0.5 linear feet)

Series 3: Correspondence, 1952-1967 (Boxes 1-2; 0.3 linear feet)

Series 4: Artists Files, circa 1952- circa 1962 (Box 2; 0.1 linear feet)

Series 5: Scrapbooks, circa 1962 (Boxes 2-3; 0.3 linear feet)

Series 6: Printed Material, 1952-1971 (Boxes 2, 4; 0.3 linear feet)

Series 7: Photographs, circa 1952-circa 1959 (Box 2; 2 folders)
Historical Note:
The Tanager Gallery operated from 1952-1962 in New York City. The gallery was one of the first artist cooperative galleries formed on 10th Street in Manhattan to provide an alternative to the larger upscale galleries of Madison Avenue.

In 1952, the artist cooperative Tanager Gallery opened at 90 East 10th Street in Manhattan. Co-founders included Charles Cajori, Lois Dodd, Angelo Ippolito, William King, and Fred Mitchell. The Tanager offered open spaces for young artists to show their work and to sell art on their own terms. Membership at the Tanager included American Realists Alex Katz and Philip Pearlstein, and the Pop art/found-art collagist Tom Wesselmann. Later artists to join the cooperatiive included Mary Abbott, Perle Fine, Sidney Geist, Joseph Groell, Nanno de Groot, Sally Hazelet, Ben Isquith, Lester Johnson, Nicholas Marsicano, George Earl Ortman, Charlotte Park, Philip Pearlstein, Frank Stout, Raymond Rocklin, and Sal Sirugo. From 1952 to 1962, the Tanager Gallery exhibited works from about 250 artists.

The opening of Tanager and other 10th Street galleries was a radical change for the New York arts scene and for emerging New York artists who generally found representation with uptown gallery owners and/or art dealers on 57th Street or Madison Ave. In the 1950s, Manhattan's 10th Street was a gathering place for young artist-bohemians. The galleries were often the centers for anything avant-garde or new, such as art installations, happenings, poetry readings, jazz sessions, and performance art. For example, Tanager Gallery hosted a series of forums with local artists who would discuss their work and objectives.

Tanager Gallery received attention and respect from the more established art galleries and critics in New York, including Dore Ashton, Leo Castelli, Tom Hess, Martha Jackson, and Dorothy Miller. The Tanager Gallery closed in 1962.
Related Material:
Among the holdings of the Archives of American Art are the Lois Dodd papers, 1952-2001 and an oral history interview with Lois Dodd by Barbara Shikler from 1988.
Provenance:
Lois Dodd, co-founder of the Tanager Gallery, donated the Tanager Gallery records in several increments between 1972 and 1989.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Tanager Gallery records 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, Abstract -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Scrapbooks
Photographs
Sketches
Citation:
Tanager Gallery records, 1952-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tanagall
See more items in:
Tanager Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tanagall
Online Media:

Robert Scull papers

Creator:
Scull, Robert, 1917-1986  Search this
Names:
Calder, Alexander, 1898-1976 -- Photographs  Search this
De Maria, Walter, 1935-2013  Search this
Di Suvero, Mark, 1933-  Search this
Heizer, Michael, 1944-  Search this
Johns, Jasper, 1930-  Search this
Kuehn, Gary, 1939- -- Photographs  Search this
Oldenburg, Claes, 1929- -- Photographs  Search this
Rauschenberg, Robert, 1925-2008  Search this
Samaras, Lucas, 1936-  Search this
Tweddle, John  Search this
Warhol, Andy, 1928-  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
1955-circa 1984
bulk 1965-1970
Summary:
The Robert Scull papers measure 2 linear feet and date from 1955 to circa 1984, with the bulk of the material dating from 1965 to 1970. Throughout the 1960s, Robert Scull was a wealthy and prominent art collector of Abstract, Pop, and Minimalist art whose collection included works by Michael Heizer, Jasper Johns, Robert Rauschenberg, and Andy Warhol, among others. HIs papers include fourteen annotated appointment books, correspondence, financial and legal records, printed material, and photographs.
Scope and Contents:
The Robert Scull papers measure 2 linear feet and date from 1955 to circa 1984, with the bulk of the material dating from 1965 to 1970. Throughout the 1960s, Robert Scull was a wealthy and prominent art collector of Abstract, Pop, and Minimalist art whose collection included works by Michael Heizer, Jasper Johns, Robert Rauschenberg, and Andy Warhol, among others. HIs papers include fourteen annotated appointment books, correspondence, financial and legal records, printed material, and photographs.

Fourteen appointment books include business dates, notes, and occasional sketches. Notes are on various subjects such as prices for paintings, appointments with art dealers, and visits with artists Mark di Suvero, Michael Heizer, Lucas Samaras, and others. There are sometimes items, i.e., business cards and receipts, interleaved between the pages of the books.

The bulk of the correspondence consists of letters to Robert Scull from various artists, such as Walter De Maria and Michael Heizer. There is limited correspondence with museums and galleries.

Financial and legal records mostly consist of invoices from art dealers to Robert Scull for his purchases of John Tweddle's artwork. Also included are art loan forms and charts tracking payments for various paintings and drawings. There are scattered legal papers on a settlement regarding payments for a group of paintings by Tweddle.

There is one exhibition catalog, Street Painters: Feelism (circa 1982), of printed material.

Photographs are of Robert Scull, friends, art dealers, artists, and art. Notable artists depicted include Alexander Calder, Gary Kuehn, Claes Oldenberg, Robert Rauschenberg, Andy Warhol, and many others. There are also images of sculptures, paintings, and other artwork by various artists.
Arrangement:
The collection is arranged as 5 series.

Series 1: Appointment Books, 1955-1973 (1.5 linear feet; Boxes 1-3)

Series 2: Correspondence, 1965-circa 1984 (0.2 linear feet; Box 3)

Series 3: Financial and Legal Records, 1969-1980 (0.1 linear feet; Box 3)

Series 4: Printed Material, circa 1982 (1 folder; Box 3)

Series 5: Photographs, 1960-circa 1980 (0.2 linear feet; Boxes 3-4)
Biographical / Historical:
Robert Scull (1917-1986) was a prominent New York City and Connecticut collector of contemporary American art primarily during the 1960s.

Robert Scull was born in Manhattan's Lower East Side. He dropped out of high school during the Depression and did various jobs while also taking art courses. He later became a freelance illustrator and industrial designer. When his wife Ethel's father died, the couple inherited a successful taxi business which Scull expanded into the Super Operating Corporation with a fleet of 130 cabs.

Throughout the 1960s, Robert and Ethel Scull were avid art collectors who acquired contemporary American art works through dealers Richard Bellamy and Leo Castelli. Robert Scull's patronage also helped fund art dealer Richard Bellamy's Green Gallery in New York City for five years. Initially the Sculls focused on collecting American Abstract Expressionists and owned works by Willem de Kooning, Mark Rothko, and others. In 1965, the couple held their first auction and part of the profits helped establish the Robert and Ethel Scull Foundation, dedicated to financially assisting upcoming artists. The foundation commissioned environmental works from Michael Heizer and Walter de Maria and gave the artists stipends and even bought them food and supplies.

Around the mid-1960s, the Sculls also began collecting Pop Art and acquired the works of Jasper Johns, Robert Rauschenberg, James Rosenquist, and Andy Warhol. In 1973, the couple sold 50 works from their personal collection of Pop Art through a Sotheby's auction that yielded $2.2 million - record-breaking for sales of contemporary American art. The Sculls were criticized of social-climbing and profiteering by various people in the media and art world, including the artist Robert Rauschenberg.

In 1975, Robert Scull divorced Ethel and in 1978 he founded the Robert C. Scull Foundation which again assisted younger artists and arts organizations with a focus on contemporary art. Scull remarried and sold his taxi business sometime in the early 1980s, and moved to Warren, Connecticut. He died in 1986.

In 2010, the exhibition Robert and Ethel Scull: Portrait of a Collection was held at Acquavella Galleries in Manhattan.
Related Materials:
The Archives of American Art also has an oral history interview with Robert Scull conducted by Paul Cummings in 1972.
Provenance:
The 14 appointment books in the collection were donated in 1999 by Amy Newman, a writer, who received them from her friend, artist Chuck Close. Close received them from his brother-in-law, who found them in the trash, turned them over to Close, who, in turn, gave them to Newman.

The rest of the papers were donated in 1993 by Robert Scull's widow, Stephanie.
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.
Rights:
The Robert Scull 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 -- Collectors and collecting -- New York (State) -- New York  Search this
Art -- Collectors and collecting -- Connecticut  Search this
Pop art  Search this
Art, Abstract  Search this
Minimal art  Search this
Art dealers  Search this
Genre/Form:
Photographs
Sketches
Citation:
Robert Scull papers, 1955-circa 1984, bulk dates 1965-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sculrobe
See more items in:
Robert Scull papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sculrobe
Online Media:

Charles Green Shaw papers

Creator:
Shaw, Charles Green, 1892-1974  Search this
Extent:
45.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Photographs
Scrapbooks
Sketchbooks
Date:
1833-1979
1686
bulk 1909-1974
Summary:
The collection measures 45.7 linear feet and and documents the life of American abstract artist, writer, poet, and illustrator Charles Green Shaw. The papers date from 1833-1979 with the bulk of the material spanning 1909-1974 and a single item of ephemera dating from 1686. Records include biographical information and correspondence with family, colleagues and several artists and writers. The papers also contain writings and extensive diaries, sketchbooks and scrapbooks spanning Shaw's entire career, scattered financial records and other printed material.
Scope and Content Note:
The collection measures 45.7 linear feet and and documents the life of American abstract artist, writer, poet, and illustrator Charles Green Shaw. The papers date from 1833-1979 with the bulk of the material spanning 1909-1974 and a single item of ephemera dating from 1686. Shaw's personal life and career are well documented through biographical information, correspondence, writings, extensive diaries and sketchbooks, scattered financial records, scrapbooks and other printed materials.

Series 1: Biographical Information includes a number of family documents. Shaw's correspondence in Series 2 consists mainly of incoming letters from friends and a small amount of correspondence from notable individuals including Adele Astair, Clarence and Ruby Darrow, F. Scott Fitzgerald, John D. Graham, Anita and John Loos, H. L. Mencken, Robert C. Osborn, Cole Porter, Carl Van Vechten and Walter Winchell. The series also includes some nineteenth century family correspondence.

Among Shaw's writings in Series 3 are 145 diaries containing daily one-page entries that outline his daily schedule. In addition, there are drafts and final manuscripts of fiction, non-fiction, plays, and poems, as well as quizzes devised for his newspaper column, and short writings for magazines. Notes include travel observations, notes on restaurants and nightclubs, notes for fiction, quotations, and lists of his collections. Writings by other authors on a variety of topics include children's books illustrated by Shaw, a review of Shaw's poetry, and an article about Shaw as a modern painter.

Artwork by Shaw in Series 4 includes collages, drawings, and paintings. Of particular interest are 340 sketchbooks containing sketches and finished drawings in pencil and ink, watercolor and gouache paintings, pastels and collages. Among the artwork by other artists is a charcoal portrait, probably of Shaw, by Betty George.

Series 5: Financial Records, consists mainly of banking records, tax returns, and royalty statements. Also included is information about art sales and payment for writings; receipts are for art related expenses and document purchases for Shaw's collection of tobacco figures.

Series 6: Scrapbooks (37 volumes) documents Shaw's entire career. Five volumes concern his art and exhibitions, 9 volumes preserve his published writings, 20 volumes contain published poems, and an additional 5 volumes are devoted to miscellaneous subjects.

Additional printed matter in Series 7: Printed Material, consists of items by Shaw, by other authors, and miscellaneous material. Items by Shaw includes articles, books by and/or illustrated by Shaw, plays, and poems. Printed material by other authors includes pieces about or mentioning Shaw, books, exhibition catalogs and related records, and periodicals. Among the miscellaneous printed material are auction and book catalogs, clippings, and ephemera. Also included are a wide assortment of menus, along with theatrical memorabilia, travel brochures and printed souvenirs collected by Shaw.

Series 8: Miscellaneous Records, consists of a variety of artifacts including the Century Association Art Committee Medal awarded Shaw, a letter opener carved with his monogram, and printing plates for color reproductions of a painting by Shaw and of prints in his collection. Other miscellaneous records are two sound recordings, a tape recording of Shaw reading his poetry, and an unidentified phonograph album.

Series 9: Photographs includes photos of artwork, people, places and miscellaneous subjects. Artwork depicted here is mainly by Shaw, but there are also photographs of work by other artists, and of items in Shaw's collections of tinsel prints and tobacco figures, as well as views of various exhibition installations.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Information, 1874-1970 (Boxes 1, 46, OV 50; 0.2 linear ft.)

Series 2: Correspondence, 1833-1973 (Boxes 1-3; 2.5 linear ft.)

Series 3: Writings, 1910-1971 (Boxes 3-20, 46; 17.5 linear ft.)

Series 4: Artwork, 1929-1974 (Boxes 21-30, 47-49, OV50; 10.15 linear ft.)

Series 5: Financial Records, 1933-1971 (Boxes 30-31; 0.65 linear ft.)

Series 6: Scrapbooks, 1922-1970 (Boxes 31-34, 46; 3.2 linear ft.)

Series 7: Printed Material, 1686-1979 (Boxes 34-41, 46; 7.6 linear ft.)

Series 8: Miscellaneous Records, circa 1890s-circa 1970s (Boxes 42, 51-52; 0.35 linear ft.)

Series 9: Photographs, 1885-circa 1970 (Boxes 42-46, OV 50; 3.45 linear ft.)
Biographical Note:
A significant figure in American abstract art, Charles Green Shaw (1892-1974) enjoyed a varied career as a writer, illustrator, poet, modernist painter, and collector. Born to a wealthy family and orphaned at a young age, Charles and his twin brother were raised by their uncle, Frank D. Shaw. At age nine, he was already an avid painter and had illustrated his first book, The Costumes of Nations.

After Shaw's 1914 graduation from Yale, he attended the Columbia University School of Architecture. In the years before World War I he worked briefly in the real estate business, but was primarily occupied as a member of café society. During the war he was a pilot stationed in England with the American Expeditionary Force's aero squadron.

As a young man, Shaw decided to become a writer and devoted his time and attention to this endeavor for a decade. In the 1920s, Shaw spent extended periods living and writing in London and Paris, and contributed many pieces to publications such as The New Yorker, Smart Set, Vanity Fair and Town & Country. Two of Shaw's novels, Heart In a Hurricane (1927) and The Low Down (1928), were published during this period. His play What Next! was produced in New York in 1928, but its run was brief. Later, he published New York --Oddly Enough (1938), and wrote and illustrated children's books including The Giant of Central Park (1940) and It Looked Like Spilt Milk (1947), in addition to illustrating several more books by other children's authors.

A highly accomplished poet partial to haiku and cinquain, Shaw published three volumes of poetry: Image of Life (1962), Into the Light (1959), and Time Has No Edge (1966). More than 1500 of his poems appeared in numerous American and European poetry magazines. He received the Michael Strange Poetry Award in 1954, and was a member of the Poetry Society (London), American Poets Fellowship Society, and North American Poets.

Shaw studied at the Art Students League in 1926 under Thomas Hart Benton and as a private pupil of George Luks. He became aware of abstract art and its various movements while traveling in Europe in the 1920s. When he began painting seriously in the early 1930s, Shaw drew from what he had seen and learned of modernism in Paris to develop his own style that incorporated American themes and technology. His earliest modern work was in the cubist vein. He constructed Arp-influenced wooden reliefs and the plastic polygon series (1933-1939) that foreshadowed shaped paintings developed by the next generation. Shaw's paintings progressed to hard edged abstractions and a return to figurative work in the 1940s was followed by abstract expressionism. Shaw had few connections with other New York artists, although he was well acquainted with A. E. Gallatin and George L. K. Morris and was a member of American Abstract Artists from its inception.

His first solo exhibition was at Valentine Gallery in 1934; in the following year he had a one man show at Gallatin's Museum of Living Art. Shaw was among the artists included in Gallatin's 1936 show, "Five Contemporary American Conceretionists," originating at the Rienhardt Gallery and then traveling to Galérie Pierre in Paris, and Mayer Gallery in London. He exhibited widely and was represented by Passedoit Gallery and Bertha Schaefer Gallery. Shaw's work can be found in major museum collections including the Museum of Modern Art, Metropolitan Museum of art, Guggenheim Museum, Art Institute of Chicago, Brooklyn Museum, and San Francisco Museum.

Around 1945, Shaw began creating approximately 600 montages that included collage and incorporated early prints, dice, antique playing cards, pipes, and fabrics arranged in shadow boxes. Though many of the montages decorated his apartment, they were never exhibited publicly during his lifetime.

Shaw was an avid collector. Among his collections were antique playing cards; figures, folk art, and implements relating to tobacco; tinsel prints, particularly of theatrical figures; prints and paper ephemera relating to the London theater; horse brasses; and antique police truncheons. In addition, Shaw was an authority on Lewis Carroll about whom he wrote a number of articles.

Charles Green Shaw died in New York City in 1974.
Provenance:
Charles Green Shaw bequeathed his scrapbooks to the Archives of American Art in 1974. The remaining papers were a gift of his estate in 1975.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Charles Green Shaw 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, Abstract -- New York (State) -- New York  Search this
Works of art  Search this
Artists as authors -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Genre/Form:
Sound recordings
Photographs
Scrapbooks
Sketchbooks
Citation:
Charles Green Shaw papers, 1686, 1833-1979, bulk 1909-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shawchar
See more items in:
Charles Green Shaw papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shawchar

Rose Fried Gallery Records

Creator:
Rose Fried Gallery (New York, N.Y.)  Search this
Names:
Pinacotheca Gallery (New York, N.Y.)  Search this
Baertling, Olle, 1911-1981  Search this
Cornell, Joseph  Search this
Cunningham, Ben, 1904-1975  Search this
Delaunay, Sonia  Search this
Etrog, Sorel, 1933-  Search this
Ferren, John, 1905-1970  Search this
Fried, Rose  Search this
Hendler, Raymond, 1923-  Search this
Kandinsky, Wassily, 1866-1944  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mondrian, Piet, 1872-1944  Search this
Morgan, Russell  Search this
Picabia, Francis, 1879-1953  Search this
Richter, Hans, 1888-1976  Search this
Torres-García, Joaquín, 1874-1949  Search this
Xceron, Jean, 1890-1967  Search this
Extent:
8.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Interviews
Date:
1936-1972
bulk 1945-1970
Summary:
The Rose Fried Gallery records measure 8.1 linear feet and date from 1936 to 1972 with the bulk of materials dating from 1945 to 1970. The majority of the collection consists of artists files documenting the gallery's relationship with abstract, modern, and Latin American artists; additional named subject files; and scattered administrative and financial files. Individual artists and subject files contain a wide variety of documentation, such as correspondence, photographs, financial records, and printed materials.
Scope and Contents:
The Rose Fried Gallery records measure 8.1 linear feet and date from 1936 to 1972 with the bulk of materials dating from 1945 to 1970. The majority of the collection consists of artists files documenting the gallery's relationship with abstract, modern, and Latin American artists; additional named subject files; and scattered administrative and financial files. Individual artists and subject files contain a wide variety of documentation, such as correspondence, photographs, financial records, and printed materials.

Scattered administrative records document the founding and history of the Rose Fried Gallery, biographical materials about Rose Fried, as well as scattered administrative correspondence, press releases, and gallery catalogs. There are two sound recordings of interviews with Rose Fried in which she discusses the origins of the Rose Fried Gallery and some of the gallery's shows.

The bulk of the records consist of alphabetical artists' and clients' files documenting the gallery's dealings with individual artists, clients, other galleries, museums, and universities. Contents of individual files vary but may include correspondence, contractual agreements, financial records, printed material, and photographs. A few of the artists represented in the files include Olle Baertling, Joseph Cornell, Ben Cunningham, Sonia Delaunay, Sorel Etrog, John Ferren, Raymond Hendler, Wassily Kandinsky, Stanton MacDonald-Wright, Piet Mondrian, Russell Morgan, Francis Picabia, Hans Richter, Joaquin Torres-Garcia, and Jean Xceron, among many others.
Arrangement:
The collection is arranged as two series.

Series 1: General Administrative Records, 1947-1970 (9 folders; Box 1)

Series 2: Artists' and Clients' Files, 1936-1972 (7.9 linear feet; Boxes 1-8, OV 9)
Historical Note:
Rose Fried established the Rose Fried Gallery in the 1940s in New York City, New York. Fried established the gallery when she took over the Pinacotheca Gallery owned by Dan Harris. The Gallery specialized in abstract and modern art, and represented cubists, futurists, Dadaists, and masters of Latin American art. The Rose Fried Gallery was instrumental in introducing the American public to many abstract painters, including Mondrian and Kandinsky. The Gallery remained operational until Fried's death in 1970.
Provenance:
The Rose Fried Gallery Records were donated by Rose Fried and her brother and executor Paul Fried in multiple accretions between 1968 and 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy also requires advance notice. Contact Reference Services for more information.
Rights:
The Rose Fried Gallery records 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 galleries, Commercial -- New York (State) -- New York  Search this
Gallery owners  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Hispanic American artists  Search this
Art dealers -- New York (State) -- New York  Search this
Art, Abstract  Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Citation:
Rose Fried Gallery Records, 1936-1972, bulk 1945-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosefrig
See more items in:
Rose Fried Gallery Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosefrig
Online Media:

Katharine Kuh papers

Creator:
Kuh, Katharine  Search this
Names:
Albright-Knox Art Gallery  Search this
Art Institute of Chicago -- Faculty  Search this
Biennale di Venezia  Search this
Katharine Kuh Gallery (Chicago, Ill.)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Albright, Ivan, 1897-1983  Search this
Archipenko, Alexander, 1887-1964  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Arp, Jean, 1887-1966  Search this
Barnet, Will, 1911-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Biddle, George, 1885-1973  Search this
Breuer, Marcel, 1902-  Search this
Calder, Alexander, 1898-1976  Search this
Campoli, Cosmo  Search this
Chagall, Marc, 1887-  Search this
Chavez Morado, José, 1909-2002  Search this
Chermayeff, Serge, 1900-  Search this
Cornell, Joseph  Search this
Cox, Richard  Search this
Davis, Stuart, 1892-1964  Search this
Day, Worden, 1916-1986  Search this
De Kooning, Willem, 1904-  Search this
Dickinson, Edwin Walter, 1891-  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Elizabeth II, Queen of Great Britain, 1926-  Search this
Ernst, Jimmy, 1920-1984  Search this
Falkenstein, Claire, 1908-1997  Search this
Feitelson, Lorser, 1898-1978  Search this
Friendly, Fred W.  Search this
Giacometti, Alberto, 1901-1966  Search this
Golub, Leon, 1922-2004  Search this
Goto, Joseph, 1920-  Search this
Grabe, Klaus  Search this
Graves, Robert, 1895-1985  Search this
Guggenheim, Peggy, 1898-  Search this
Guston, Philip, 1913-1980  Search this
Hare, David, 1917-  Search this
Hare, Denise Browne  Search this
Hayter, Stanley William, 1901-1988  Search this
Hirshhorn, Joseph  Search this
Hofmann, Hans, 1880-1966  Search this
Hélion, Jean, 1904-1987  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Johns, Jasper, 1930-  Search this
Johnson, Philip, 1906-2005  Search this
Johnson, Ray, 1927-  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kepes, Gyorgy, 1906-2001  Search this
Kepes, Juliet  Search this
Klee, Paul, 1879-1940  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Le Corbusier, 1887-1965  Search this
Lundeberg, Helen, 1908-1999  Search this
Lye, Len, 1901-1980  Search this
Léger, Fernand, 1881-1955  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Millier, Arthur, 1893-  Search this
Moholy-Nagy, László, 1895-1946  Search this
Motherwell, Robert  Search this
Mérida, Carlos, 1891-1984  Search this
Nutting, Muriel Leone Tyler, b. 1892  Search this
Nutting, Myron Chester, 1890-1972  Search this
O'Higgins, Pablo, 1904-  Search this
Orozco, José Clemente, 1883-1949  Search this
Ozbekhan, Hasan, 1921-2007  Search this
Perkins, Frances  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Ray, Man, 1890-1976  Search this
Rich, Daniel Catton, 1904-1976  Search this
Rothko, Mark, 1903-1970  Search this
Sandberg, Carl  Search this
Seligmann, Kurt, 1900-1962  Search this
Shackelford, Shelby  Search this
Shahn, Ben, 1898-1969  Search this
Spaeth, Otto, d. 1966  Search this
Sterne, Hedda, 1916-  Search this
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Still, Clyfford, 1904-  Search this
Tanning, Dorothea, 1910-2012  Search this
Tobey, Mark  Search this
Winston, Harry Lewis  Search this
Woolf, Olga  Search this
Young, Victor  Search this
Photographer:
Pollack, Peter, 1909-1978  Search this
Extent:
12 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Date:
1875-1994
bulk 1930-1994
Summary:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.

Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.

There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.

Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.

Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.

Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.

Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.

Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.

Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.

Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.

Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.

Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.

Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.

Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)

Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)

Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)

Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)

Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)

Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)

Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)

Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.

Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.

After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.

In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.

After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.

In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.

A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.

Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
Rights:
The Katharine Kuh 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, Abstract -- United States  Search this
Art, American  Search this
Art festivals  Search this
Women museum curators -- Illinois -- Chicago  Search this
Women art critics -- New York (State) -- New York  Search this
Authors -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- United States  Search this
Art galleries, Commercial -- Illinois -- Chicago  Search this
Women art historians -- Illinois -- Chicago  Search this
Women art dealers -- Illinois -- Chicago  Search this
Women art dealers -- New York (State) -- New York  Search this
Women art critics -- Illinois -- Chicago  Search this
Genre/Form:
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Citation:
Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhkath
See more items in:
Katharine Kuh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhkath

Martin Diamond papers

Creator:
Diamond, Martin  Search this
Names:
Martin Diamond Fine Arts (Gallery)  Search this
Diamond, Harriette  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1928-2013
Summary:
The papers of New York art dealer, writer and teacher Martin Diamond measure 3.2 linear feet and date from 1928 to 2013. The materials involve to a limited degree Diamond's wife, Harriette Diamond, co-owner and co-operator of Martin Diamond Fine Arts, Inc. Their gallery work and relationships with artists they represented are documented by writings, subject and artist files, and photographic materials. Subject files concern American abstract art, particularly the 20th century Transcendental abstract painters, and include printed materials, correspondence and photographic materials. Artists' files include similar materials and some writings by artists. Photographic materials are of artworks and exhibition installations.
Scope and Contents:
The papers of New York art dealer, writer and teacher, Martin Diamond measure 3.2 linear feet and date from 1928 to 2013. The materials involve to a limited degree Diamond's wife, Harriette Diamond, co-owner and co-operator of Martin Diamond Fine Arts, Inc. Their gallery work and relationships with artists they represented are documented by writings, subject and artist files, and photographic materials. Subject files concern American abstract art, particularly the 20th century Transcendental abstract painters, and include printed materials, correspondence and photographic materials. Artists' files include similar materials and some writings by artists. Photographic materials are of artworks and exhibition installations.
Arrangement:
The collection is arranged in 4 series. Materials are generally arranged by record type and chronologically thereafter.

Series 1: Writings, 1995 (Box 1; 1 folder)

Series 2: Subject Files, 1940-2008 (Box 1; 0.3 linear feet)

Series 3: Artists' Files, 1928-2013 (Boxes 1-3; 2.5 linear feet)

Series 4: Photographic Materials, 1988 (Boxes 3-4; 0.4 linear feet)
Biographical / Historical:
Art dealer and writer, Martin Diamond (b. 1924) owned Martin Diamond Fine Arts, Inc. with his wife, Harriette. The gallery was established in January 1976 and operated until 1986, specializing in pre-world War II American modern and Abstract Art. It then became a private gallery operating until 1996, when the couple retired. Martin Diamond was particularly interested in Transcendental Art, an area of Abstract Art focused on the artwork's spiritual qualities. His writings include Who Were They? My Personal Contact with 35 American Modernists Your Art Hisory Course Never Mentioned (1995) and his memoirs of his years as a New York City art dealer (1975-1985). Martin and Harriette Diamond presently reside in New Rochelle, New York. Artists represented by the gallery included Vaclav Vytlacil, Blanche Lazzell, and Marguerite and William Zorach.
Related Materials:
The Rutgers University Art Library in New Brunswick, New Jersey holds the "Martin and Harriet Diamond Vertical Files of American Art," which consists of 300 cubic feet of art exhibition catalogs dating from the late nineteenth century through the first half of the twentieth century.
Provenance:
The papers were donated to the Archives of American Art in 1993 and 2014 by Martin Diamond.
Restrictions:
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Martin Diamond 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, Abstract  Search this
Art, Modern -- 20th century  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Art, American -- 20th century  Search this
Painters -- New York (State) -- New York  Search this
Transcendentalism in art  Search this
Genre/Form:
Photographs
Citation:
Martin Diamond papers, 1928-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.diammart2
See more items in:
Martin Diamond papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-diammart2
Online Media:

William and Ethel Baziotes papers

Creator:
Baziotes, William, 1912-1963  Search this
Names:
Kootz Gallery (N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Peter A. Juley & Son  Search this
Solomon R. Guggenheim Museum  Search this
Alloway, Lawrence, 1926-1990  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Baziotes, Christos  Search this
Baziotes, Ethel  Search this
Baziotes, Harry  Search this
Bernshṭin, Meʼir, -1978  Search this
Blesh, Rudi, 1899-1985  Search this
Bodin, Paul, 1910-1994  Search this
Canaday, John, 1907-1985  Search this
Castano, Giovanni, 1896-1978  Search this
Greenberg, Clement, 1909-1994  Search this
Guggenheim, Peggy, 1898-  Search this
Halper, Nathan  Search this
Hare, David, 1917-1992  Search this
Hélion, Jean, 1904-1987  Search this
Janis, Harriet Grossman  Search this
Kamrowski, Gerome  Search this
Kootz, Samuel Melvin, 1898-1982  Search this
Lee, Francis P.  Search this
Licht, Michel, 1893-1953  Search this
Matta, 1912-2002  Search this
Motherwell, Maria  Search this
Motherwell, Robert  Search this
Namuth, Hans  Search this
Onslow-Ford, Gordon  Search this
Paneth, Donald  Search this
Peterson, Charles  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Ricci, F.  Search this
Ruiz-Picasso, Maya  Search this
Schumm, Gertrud  Search this
Schwabacher, Ethel, 1903-1984  Search this
Sievan, Maurice  Search this
Still, Clyfford, 1904-1980  Search this
Vazakas, Byron  Search this
Zulieta, Orlando  Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Photographs
Sketchbooks
Date:
circa 1900-1992
bulk 1935-1980
Summary:
The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.
Scope and Contents:
The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.

Biographical material on William Baziotes consists of a bibliography, teaching files, a sound recording of an interview, membership cards, sales records, a sketchbook, and other miscellaneous material. There is one folder regarding Ethel Baziotes containing a few certificates and her college diploma.

Correspondence consists of letters to William and Ethel Baziotes. Notable correspondents include Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Maria and Robert Motherwell, Jackson Pollock, and others. There are also letters from the Samuel M. Kootz Gallery regarding the sales of William Baziotes's artwork and letters written by William Baziotes to his brother Christos. Letters to Ethel Baziotes include condolence letters as well as letters from museum and galleries regarding exhibitions of her husband's work.

Writings include William Baziotes's notes on various subjects, a list of book titles, and a transcript for a speech. Writings by others include essays about William Baziotes and other subjects.

Printed materials consist of clippings, announcements, magazines, and many exhibition catalogs, mostly on group exhibitions which included artwork by William Baziotes.

Photographs are of William Baziotes, Ethel Baziotes, family and friends, their residence, and his artwork. There are a also photographs of Meir Bernstein, Samuel Kootz, Paul Bodin, Maria Motherwell, Pablo and Maya Picasso, Rudi Blesh, Nathan Halper, Ethel Schwabacher, Clyfford Still, and others.
Arrangement:
The collection is arranged as 5 series.

Series 1: Biographical Material, 1933-1982 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1936-1988 (Boxes 1-2; 1 linear feet)

Series 3: Writings, circa 1950-1992 (Box 2; 0.2 linear feet)

Series 4: Printed Material, 1944-1992 (Boxes 2-7, 9; 4.1 linear feet)

Series 5: Photographs, circa 1900-1979, bulk 1940-circa 1963 (Boxes 7-9; 0.7 linear feet)
Biographical / Historical:
William Baziotes (1912-1963) was an abstract expressionist painter in New York City. Born in Pittsburgh, Pennsylvania, Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design, 1933-1936. He participated on the Works Progress Administration's Federal Art Project as a teacher, 1936-1938, and painted for the Easel Painting Project, 1938-1940.

In 1941 he married Ethel Copstein. He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. The Samuel M. Kootz Gallery, Inc. held a solo show for Baziotes in 1946 and continued to exhibit his works until 1958.

Baziotes taught at Subjects of the Artist, 1948; the Brooklyn Museum Art School and New York University, 1949-1952; the People's Art Center at the Museum of Modern Art, 1950-1952; and Hunter College, 1952-1962. Baziotes died in 1963.
Provenance:
The William and Ethel Baziotes papers were donated by Ethel Baziotes, widow of William Baziotes, in several installments from 1969 to 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Abstract expressionism  Search this
Painters -- New York (State) -- New York  Search this
Art, Abstract  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Sketchbooks
Citation:
William and Ethel Baziotes papers, circa 1900-1992, bulk 1935-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.baziwill
See more items in:
William and Ethel Baziotes papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baziwill

American Abstract Artists records

Creator:
American Abstract Artists  Search this
Names:
Albers, Josef  Search this
Archipenko, Alexander, 1887-1964  Search this
Billings, Henry, 1901-  Search this
Calder, Alexander, 1898-1976  Search this
Feininger, Lyonel, 1871-1956  Search this
Gurin, Ruth  Search this
Hasegawa, Saburō, 1906-1957  Search this
Holtzman, Harry  Search this
Mason, Alice Trumbull, 1904-1971  Search this
Mondrian, Piet, 1872-1944  Search this
Rabkin, Leo  Search this
Rousseau, Irene  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1936-1983
Summary:
The records of the American Abstract Artists measure 1.6 linear feet and date from 1936 through 1983. The records document the founding of the organization in 1936, membership activities, general administration, and exhibitions via correspondence, member writings, financial and legal records, printed materials, and photographs.
Scope and Contents:
The records of the American Abstract Artists measure 1.6 linear feet and date from 1936 through 1983. The records document the founding of the organization in 1936, membership activities, general administration, and exhibitions via correspondence, member writings, financial and legal records, printed materials, and photographs.

Correspondence mainly relates to the exhibitions and member activities of the American Abstract Artists. There are letters from Josef Albers, Alexander Archipenko, Alexander Calder, Lyonel Feininger, Harry Holtzman, Piet Mondrian, and Irene Rousseau, President Emeritus of the American Abstract Artists. Official bulletins sent to members are also found among the correspondence.

Administrative records include founding prospectus, meeting minutes, lists of members, and drafts and amendments to the American Abstract Artists constitution.

Member writings are by Saburo Hasegawa, Henry Billings, Leo Rabkin, and Ruth Gurin. Financial and legal records include ledger books, insurance documents, and other financial material. Printed materials include announcements for the American Abstract Artists' annual exhibitions, as well as exhibition posters. Finally, there are two photographs of collage paintings by members.
Arrangement:
The arrangement and description in this finding aid refer to unmicrofilmed portions of the collection. Legacy microfilm arrangement is not reflected.

The collection is arranged as 6 series.

Series 1: Correspondence, 1937-1982 (Box 1; 0.3 linear feet)

Series 2: Administrative Records, 1937-1982 (Box 1; 0.3 linear feet)

Series 3: Member Writings, 1938-1954 (Box 1; 4 folders)

Series 4: Financial and Legal Records, 1942-1983 (Box 1-2; 0.5 linear feet)

Series 5: Printed Materials, 1936-1982 (Box 2-3, OV 4; 0.5 linear feet)

Series 6: Photographs, 1963 (Box 3; 1 folder)
Biographical / Historical:
The American Abstract Artists group was established in 1936 in New York, New York by a group of painters and sculptors. The American Abstract Artists contributed to the introduction of abstract art to the American public through exhibitions, publications, and lectures.

During the era of the formation of the American Abstract Artists, abstraction was not critically accepted. In 1937, the American Abstract Artists held their first exhibition at the Squibb Galleries in New York City. It received negative reactions from both the press and the public - the exhibition had a high attendance but poor reviews. The American Abstract Artists addressed the role of the critic through their publications, specifically the 1940 pamphlet "The Art Critics! How Do They Serve the Public? What Do They Say? How Much Do They Know?—Let's Look at the Record!"

The group was most active from 1937 to 1942, and supported the critical success of Abstract Expressionism in later decades.
Related Materials:
Among the holdings of the Archives of American Art are the Ruth Bowman Interviews of American Abstract Art members, 1963-1965, and Susan C. Larsen's Interviews of American Abstract Art members, 1973-1978.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming available on 35 mm microfilm reels D539, N59-11, N69-72, N69-96, N69-97, N69-137, and N70-48. Much of this material and the papers on reels N70-48 and N59-11 were included in subsequent gifts, and may have been microfilmed again. Loaned materials not donated later are not described in the collection container inventory.
Provenance:
The Archives of American Art acquired the American Abstract Artists records in three installments by Presidents Emeriti of the American Abstract Artists. Alice Trumball Mason first lent papers for microfilming in 1959, and she later gifted the majority of this material in 1969. Following, Leo Rabkin donated records in 1969, and Irene Rousseau gave more papers in 1983.
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.
Topic:
Painters  Search this
Art -- Societies, etc. -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Abstract -- United States  Search this
Genre/Form:
Photographs
Citation:
The American Abstract Artists records, 1936-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.amerabst
See more items in:
American Abstract Artists records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-amerabst
Online Media:

8 New York artists

Author:
Kenkeleba Gallery (New York, N.Y.)  Search this
Bockley Gallery  Search this
Herbert F. Johnson Museum of Art  Search this
Physical description:
1 v. (unpaged) : ill. (some col.) ; 28 cm
Type:
Exhibitions
Place:
New York (State)
New York
Date:
1987
C1987
20th century
Topic:
Art, American  Search this
Art, Abstract  Search this
Call number:
N6535.N5 E35 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_638501

Oral history interview with David Novros, 2008 Oct. 22-27

Interviewee:
Novros, David, 1941-  Search this
Interviewer:
Brennan, Michael, 1965-  Search this
Type:
Sound recordings
Interviews
Topic:
Painters  Search this
Art, Abstract  Search this
Record number:
(DSI-AAA_CollID)15634
(DSI-AAA_SIRISBib)281973
AAA_collcode_novros08
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_281973

Developing abstraction through collage : paintings of the 1930s-1940s

Author:
Wigmore, Deedee  Search this
Author:
D. Wigmore Fine Art, Inc  Search this
Physical description:
36 pages : color illustrations ; 23 cm
Type:
Exhibitions
Exhibition catalogs
Place:
New York (State)
New York
Date:
2019
Topic:
Art, Abstract  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1109157

Louise Bourgeois : to unravel a torment / editors: Emily Wei Rales, Ali Nemerov

Title:
To unravel a torment
Artist:
Bourgeois, Louise 1911-2010  Search this
Author:
Bourgeois, Louise 1911-2010 Works Selections  Search this
Author:
Rales, Emily Wei  Search this
Fer, Briony  Search this
Larratt-Smith, Philip  Search this
Editor:
Nemerov, Ali  Search this
Host institution:
Glenstone (Museum)  Search this
Subject:
Bourgeois, Louise 1911-2010  Search this
Bourgeois, Louise 1911-2010 Criticism and interpretation  Search this
Bourgeois, Louise 1911-2010 Themes, motives  Search this
Bourgeois, Louise 1911-2010  Search this
Glenstone (Museum)  Search this
Physical description:
211 pages : illustrations (chiefly color), portraits ; 29 cm
Type:
Exhibitions
Diaries
Exhibition catalogs
Essays
Illustrated works
Place:
New York (State)
New York
Date:
2018
21st century
20th century
Topic:
Fathers in art  Search this
Art, Modern  Search this
Art, Abstract  Search this
Women artists  Search this
Art, French  Search this
Call number:
N6537.B645 A4 2018b
N40.1.B459 G54 2018
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1102659

(Abstract), (sculpture)

Sculptor:
Aschenbach, Paul 1921-  Search this
Pond, Kate 1938-  Search this
Medium:
Granite on crushed granite pieces and granite flag stones
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by City of Burlington Department of Parks and Recreation Burlington Vermont 05401
Located Burlington Bikepath North of abandoned Moran Generating Plant Burlington Vermont
Date:
1991
Topic:
Abstract--Geometric  Search this
Control number:
IAS VT000067
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_310416

Involvement, (sculpture)

Sculptor:
Kratina, George  Search this
Medium:
Sculpture: aluminum, welded and painted; Base: concrete
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by State of New York Office of General Services, Tower Building Empire State Plaza The Plaza Albany New York 12242
Located New York State Department of Taxation and Finance Building 8, West Averill Harriman State Office Building Campus Albany New York
Date:
1970
Topic:
Abstract  Search this
Control number:
IAS NY000644
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_334298

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