The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment. Glass plate negatives and lantern slides are housed separately.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Louis Lozowick Papers, 1898-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This series contains correspondence documenting Reinhardt's career as an artist and art professor, with the bulk of the material dating from 1946 to 1966. Most of the letters are incoming, and there are only a few draft copies of outgoing letters written by Reinhardt. Found in this series are several letters from artists, including Abe Ajay, cartoonist Dave Crockett Johnson, Helen Frankenthaler, George Rickey, and May Wilson, as well as letters from art critics and writers, including Lucy Lippard, and Ned O'Gorman. Reinhardt also received a large number of letters from art galleries and art dealers, including Betty Parsons Gallery, Iris Clert, Dwan Gallery, and Jock Truman, and art museums, including the Museum of Modern Art, Jewish Museum, and the Whitney Museum of American Art, regarding the exhibition, loan, or sale of his artwork. Numerous letters in this series concern his participation as a guest lecturer, visiting artist, or symposium participant at colleges and universities throughout the country, as well as his professorship at Brooklyn College.
Reinhardt was a member of many art, political, and social organizations and his involvement is documented here in letters from groups such as the Bertrand Russell Peace Foundation, and the Foundation for the Arts, Religion, and Culture. Also included are letters from magazines and other publications to which he contributed articles and artwork, including PM newspaper and Artforum. There is also a large amount of fan mail sent to PM and to Reinhardt in praise of his series of drawings of the history of modern art for that newspaper. Miscellaneous folders include letters of the same type mentioned above which only consist of one or two letters from a correspondent. Notable correspondents within the miscellaneous folders include Josef Albers, John Ashbery, John Cage, Columbia Pictures Corporation, Mathias Goeritz, Peggy Guggenheim, Jasper Johns, Donald Judd, Ray Johnson, Ellsworth Kelly, Robert Kennedy, Robert Motherwell, Claes Oldenburg, Barbara Rose, Meyer Schapiro, and Russel Wright.
Arrangement note:
Letters are arranged alphabetically by correspondent.
This series has been scanned been in its entirety.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ad Reinhardt papers, 1927-1968. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of the Alan R. Solomon papers is provided by the Lichtenstein Foundation.
Rachel Harrison life hack Elisabeth Sussman and David Joselit ; with contributions by Johanna Burton, Darby English, Maggie Nelson, and Alexander Nemerov
The papers of New York painter, writer, and educator Elias Newman measure 1.1 linear feet and date from 1922 to 1981. Newman's participation in exhibitions and various art related organizations, notably Artists Equity Association, is documented through biographical material, correspondence, notes, writings, organizational records, printed material, and photographs.
Scope and Content Note:
The papers of New York painter, writer, and educator Elias Newman measure 1.1 linear feet and date from 1922 to 1981. Newman's participation in exhibitions and various art related organizations, notably Artists Equity Association, is documented through biographical material, correspondence, notes, writings, organizational records, printed material, and photographs.
Arrangement:
The collection is arranged as 6 series:
Missing Title
Series 1: Biographical Material, 1935-1975 (Box 1; 1 folder)
Series 2: Correspondence, 1927-1980 (Box 1; 8 folders)
Series 3: Writings, circa 1939-1976 (Box 1; 4 folders)
Series 4: Artists Equity Association Records, circa 1950-1979 (Box 1; 0.3 linear feet)
Series 5: Printed Material, 1922-1981 (Box 1, OV 2; 0.4 linear feet)
Series 6: Photographs, 1923-1975 (Box 1; 9 folders)
Biographical Note:
Elias Newman (1903-1999) was a painter, writer, lecturer, and teacher in New York, N.Y. Born in Stashow, Poland in 1903, Newman arrived in the United States in 1913, and became a naturalized citizen in 1928. He studied at the National Academy of Design from 1919-1920, and at the Educational Alliance Art School from 1920-1925. He also studied at the Academie Chaumiere in Paris. After 1925, Newman participated in many exhibitions, acted as art director of the Palestine Pavilion at the New York World's Fair in 1939, organized the Palestine Artists and Sculptors Association, and was director of the National Society of Painters in Casein in 1963 and 1967-1971. From 1970-1975, Newman served as president of the Artists Equity Association, the organization which played the most significant role in his career.
Provenance:
The collection was donated in 1977 and 1981 by Elias Newman.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An extensive collection of Judaica collected by the Division of Cultural History, National Museum of American History, Smithsonian.
Scope and Contents:
The collection is a compilation of gifts from numerous donors, of documents relating to Judaism in numerous countries and the United States. Documents include betrothal contracts, bills of divorcement, eulogies, memorial plaques, candle labels, Jewish calendars, sukkah decorations, certificates of ritual slaughter, prayers, poems, sermons, and other types of documents.
Arrangement:
Collection is unarranged.
Historical Note:
The Judaica Collection at the Smithsonian is the oldest of its type in the United States. The archival collection is comprised of various documents, prints, sukkah decorations, marriage contracts, and memorial candle labels from Europe and the Middle East. The bulk of the collection was transferred in the 1960's to the National Museum of History and Technology (later, the National Museum of American History). A portion of the collection (artifact-related) still resides in the National Museum of Natural History. For a detailed description of items found in the collection see Cohen Grossman, Grace and Richard Ahlborn. "Judaica at the Smithsonian: Cultural Politics as Cultural Model." Smithsonian Studies in History and Technology, Number 52, 1997.
The first Judaica collections were acquired by the Smithsonian specifically for the World's Columbian Exposition in 1890. The next large Judaica collection was acquired in 1902 with the purchase of a torah case and Sukkah ornaments from Ephraim Deinard, bibliophile, Hebrew author and independent book dealer. A native of Latvia, Deinard immigrated to the United States in 1888. By 1913, Deinard had amassed a large collection of Judaica from Europe and the Middle East. He eventually deposited, between 1920 and 1927, almost 600 objects to the Smithsonian. The collection remained on loan until 1955 when Deinard's heirs donated the collection.
It was 10 years later with the opening of the National Museum of History and Technology (National Museum of American History), that there was a renewed interest in collecting Judaica objects. A small number of Judaica objects have been acquired since then. The archival collection is housed at the Archives Center, National Museum of American History.
Related Materials:
Cohen Grossman, Grace and Richard Ahlborn. "Judaica at the Smithsonian: Cultural Politics as Cultural Model." Smithsonian Studies in History and Technology, Number 52, 1997.
See: https://repository.si.edu/handle/10088/2452
Separated Materials:
This collection has related artifacts in the Division of Home and Community Life (now Division of Cultural and Community Life).
Provenance:
The collection was donated by the following donors:
J.H. Kantrowitz.,Purchase,1889; Mrs. S. Sulzberger, Gift; Leopold Luchs, Gift; Dr. Cyrus Adler ,Gift; Mayer Sulzberger, Purchase; Rev. Henry Cohen, Gift.,1897; William Wesley and Son, Purchase; Father S. Krauss, Gift.,1902; S.S. Howland, Bequest.,1902; Ephraim Deinard, Purchase.,1902; Mrs. Simon Kann,Gift.,1920;
Henry S. Hartogensis,Gift,1920; Ms. L. Lieberman,Gift,1924; Ephraim Deinard,Gift; Cara Goldberg Marks, Michael Neil Marks.,Gift; Michael Harris, Gift, 1982; Richard E. Ahlborn,Gift, 1986; Sylvia E. Lipkowitz, Gift, 1987; and
Neeman, Zipora,Gift, 1988.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
7.1 Linear feet ((partially microfilmed on 7 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1909-1980
Scope and Contents:
Biographical material, correspondence, writings, project files, works of art, photographs, and printed material documenting Goodelman's work as a sculptor, his participation in the Jewish community, and his interest in socialism.
Personal and professional correspondence is with artists, art associations, museums, galleries and relief organizations, documenting Goodelman's education in Rome, New York and at L'Ecole des Beaux-Arts, Paris; his teaching career in New York, particularly with the Jefferson School of Social Sciences; and his participation in art, political and Jewish organizations, such as American Artists' Congress and the Union of American Hebrew Congregations.
Writings by Goodelman, undated and 1934, include notes, notebooks, and typescripts. There is also a typescript of Elizabeth McCausland's speech "Art and the Atom," 1947. Project files contain information regarding Goodelman's sculpting of memorial gravestones, Passover art, and the Week of Jewish Culture. Works of art by Goodelman, ca. 1920-1930's, include illustrations for the children's journals "Young Israel," "Kinder Journal" and Joseph Gaer's books "the Burning Bush" and "the Unconquered," sketches, portraiture, and figure drawings.
Photographs are of Goodelman, working and teaching sculpture; his childhood in Russia; his family, friends, and students; memorial gravestones, and works of art.
Printed material includes exhibition anouncements and catalogs, entry cards, invitations, clippings, political and art organizations information, adult and art education flyers, clippings and a photocopy of Goodelman's privately microfilmed scrapbook containing letters and printed material.
Also included are files on Goodelman's wife, Sarah, on Jewish children's schools, 1949-1950.
UNMICROFILMED: Two scrapbooks compiled by Sarah Goodelman, containing newspaper clippings, exhibition catalogs and photographs regarding the career of Aaron Goodelman, as well as business cards, addresses, scattered receipts, negatives, and miscellany.
Biographical / Historical:
Sculptor, illustrator, lecturer, teacher; New York, N.Y. Another apparent name spelling is Aharon Gudlman.
Provenance:
Donated 1977 by Goodelman, and in 1984 by his heir, Connie Weinstock and microfilmed in 1994 with funds provided by the Philip Birnbaum Foundation. Additional scrapbooks were donated in 2008 by Weinstock and do not appear on microfilm.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Illustrators -- New York (State) -- New York Search this
A curriculum vitae; diplomas; list of commissions executed, 1919-1937; correspondence with foundries and the Naples Art Gallery, Provincetown, Mass; several personal letters; foundry bills; photographs of Aarons, his home, his studio, and his work; and printed material; copyright documents; essays on art; financial data; files on the Boston Hebrew Congregation, the National Sculpture Society, the Gloucester Anniversary Medal, and the Savin Hillel House; ten signed pencil sketches of sculpture and reliefs submitted to Temple Israel, Boston, Mass. (43 x 35 cm. or smaller) of Moses, Isaiah, a menorah, and other subjects; five sketchooks, undated, containing pen and pencil studies for Temple Israel and some portrait sketches.
Biographical / Historical:
George Manuel Aarons was a sculptor in Gloucester, Mass.
Provenance:
Donated 1978-1979 by Aaron's widow, Gertrude (d. 1989), and in 1991 by Gertrude's sister, Mrs. Spartaco Monello, who received the papers from her sister's estate.
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.
Correspondence, notes, writings, 3 scrapbooks, printed material, and 60 photographs document Katz' career as a painter, muralist, and stained glass artist of primarily Jewish and religious subjects.
Correspondence, 1927-1973, is primarily with synagogues, Jewish community centers and groups concerning commissions for architectural decorations and religious objects, and with galleries concerning exhibitions. Included is a letter from Bob Andrews, 1965, containing a photograph of Beatrice Wood and Gandhi's confidential aide Kamaladevi Chattopadhyaya. Notes consist of 4 lists of projects for synagogues. Writings by Katz include an essay about the integration of architecture, painting and sculpture, and "The Seven Names," about calligraphy. Also included are writings by others about Katz, 1952-1956. Three scrapbooks, 1932-1955, contain clippings, reproductions of work, and a few photos and prints.
Printed material includes clippings, 1930-1974, exhibition announcements and catalogs, 1941-1973, and various brochures, programs, reproductions, and books by Katz, including Prelude to a New Art for an Old Religion (1945), and Adventures in Casein (1951); books illustrated by Katz, Art Calendar for 5709 (1948-1949), and By the Waters of Babylon by Gertrude Priester (1962); and a book jacket designed by Katz for The Hungry Eye by Raymond F. Piper, ca. 1955. Photographs are of Katz (7), works of art (35), and installations of Katz's work (25).
Biographical / Historical:
Mural painter, stained glass and mixed media artist; New York, N.Y. Born in Hungary, Katz' first name Sandor, was anglicized to Alexander upon his arrival in the United States, ca. 1909. Also known as Raymond Katz. Following his studies at the American Institute of Chicago and the Chicago Academy of Arts, he was employed by Balaban and Katz to decorate movie palaces. His mural commission, "Ten Commandments" at Chicago's Century of Progress exhibition in 1933 was based on the Hebrew alphabet. Subsequent murals and stained glass window designs commissioned by synagogues throughout America display symbolic images interpretive of Jewish traditions. Author of Black on White (1933), The Ten Commandments (1946), A New Art for an Old Religion (1952), and Adventures in Casein (1951).
Provenance:
Donated November and December 1974 by Katz' wife, Elsie. Microfilmed 1994 with funding from the Lucius N. Littauer Foundation.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Tofel's autobiography; correspondence; diary notebooks; writings; and several essays. Correspondents include Federica Beer-Monti, Katherine Dreier, Edith Halpert, Benjamin Kopman, and Maurice Sterne.
Biographical / Historical:
Painter; New York, N.Y.
Provenance:
Lent for microfilming 1968 by Yivo Institute for Jewish Research.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New York (State) -- New York Search this
