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
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.
Rachel Harrison life hack Elisabeth Sussman and David Joselit ; with contributions by Johanna Burton, Darby English, Maggie Nelson, and Alexander Nemerov
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.
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.
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
Masterworks of the Jewish Museum / Maurice Berger and Joan Rosenbaum ; with entries by Vivian B. Mann, Norman L. Kleeblatt, and the staff of the Jewish Museum
