Search Results

Painter:

Johnson, Eastman 1824-1906  Search this

Medium:

Oil on canvas

Type:

Paintings

Owner/Location:

Fine Arts Museums of San Francisco Palace of the Legion of Honor Lincoln Park San Francisco California 94121 Accession Number: 1943.6

Date:

1867

Topic:

Architecture interior--Domestic--House  Search this

Figure group--Family  Search this

State of Being--Disabled--Physical Disability  Search this

Animal--Dog  Search this

Control number:

IAP 71068717

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_145213

Interviewee:

Jordan, Larry, 1934-  Search this

Interviewer:

Karlstrom, Paul J., 1941-  Search this

Subject:

Berman, Wallace  Search this

Brackage, Stan  Search this

Conner, Bruce  Search this

Cornell, Joseph  Search this

DeFeo, Jay  Search this

Deren, Maya  Search this

Duncan, Robert Edward  Search this

Ernst, Max  Search this

Ginsberg, Allen  Search this

Hedrick, Wally  Search this

Herms, George  Search this

Jess  Search this

Jordan, Patricia M.  Search this

McClure, Michael  Search this

Nauman, Bruce  Search this

Rexroth, Kenneth  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Larry Jordan, 1995 Dec. 19 - 1996 July 30. Archives of American Art, Smithsonian Institution.

Topic:

Filmmakers -- California -- Interviews  Search this

Collagists -- California -- Interviews  Search this

Beat generation  Search this

Art -- California -- San Francisco Bay Area  Search this

Record number:

(DSI-AAA_CollID)12216

(DSI-AAA_SIRISBib)215955

AAA_collcode_jordan95

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215955

Interviewee:

Jordan, Larry, 1934-  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Berman, Wallace, 1926-1976  Search this

Brackage, Stan  Search this

Conner, Bruce, 1933-2008  Search this

Cornell, Joseph  Search this

DeFeo, Jay, 1929-1989  Search this

Deren, Maya  Search this

Duncan, Robert Edward, 1919-  Search this

Ernst, Max, 1891-1976  Search this

Ginsberg, Allen, 1926-1997  Search this

Hedrick, Wally, 1928-2003  Search this

Herms, George, 1935-  Search this

Jess, 1923-  Search this

Jordan, Patricia M., 1937-1989  Search this

McClure, Michael  Search this

Nauman, Bruce, 1941-  Search this

Rexroth, Kenneth, 1905-1982  Search this

Extent:

6 Sound cassettes (Sound recording, analog)

100 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1995 Dec. 19 - 1996 July 30

Scope and Contents:

An interview of Larry Jordan conducted 1995 Dec. 19-1996 July 30, by Paul Karlstrom, for the Archives of American Art, at the artist's home, in Petaluma, Calif.

Jordan discusses his family background in Denver; his attraction to contemporary avant-garde; his brief time at Harvard, and his mental breakdown and return to Denver; his move to San Francisco in 1954 because of the artistic and literary atmosphere there; meeting Kenneth Rexroth, Robert Duncan and other poets and his initial introduction to the creative community in San Francisco; his friendships with Jordan Belsen, Michael McClure, Wally Hedrick and Jay DeFeo; the San Francisco Renaissance, the beat era, and what it means to be "beat;" the distinction in intensity between bohemianism and the resurrection of the self during the beat era, the social impact of the anti-establishment movement; and the difference between artists and political activists.

Jordan discusses his influences and important moments in his experimental film career; the surrealist methods for social changes as seen in film; the west coast filmmakers focus on the interior and mystical; the rivalry in the film world; his association with Bruce Conner and their founding a film society together in 1956 and establishing an experimental theater; meeting Joseph Cornell and his invitation to assist him with films, their time spent together, Cornell as a filmmaker, preparing Cornell boxes, and the influence of Cornell on is own art. He discusses his own art; his role as an artist in society; the religious aspect in his art; his place in the avant-garde film world; the major influences in his art; and the concept of death and the celebration of the mind as a major theme in his film and artwork.

He recalls Wallace Berman, Stan Brackage, Bruce Conner, Jay DeFeo, Maya Deren, Robert Duncan, Max Ernst, Allen Ginsberg, Wally Hedrick, George Herms, Jess, Patricia Jordan, Michael McClure, Bruce Nauman, and Kenneth Rexroth.

Biographical / Historical:

Larry Jordan (1934- ) is a filmmaker and collagist from Petaluma, Calif.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the transcription of this interview provided by the Pasadena Art Alliance.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Filmmakers -- California -- Interviews  Search this

Collagists -- California -- Interviews  Search this

Beat generation  Search this

Art -- California -- San Francisco Bay Area  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.jordan95

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98208f7f1-7719-4cfd-be70-1fc2044c5781

EDAN-URL:

ead_collection:sova-aaa-jordan95

Creator:

Berman, Wallace, 1926-1976  Search this

Names:

Bengston, Billy Al  Search this

DeFeo, Jay, 1929-1989  Search this

Di Prima, Diane  Search this

Duncan, Robert Edward, 1919-  Search this

Fonda, Peter, 1940-  Search this

Ginsberg, Allen, 1926-1997  Search this

Heinecken, Robert, 1931-  Search this

Herms, George, 1935-  Search this

Hirschman, Jack, 1933-  Search this

Hopper, Dennis, 1936-  Search this

Jess, 1923-  Search this

Johnson, Ray, 1927-  Search this

Jordan, Patricia M., 1937-1989  Search this

Lamantia, Philip, 1927-  Search this

McClure, Michael  Search this

Meltzer, David  Search this

Miller, Henry, 1891-  Search this

Patchen, Kenneth, 1911-1972  Search this

Perkoff, Stuart Z.  Search this

Ruscha, Edward  Search this

Sherman, Donald  Search this

Wieners, John, 1934-  Search this

Extent:

5 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sound recordings

Photographs

Date:

1907-1979

bulk 1955-1979

Summary:

The Wallace Berman papers date from 1907 to 1979 (bulk 1955-1979). The collection measures 5 linear feet and presents a cursory overview of Berman's career as an assemblage artist and poet. The collection contains business correspondence, letters from other artists and writers of the Beat movement, writings by others, scattered artwork by Berman, photographs by Robert F. Heinecken, and sound recordings of poetry readings.

Scope and Content Note:

The Wallace Berman papers, 1907-1979 (bulk 1955-1979), measure 5 linear feet and present a cursory overview of Berman's career as an assemblage artist and poet. The collection is valuable not only for its documentation of the work of Wallace Berman, but for its documentation of the California beat movement of the late 1950s through the early 1970s.

Found are numerous letters, writings, poems, and other published material which portray the thoughts, attitudes, and trends popular in a prominent underground culture which eventually led to radical changes in America and American art. The collection contains business correspondence, letters from other artists and writers of the beat movement, writings by others, scattered artwork by Berman, and photographs by Robert F. Heinecken. In addition, the collection contains files for Berman's mail art publications Semina and S.M.S. Also of note is the large volume of printed material (2.7 feet), much of it in the form of books and other published material. Sound recordings include poets Michael McClure, Kenneth Patchen, David Melzer, and another unidentified writer performing their work.

Arrangement:

The collection is arranged into nine series which generally reflect material type.

With the exception of the letters in Series 1, each series is arranged chronologically. The original arrangement of the letters has been maintained, with a chronological arrangement of miscellaneous business letters and an alphabetical arrangement of the letters from Berman's more prominent colleagues.

Missing Title

Series 1: Letters, 1957-1979, undated (box 1, 0.5 linear feet)

Series 2: Notes from Interview, 1967 (box 1, 1 folder)

Series 3: Writings by Others, 1972, undated (box 1, 6 folders)

Series 4: Artwork, 1956-1976 (box 1, 4 folders)

Series 5: Semina, 1955-1967 (boxes 1-2, 26 folders)

Series 6: S. M. S., 1968 (box 2, 1 folders)

Series 7: Printed Material, 1907-1976 (boxes 2-5, 2.7 linear feet)

Series 8: Photographs, 1956-1976 (box 5, 6 folders)

Series 9: Sound Recordings, 1962-1965 (box 5, 6 folders)

Biographical Note:

Wallace Berman was born in 1926 in Staten Island, New York. In the 1930s, his family moved to the Jewish district in Los Angeles. After being expelled from high school for gambling in the early 1940s, Berman immersed himself in the growing West Coast jazz scene. During this period, he briefly attended the Jepson Art School and Chouinard Art School, but departed when he found the training too academic for his needs.

In 1949, while working in a factory finishing antique furniture, he began to make sculptures from unused scraps and reject materials. By the early 1950s, Berman had become a full-time artist and an active figure in the beat community in Los Angeles and San Francisco. Many art historians consider him to be the "father" of the California assemblage movement. Moving between the two cities, Berman devoted himself to his mail art publication Semina, which contained a sampling of beat poetry and images selected by Berman.

In 1963, permanently settled in Topanga Canyon in the Los Angeles area, Berman began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976.

Provenance:

The Wallace Berman papers were donated by Tosh Berman, Wallace Berman's son, in 1992.

Restrictions:

The collection is open for research. Patrons must use microfilm copy. Use of audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

Assemblage artists  Search this

Topic:

Works of art  Search this

Poets  Search this

Collage  Search this

Art -- California -- San Francisco Bay Area  Search this

Assemblage (Art)  Search this

Beat generation  Search this

Photography, Artistic  Search this

Genre/Form:

Drawings

Sound recordings

Photographs

Citation:

Wallace Berman papers, 1907-1979 (bulk 1955-1979). Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bermwall

See more items in:

Wallace Berman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973f521c3-2c7a-47d5-8b9a-c53bf766ee89

EDAN-URL:

ead_collection:sova-aaa-bermwall

Creator:

Sinton, Marian W., 1894-1980  Search this

Names:

Anderson, Carlo  Search this

Feldman, Bella Tabak, 1930-  Search this

Oliveira, Nathan, 1928-2010  Search this

Patchen, Kenneth, 1911-1972  Search this

Rose, Henri Marie, 1922-  Search this

Siegriest, Louis Bassi, 1899-1989  Search this

Thiebaud, Wayne  Search this

Van Hoesen, Beth, 1926-2010  Search this

Extent:

0.2 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1962-1971

Scope and Contents:

Thirty-nine letters, mostly thank-yous, to Sinton from mainly San Francisco Bay Area artists Carlo Anderson, Bella T. Feldman, Nathan Oliviera, Henri Marie Rose, Louis Siegriest, Wayne Thiebaud, Beth Van Hoesen and others; and a clipping dated September 16, 1967, about the poetry of Kenneth Patchen.

Biographical / Historical:

Art collector; Hillsborough, Calif.

Provenance:

Donated 1985 by Ruth Steiner, daughter of Marian Sinton. The material formed part of a larger collection of prints and drawings from the estate of the late Mr. and Mrs. Edgar Sinton and donated to the Achenbach Foundation for the Graphic Arts, California Palace of the Legion of Honor (Fine Arts Museum of San Francisco).

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:

Painters -- California  Search this

Topic:

Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this

Identifier:

AAA.sintmari

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw963ed4abf-fa67-411f-83d7-d2f4f1c47165

EDAN-URL:

ead_collection:sova-aaa-sintmari

Creator:

Selz, Peter Howard, 1919-2019  Search this

Names:

College Art Association of America  Search this

Institute of Design (Chicago, Ill.) (Faculty)  Search this

Marlborough Gallery  Search this

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

Pomona College (Claremont, Calif.)  Search this

San Francisco Bay Area Rapid Transit District (Calif.)  Search this

University of California, Berkeley. University Art Museum  Search this

Baykam, Bedri, 1957-  Search this

Beckmann, Max, 1884-1950  Search this

Benton, Fletcher, 1931-  Search this

Bergman, Ciel, 1938-  Search this

Bury, Pol, 1922-2005  Search this

Calder, Alexander, 1898-1976  Search this

Chase-Riboud, Barbara  Search this

Christo, 1935-  Search this

Conner, Bruce, 1933-2008  Search this

Dubuffet, Jean, 1901-  Search this

Feininger, Lyonel, 1871-1956  Search this

Giacometti, Alberto, 1901-1966  Search this

Golub, Leon, 1922-2004  Search this

Graves, Morris, 1910-  Search this

Guston, Philip, 1913-1980  Search this

Hadzi, Dimitri, 1921-2006  Search this

Lebrun, Rico, 1900-1964  Search this

Lindner, Richard, 1901-1978  Search this

Lipchitz, Jacques, 1891-1973  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Onslow-Ford, Gordon  Search this

Paris, Harold, 1925-1979  Search this

Petlin, Irving, 1934-  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Tinguely, Jean, 1925-  Search this

Extent:

31.5 Linear feet

0.696 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Scrapbooks

Sound recordings

Video recordings

Place:

San Francisco Bay Area (Calif.)

Date:

1929-2014

bulk 1950-2005

Summary:

The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.

Scope and Contents:

The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.

Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.

The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.

Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.

Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.

Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.

Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.

Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.

Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.

Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.

There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.

Arrangement:

This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.

Missing Title

Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)

Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)

Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)

Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)

Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)

Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)

Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)

Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)

Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)

Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)

Biographical / Historical:

Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.

Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.

After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.

In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.

In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.

In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.

Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).

In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.

Related Materials:

The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.

Provenance:

The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.

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 copies requires advance notice.

Rights:

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

Occupation:

Authors -- California -- Berkeley  Search this

Art historians -- California -- Berkeley  Search this

Topic:

Realism  Search this

Political cartoons  Search this

Pop art  Search this

Environment (Art)  Search this

Painting, Abstract  Search this

Ceramics  Search this

Art -- Study and teaching -- California  Search this

Art -- Political aspects  Search this

Art, Modern -- 20th century -- Exhibitions  Search this

Art -- Germany  Search this

Genre/Form:

Photographs

Scrapbooks

Sound recordings

Video recordings

Citation:

Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.

Identifier:

AAA.selzpete

See more items in:

Peter Howard Selz papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ce9d9d14-7599-455d-828d-57077e76ef17

EDAN-URL:

ead_collection:sova-aaa-selzpete

Author:

Foley, Suzanne  Search this

Lewallen, Constance  Search this

San Francisco Museum of Modern Art  Search this

Physical description:

208 p. : ill. ; 28 cm

Type:

Exhibitions

Place:

California

San Francisco Bay Area

Date:

1981

C1981

20th century

Topic:

Conceptual art  Search this

Arts, Modern  Search this

Call number:

NX510.C22 S23X

NX510.C22S23X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_142348

Creator:

Hibi, Hisako, 1907-1991  Search this

Hibi, Matsusaburo George  Search this

Type:

Scrapbooks

Citation:

Hisako Hibi and Matsusaburo "George" Hibi papers, circa 1906-2022. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Asian American artists  Search this

Japanese American artists  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Theme:

Asian American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)22180

AAA_collcode_hibihisa

Theme:

Asian American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22180

Creator:

Hibi, Hisako, 1907-1991  Search this

Hibi, Matsusaburo George, 1886-1947  Search this

Extent:

3.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

circa 1906-2022

Summary:

The papers of Japanese American artists Hisako Hibi and Matsusaburo "George" Hibi measure 3.9 linear feet and date from circa 1906-2022. These papers are mainly focused on Hisako Hibi's life and career, with some content related to her husband Matsusaburo "George" Hibi. Included are biographical material consisting of immigration documents and interview transcripts; scrapbooks; printed material including catalogs and newspaper clippings; personal and professional correspondence; scattered records of works sold, loaned and donated; and a few sketches. Also found is Matsusaburo's handwritten account of founding the art school at Topaz incarceration camp along with other material related to the forced removal and incarceration of Japanese Americans during World War II.

Scope and Contents:

The papers of Japanese American artists Hisako Hibi and Matsusaburo "George" Hibi measure 3.9 linear feet and date from circa 1906-2022. These papers are mainly focused on Hisako Hibi's life and career, with some content related to her husband Matsusaburo "George" Hibi. Included are biographical material consisting of immigration documents and interview transcripts; scrapbooks; printed material including catalogs and newspaper clippings; personal and professional correspondence; scattered records of works sold, loaned and donated; and a few sketches. Also found is Matsusaburo's handwritten account of founding the art school at Topaz incarceration camp along with other material related to the forced removal and incarceration of Japanese Americans during World War II. A small addition to this collection consisting of letters (many handmade) to Hisako Hibi from friends and fellow artists was merged in with the rest of the correspondence.

Arrangement:

The collection is arranged as 5 series.

Series 1: Biographical Material, 1906-circa 2020 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1922-2022 (1.2 linear feet; Boxes 1, 5-6)

Series 3: Exhibition Files, 1936-2005 (0.4 linear feet; Box 1)

Series 4: Scrapbooks, circa 1934-1985 (0.6 linear feet; Box 2)

Series 5: Printed Material, 1918-2019 (1.5 linear feet; Boxes 2-3, OV 4)

Biographical / Historical:

Hisako Hibi née Shimizu (1907-1991) was a Japanese American artist in Hayward and San Francisco, California. She was married to­ artist Matsusaburo "George" Hibi (1886-1947). Both artists were active members of the San Francisco Bay Area arts community. The two met at the California School of Fine Arts (renamed the San Francisco Art Institute, which closed in 2022) and married in 1930. They had two children, Satoshi and Ibuki. Both Hisako and Matsusaburo "George" Hibi exhibited their paintings widely.

In 1942, the entire Hibi family was forcibly removed and incarcerated at the Tanforan Assembly Center in California and subsequently the Topaz Relocation Center in Utah where they remained until the end of World War II. After the war, the family moved to New York City, where Matsusaburo "George" Hibi passed away in 1947. Hisako Hibi worked as a seamstress at a garment factory and later studied painting at the Museum of Modern Art. In the early 1950s, Hisako Hibi and her daughter Ibuki returned to San Francisco. Hisako Hibi continued to exhibit frequently in group and solo shows. She passed away in 1991.

Provenance:

The Hisako Hibi and Matsusaburo "George" Hibi papers were donated to the Archives of American Art in 2022 by Ibuki Hibi Lee, Hisako and Matsusaburo "George" Hibi's daughter. There was a small addition of material donated in 2023 by Amy Lee-Tai, Ibuki Lee's daughter.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Painters -- California -- San Francisco  Search this

Printmakers -- California -- San Francisco  Search this

Topic:

Women artists  Search this

Asian American artists  Search this

Japanese American artists  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Scrapbooks

Citation:

Hisako Hibi and Matsusaburo "George" Hibi papers, circa 1906-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hibihisa

See more items in:

Hisako Hibi and Matsusaburo "George" Hibi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ad4ec94-a26a-44a8-94e1-868fddd32f1d

EDAN-URL:

ead_collection:sova-aaa-hibihisa

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Extent:

(6 folders; see also: CARA; Garcia, Rupert; Gronk; Box 30; OV 32)

Container:

Box 15, Folder 32-37

Type:

Archival materials

Scope and Contents note:

(exhibition announcements; exhibition brochures; catalogs; resume; sales receipt; book by Lomas Garza, Papel Picado: Paper Cutout Techniques, Xicanindio Arts Coalition, Mesa, Arizona, 1984; TYF's notes on Lomas Garza; clippings; oversize materials; slides; note to TYF from Lomas Garza, undated; note to TYF and Dudley, from Lomas Garza, undated; typescript of essay on Lomas Garza by TYF, from the catalog, Carmen Lomas Garza: Lo Real Maravilloso: the Marvelous/The Real, The Mexican Museum, San Francisco, 1988; catalog, Mano a Mano: Abstraction/Figuration: 16 Mexican-American & Latin-American Painters from the San Francisco Bay Area, The Art Museum of Santa Cruz County and University of California Santa Cruz, 1988; Festival Internaxional de la Raza, "Los Artistas Chicanos del Valle de Tejas: Narradores de Mitos Y Tradiciones," 1991; Handwritten transcript of interview with Lomas Garza by TYF; polaroid photographs of Lomas Garza; memo to Dudley and TYF from Vincente M. Martinez, Acting Chief Curator Millicent Rogers Museum, 04/03/1995, re. invitations to exhibition opening and loan of piece)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92227dc1a-8e69-4967-a093-cff997cfa58a

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1011

Photographer:

Jacobs, Mimi  Search this

Names:

Adams, Ansel, 1902-1984 -- Photographs  Search this

Adams, Mark, 1925-2006 -- Photographs  Search this

Allan, William George, 1936- -- Photographs  Search this

Anderson, Jeremy, 1921-1982 -- Photographs  Search this

Armer, Ruth, 1896-1977 -- Photographs  Search this

Arneson, Robert, 1930-1992  Search this

Arnoldi, Charles, 1946- -- Photographs  Search this

Asawa, Ruth -- Photographs  Search this

Beall, Dennis Ray, 1929- -- Photographs  Search this

Beasley, Bruce, 1939- -- Photographs  Search this

Bechtle, Robert, 1932-2020 -- Photographs  Search this

Bengston, Billy Al -- Photographs  Search this

Benton, Fletcher, 1931- -- Photographs  Search this

Berlant, Anthony -- Photographs  Search this

Bischoff, Elmer, 1916-1991 -- Photographs  Search this

Blunk, J. B., 1926- -- Photographs  Search this

Brice, William, 1921-2008 -- Photographs  Search this

Brown, Joan, 1938-1990  Search this

Celmins, Vija, 1938- -- Photographs  Search this

Chicago, Judy, 1939- -- Photographs  Search this

Conner, Bruce, 1933-2008 -- Photographs  Search this

Cunningham, Imogen, 1883-1976 -- Photographs  Search this

De Forest, Roy, 1930-2007 -- Photographs  Search this

DeFeo, Jay, 1929-1989 -- Photographs  Search this

DeLap, Tony, 1927-2019 -- Photographs  Search this

Dickinson, Eleanor, 1931- -- Photographs  Search this

Diebenkorn, Richard, 1922-1993 -- Photographs  Search this

Dill, Guy, 1946- -- Photographs  Search this

Falkenstein, Claire, 1908-1997 -- Photographs  Search this

Francis, Sam, 1923- -- Photographs  Search this

Gilhooly, David -- Photographs  Search this

Goldyne, Joseph R.  Search this

Gooch, Gerald -- Photographs  Search this

Gordon, Russell Talbert, 1936- -- Photographs  Search this

Graham, Robert, 1938- -- Photographs  Search this

Hedrick, Wally, 1928-2003 -- Photographs  Search this

Holland, Tom, 1936- -- Photographs  Search this

Hopkins, Henry, 1928-2009  Search this

Howard, Robert Boardman, 1896-1983 -- Photographs  Search this

Hudson, Robert, 1938- -- Photographs  Search this

Ihle, John Livingston, 1925- -- Photographs  Search this

Irwin, Robert, 1928- -- Photographs  Search this

Johnson, Robert E. (Robert Emory), 1932- -- Photographs  Search this

Kauffman, Craig, 1932-2010  Search this

Light, Alvin, 1931- -- Photographs  Search this

Lobdell, Frank, 1921- -- Photographs  Search this

Martin, Bill, 1943- -- Photographs  Search this

McLean, Richard Thorpe, 1934- -- Photographs  Search this

Mullican, Lee, 1919-1998 -- Photographs  Search this

Nauman, Bruce, 1941- -- Photographs  Search this

Neri, Manuel, 1930- -- Photographs  Search this

Noguchi, Isamu, 1904-1988 -- Photographs  Search this

Oliveira, Nathan, 1928-2010 -- Photographs  Search this

Paris, Harold, 1925-1979 -- Photographs  Search this

Raffael, Joseph, 1933- -- Photographs  Search this

Ramos, Mel, 1935-2018 -- Photographs  Search this

Reichman, Fred, 1925- -- Photographs  Search this

Richardson, Sam, 1934- -- Photographs  Search this

Ruscha, Edward -- Photographs  Search this

Saar, Betye -- Photographs  Search this

Saunders, Raymond, 1934- -- Photographs  Search this

Shaw, Richard, 1941 Sept. 12- -- Photographs  Search this

Siegriest, Louis B., 1899- -- Photographs  Search this

Sinton, Nell, 1910-1997 -- Photographs  Search this

Thiebaud, Wayne -- Photographs  Search this

Todd, Mike, 1935- -- Photographs  Search this

Valledor, Leo, 1936-1989 -- Photographs  Search this

Villa, Carlos, 1936-2013 -- Photographs  Search this

Voulkos, Peter, 1924-2002 -- Photographs  Search this

Wasserstein, Julius -- Photographs  Search this

Wiley, William T., 1937-2021  Search this

Woelffer, Emerson, 1914- -- Photographs  Search this

Wonner, Paul, 1920-2008 -- Photographs  Search this

Zammitt, Norman, 1931- -- Photographs  Search this

Extent:

140 Items (photographic prints, b&w)

Type:

Collection descriptions

Archival materials

Date:

1971-1981

Scope and Contents:

Photographs of artists, many from the San Francisco Bay Area, taken by Mimi Jacobs.

Artists photographed: Ansel Adams, Robert Arneson, Ruth Asawa, Billy Al Bengston, Fletcher Benton, Robert Bechtle, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert B. Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Raymond Saunders, Richard Shaw, Louis Siegriest, Nell Sinton, Wayne Thiebaud, DeWain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William T. Wiley, Emerson Woelffer.

Photographs of Mark Adams, William Allan, Jeremy Anderson, Ruth Armer, Charles Arnoldi, Dennis Beall, Bruce Beasley, Tony Berlant, Elmer Bischoff, Vija Celmins, Judy Chicago, Bruce Conner, Roy de Forest, Tony DeLap, Guy Dill, Claire Falkenstein, Gerald Gooch, Russell Gordon, Wally Hedrick, Tom Holland, Robert Hudson, Robert Emory Johnson, Frank Lobdell, Robert Craig Kaufman, Richard McLean, Bill Martin, Manuel Neri, Bruce Nauman, Nathan Oliveira, Mel Ramos, Sam Richardson, Michael Todd, Julius Wasserstein, Paul Wonner and Norman Zammitt.

In 1999, additional photographs were donated including many duplicates of the previous donations. These include 50 mounted photographs of West Coast artists, twenty-four of which were exhibited in 1980 at the Museum of Contemporary Art, Los Angeles, and published in 50 West Coast Artists: A Critical Selection of Painters and Sculptors (1981, Chronicle Books). Photographs are of Ansel Adams, Robert Arneson, Billy Al Bengston, Robert Bechtle, Fletcher Benton, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Richard Shaw, Louis Siegrist, Nell Sinton, Wayne Thiebaud, De Wain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William Wiley, and Emerson Woeffer.

Biographical / Historical:

Photographer; Kentfield, Calif.; b. 1911; d. April 1, 1999. Known in the San Francisco Bay Area for her portraits of prominent local figures, many of whom were artists. She eventually expanded her scope beyond Northern California to included artists in the Los Angeles region as well. These images were widely reproduced in books and in exhibitions and in many cases became the portraits by which the individuals were best known. Among her subjects were Ed Ruscha, Robert Graham, Peter Voulkos, Joan Brown, Isamu Noguchi, Jay DeFeo, Wayne Thiebaud, Imogen Cunningham, and Richard Diebenkorn. Several exhibitions were devoted to the photographs as independent works of art, an acknowledgement of their pictorial qualities as well as their value as documents.

Provenance:

Donated 1976-1992 by Mimi Jacobs. Additional photos, many of them duplicates of previous donations, were donated in 1999 by Leslie Fleming, Jacobs' daughter, for the Estate.

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:

Photographers -- California  Search this

Topic:

Artists -- California -- Portraits  Search this

Artists -- California -- Photographs  Search this

Identifier:

AAA.jacomimi

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99e52eeab-c8aa-437c-9967-ac2af528c69f

EDAN-URL:

ead_collection:sova-aaa-jacomimi

Creator:

Nanao, Kenjirō, 1929-2013  Search this

Names:

Nanao, Gail Chadell  Search this

Extent:

10.9 Linear feet

0.706 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Diaries

Drawings

Date:

circa 1885-2017

bulk 1970-2000

Summary:

The papers of California-based painter and educator Kenjilo Nanao measure 10.9 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. The papers document Nanao's career through biographical material; correspondence with friends, family, artists, universities, and museums; journals; professional files such as teaching files, gallery records and financial records; printed materials, photographs, sketchbooks and drawings.

Scope and Contents:

The papers of California-based painter and educator Kenjilo Nanao measure 10.9 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. The papers document Nanao's career through biographical material; correspondence with friends, family, artists, universities, and museums; journals; professional files such as teaching files, gallery records and financial records; printed materials, photographs, sketchbooks and drawings.

Biographical material includes address books, forms of international identification, travel documents, and interviews in the form of written typescripts and digital audio recordings.

Correspondence is between Kenjilo Nanao and friends, family, and other artists in both English and Japanese. Notable correspondents include John and Kati Casida, William Hyland, Fumiyo and Jun Kaneko, son Max Nanao, Nathan Oliveira, Mel Ramos, and others. There are also several journals of letter drafts by Kenjilo Nanao. This series also includes letters addressed to Nanao's wife Gail from various individuals.

There are numerous journals which contain entries on daily activities, but also include Kenjilo Nanao's thoughts on art, to-do lists, and some sketches in watercolor and charcoal. Later journals are titled and dedicated to specific travels abroad.

Professional files include appointment books, teaching files from California State University at Hayward, studio documents, assorted ledgers, and lithography course materials.

Printed material includes exhibition announcements and catalogs, clippings, magazines, posters, books written in Japanese, and other miscellaneous materials.

Photographs depict Nanao's family and friends, with a few images of artwork and exhibitions, and one small album of photographs of a house and neighborhood in Japan.

The artwork series mostly consists of sketchbooks, as well as some loose drawings and watercolors.

Arrangement:

The collection is arranged in 7 series:

Series 1: Biographical Material, circa 1960-circa 2017 (0.4 Linear Feet, 0.706 GB; Box 1, ER01)

Series 2: Correspondence, circa 1961-2013 (4.6 Linear Feet; Boxes 1-5, 12, OV 13)

Series 3: Journals, circa 1947-2013 (3.8 Linear Feet; Boxes 5-9, 12)

Series 4: Professional Files, circa 1967-2011 (0.8 Linear Feet; Boxes 9-10, OV 14)

Series 5: Printed Material, circa 1885-1887, circa 1968-2013 (0.6 Linear Feet; Box 10, OV 14)

Series 6: Photographic Material, circa 1960-2011 (0.1 Linear Feet; Box 10)

Series 7: Artwork, circa 1964-2013 (0.6 Linear Feet; Boxes 10-12)

Biographical / Historical:

Kenjilo Nanao (1929-2013) was a painter and printmaker in San Francisco, California.

Nanao was born in Aomori, Japan, and graduated with a degree in economics in 1953 from Nihon University before immigrating to the United States to study art in the San Francisco Bay Area. He received a bachelor's degree from the California School of Fine Arts in 1963 as well as a masters of fine arts from the San Francisco Art Institute in 1971, where he studied under Nathan Oliveira and met his wife and fellow artist, Gail Chadell Nanao.

Kenjilo's primary artistic medium was lithography in which he became known for Surrealist minimal figurative compositions. Eventually he immersed himself in painting in an Abstract Expressionist style that became his main form of artistic production from the 1980s on. Nanao taught lithography and painting at California State University at Hayward from 1971-1990, and lectured at various other schools in the San Francisco Bay Area. His work is included in the collections of the Museum of Modern Art, in New York City, City of San Francisco, Pasadena Art Museum, Los Angeles County Museum, Cincinnati Museum of Art, Honolulu Academy of Art, Gruenwald (University of California, Los Angeles), the Achenbach Foundation, and others.

Kenjilo Nanao died in Berkeley, CA in 2013 and is survived by his wife and son Max.

Provenance:

The Kenjilo Nanao papers were donated to the Archives of American Art in 2016 and 2018 by Gail Nanao, Kenjilo Nanao's widow.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Rights:

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

Occupation:

Painters -- California -- San Francisco Bay Area  Search this

Educators -- California  Search this

Lithographers -- California  Search this

Topic:

Japanese American artists  Search this

Asian American artists  Search this

Asian American painters  Search this

Asian American printmakers  Search this

Asian American educators  Search this

Genre/Form:

Sketchbooks

Diaries

Drawings

Citation:

Kenjilo Nanao papers, circa 1885-1887, circa 1949-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.nanakenj

See more items in:

Kenjilo Nanao papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9496e27a8-fbe8-42d4-b862-c730a2a51d1e

EDAN-URL:

ead_collection:sova-aaa-nanakenj

Creator:

Wall, Ruth  Search this

Names:

De Forest, Roy, 1930-2007  Search this

Miller, Sumner G., 1928-  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1953-1978

Scope and Contents:

Eight illustrated letters to Wall, including 3 from Roy De Forest and 5 from Sumner G. Miller, undated and 1956-1957; and printed material mainly relating to San Francisco artists. In one letter, De Forest writes to Wall in Paris, and sends news of mutual friends and activities. The other two are large sheets written while De Forest was stationed at Fort Ord, including one "folded like an army blanket," which contain rambling observations. Miller's letters describe his experiences in Paris while studying at the Academie Julian and his travels in Europe. He mentions San Francisco artists Hayward King, Ernest Mundt and others, who were also temporarily abroad. Also included are De Forest exhibition announcements; and exhibition catalogs, mainly for various San Francisco artists.

Biographical / Historical:

Wall was a friend of many Bay Area artists.

Provenance:

Donated anonymously, 1988.

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.

Occupation:

Artists -- California -- San Francisco Bay Area  Search this

Identifier:

AAA.wallruth

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw979c8f607-9e78-420a-b3fa-c33659af6056

EDAN-URL:

ead_collection:sova-aaa-wallruth

Creator:

Fine Arts Museums of San Francisco  Search this

Names:

Anneberg, Margery  Search this

Campbell, Charles, 1905-  Search this

Chipp, Herschel Browning  Search this

Dawson, Lawrence E.  Search this

Franklin, Marc  Search this

Franklin, Ruth  Search this

Frye, Melinda Young  Search this

Haley, John, 1905-1991  Search this

Haley, Monica E., 1907-1997  Search this

Loran, Clyta  Search this

Loran, Erle, 1905-1999  Search this

Maret, Allen  Search this

Neuhaus, Robert, 1909-  Search this

Pearson, Billy, 1920-  Search this

Stendahl, Alfred  Search this

Willis, James  Search this

Interviewer:

Berrin, Kathleen  Search this

Brown, Letitia  Search this

Marquis, Elayne  Search this

Schaefer, Stacy B., 1956-  Search this

Seligman, Thomas K.  Search this

Extent:

16 Items (sound cassettes)

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Date:

1982

Scope and Contents:

Interviews conducted by Kathleen Berrin, Letitia Brown, Elayne Marquis, Stacy Schaefer and Thomas K. Seligman, 1982, in connection with the exhibition, "The Bay Area Collects: art from Africa, Oceania, and the Americas," held at the H. M. de Young Memorial Museum, July 3, 1982-October 3, 1982. Interviewees are: Margery Anneberg, Charles Campbell, Herschel Browning Chipp, Lawrence E. Dawson, Ruth and Marc Franklin, Melinda Young Frye, John and Monica Haley, Erle and Clyta Loran, Allen Maret, Robert Neuhaus, Bill Pearson, Al Stendahl and James Willis.

Other Title:

Tapes labelled: The Fine Arts Museum of San Francisco, 7/81-12/81.

Provenance:

Donated 1982 by Kathleen Berrin.

Restrictions:

Untranscribed; use requires an appointment.

Topic:

Art, American  Search this

Art -- Collectors and collecting -- California -- San Francisco Bay Area -- Interviews  Search this

Art, Primitive -- Exhibitions  Search this

Art, African  Search this

Function:

Art museums -- California

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.fineamsf

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b15f9bf-01bb-446a-99f8-e8bd0bba3420

EDAN-URL:

ead_collection:sova-aaa-fineamsf

Interviewee:

Kingman, Dong, 1911-  Search this

Interviewer:

Andersen, Irene Poon  Search this

Andersen, Stanley, 1922-  Search this

Names:

Mills College -- Faculty  Search this

San Diego Museum of Art  Search this

United States. Works Progress Administration  Search this

Extent:

1 Sound cassette (Sound recording (60 min.), 2 x 1-1/4 in.)

18 Pages (Transcript: supplementary material)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1996 Jul. 3-4

Scope and Contents:

An interview conducted by Stan and Irene Poon Andersen on July 3-4, 1996, New York City, with Dong Kingman. Accompanying the interview are a few newspaper and magazine articles, and a photograph of Kingman, taken by Irene Poon Andersen, 1996. The material was compiled following the 1995 exhibition "With New Eyes: Toward An Asian American Art History in the West," for which Poon Andersen was a curator and exhibitor.

Kingman discusses his early years and education in Oakland, Calif. and Hong Kong; teaching at Mills College, Oakland, University of Wyoming, Laramie and the San Diego Museum; working on the WPA art project; military service with the US Army OSS art department; leaving the Bay Area when he was drafted, moving first to Washington, D.C. and later to New York City where has remained; and work on movies including "Flower Drum Song," "55 Days to Peking," and "Virgin Soldier."

Biographical / Historical:

Dong Kingman (1911-2000) was a Chinese American painter and illustrator based in the San Francisco Bay Area and New York City. Kingman taught at Columbia University and Hunter College. He worked for the Works Progress Administration.

Provenance:

Donated 1997 by Stan Andersen and Irene Poon Andersen.

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.

Occupation:

Artists -- New York (State) -- New York  Search this

Artists -- California -- San Francisco Bay Area  Search this

Topic:

Art and motion pictures  Search this

Asian American art  Search this

Asian American artists  Search this

Chinese American art  Search this

Chinese American artists  Search this

Asian American painters  Search this

Asian American illustrators  Search this

Asian American educators  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kingdong2

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw968633470-310d-446f-82cc-23fe2dc4c14c

EDAN-URL:

ead_collection:sova-aaa-kingdong2

Interviewee:

Cremean, Robert, 1932-  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Fresno Arts Center  Search this

Extent:

54 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1996 September 5

Scope and Contents:

An interview of Robert Cremean conducted 1996 September 5, by Paul J. Karlstrom, for the Archives of American Art, in Cremean's studio, Tomales, California.

The focus of the interview is Cremean's withdrawal from the commercial art market in early 1980 and his subsequent arrangement with the Fresno Arts Center (now Fresno Art Museum) to serve as the main center for his work. Cremean discusses the Fresno project and a related book undertaken by George Blair, the main funder of the museum collaboration; the philosophy behind the arrangement and the desire to take the market out of the relationship between artist and audience; Cremean's commitment to small museums and breaking the pattern of large, wealthy institutions defining culture through limited sampling; Cremean's family background, education, and career; study at Cranbrook; Fullbright to Italy; teaching at UCLA (1956-1959); his move to San Francisco Bay Area (1958); move to Tomales (1963); his relationship to galleries/dealers, mostly in Los Angeles; L.A. "culture wars" of the late 1950s and 1960s; Ferus Gallery against all others; and the victimization of Rico Lebrun's romantic humanism; a series of galleries and several important museum shows including 1976 exhibition of "Vatican Corridor" at the M.H. de Young Museum in San Francisco; autobiographical quality of work and the description of recent series as "opera"; the importance of place; and "love affair" with his valley home in Tomales.

Biographical / Historical:

Robert Cremean (1932-) was a sculptor from Tomales, California.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 2 hr., 5 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Pasadena Art Alliance.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Sculptors -- California  Search this

Topic:

Art -- Marketing  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.cremea96

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92a82e8f3-a8e8-48c5-8106-c03c8a86053c

EDAN-URL:

ead_collection:sova-aaa-cremea96

Interviewee:

Wiley, William T., 1937-2021  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Nauman, Bruce, 1941-  Search this

Extent:

221 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1997 October 8-November 20

Scope and Contents:

An interview of William T. Wiley conducted 1997 October 8-November 20, by Paul J. Karlstrom, for the Archives of American Art, in Woodacre, California.

Wiley discusses the importance of the rural setting of his Marin County studio/home and his corresponding lifestyle to his world view and its reflection in his art. He describes his itinerant youth and experience at the San Francisco Art Institute, and his teaching years at UC Davis, which had attracted a faculty that included Robert Arenson and Wayne Thiebaud. Among the graduate students was Bruce Nauman, who he discusses in length and credited with influencing some of his own ideas at the time. He also acknowledges the influence of the assemblage movement through relationships with George Herms and Bruce Conner.

The final session addressed the communal nature of the Bay Area art scene and the differences between East and West Coast art worlds. The interview ends with a discussion of Wiley's iconography and motifs frequently encountered in his works and how their changing meaning are intended to encourage thoughts on visual and verbal complexities as reflections of shifting perception and experience.

Biographical / Historical:

William T. Wiley (1937-2021) was a painter and helped found the funk art movement. He was also an educator at U.C. Davis. Wiley lived and worked in the San Francisco Bay area.

General:

Originally recorded on 8 sound cassettes. Reformatted in 2010 as 15 digital wav files. Duration is 7 hrs., 32 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Painters -- California -- Interviews  Search this

Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this

Funk  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.wiley97

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95d9bf940-efeb-4367-b665-6e08fa8be1ac

EDAN-URL:

ead_collection:sova-aaa-wiley97

Creator:

Kingman, Dong, 1911-  Search this

Names:

Federal Art Project (Calif.)  Search this

Extent:

22 Items

Type:

Collection descriptions

Archival materials

Date:

1938-1942

Scope and Contents:

Photographs of Kingman, his family, and his work; and a New Yorker article about him.

Biographical / Historical:

Dong Kingman (1911-2000) was a Chinese American painter and illustrator based in the San Francisco Bay Area and New York City. Kingman taught at Columbia University and Hunter College. He worked for the Works Progress Administration.

Related Materials:

Dong Kinman papers also at Syracuse University.

Provenance:

The lender, Lewis Ferbrache, collected papers for AAA from artists and administrators of the various government funded art programs of the Depression. It was part of a larger nation-wide, collecting project, "New Deal and the Arts."

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Illustrators  Search this

Painters  Search this

Topic:

Federal aid to the arts -- California -- San Francisco -- Archival resoureces  Search this

Art and state -- California -- San Francisco  Search this

Watercolor painting -- California -- San Francisco  Search this

Asian American art  Search this

Asian American artists  Search this

Asian American painters  Search this

Asian American illustrators  Search this

Chinese American art  Search this

Chinese American artists  Search this

Asian American educators  Search this

Identifier:

AAA.kingdong

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d709ed15-5d08-4a0c-9086-52e5a8c88378

EDAN-URL:

ead_collection:sova-aaa-kingdong

Creator:

California State University, Long Beach. University Art Museum  Search this

Names:

Oliveira, Nathan, 1928-2010  Search this

Extent:

1 Item ((222 cards on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1978-1980

Scope and Contents:

A file of 222 cards constituting a catalog raisonné of Oliveira's graphic work. The cards were compiled for an exhibition, NATHAN OLIVEIRA PRINT RETROSPECTIVE: 1949-1980, and contain information regarding provenance, medium, size, and condition of the prints. Most cards also contain a photograph of the original print.

Biographical / Historical:

Art museum, Long Beach, Calif. Formerly called California State University, Long Beach, Art Museum and Galleries. Nathan Oliveira is a printmaker and painter from the San Francisco Bay Area, California.

Provenance:

Lent for microfilming 1980 by California State University, Long Beach, University Art Museum.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Painters -- California  Search this

Printmakers -- California  Search this

Topic:

Art -- Exhibitions  Search this

Identifier:

AAA.calistat

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw906a27762-54cc-472a-a421-fb324df0576d

EDAN-URL:

ead_collection:sova-aaa-calistat

Creator:

Weeks, James, 1922-  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

[ca. 1950-1985]

Scope and Contents:

Biographical information; business correspondence; exhibition material, 1965-1985; teaching notes from the San Francisco Art Institute and UCLA; photographs of Weeks and his wife Lynn, 1980s; photographs of work (billboards), 1950s; and clippings.

Biographical / Historical:

Painter, educator; San Francisco, Calif. and Boston, Mass. Weeks was a prominent San Francisco Bay area painter in the 1950s and 1960s, who has continued those ties since coming to teach at Boston University in 1970 by steadily exhibiting at the Charles Campbell Gallery in San Francisco as well as Hirschl and Adler in New York.

Provenance:

Donated 1986 by James Weeks. Additional material expected including correspondence, photographs, and slides of work.

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.

Occupation:

Educators -- California  Search this

Educators -- Massachusetts -- Boston  Search this

Painters -- California -- San Francisco Bay Area  Search this

Painters -- Massachusetts -- Boston  Search this

Identifier:

AAA.weekjame

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98eba604c-ff9f-4529-8732-9e335ae22cba

EDAN-URL:

ead_collection:sova-aaa-weekjame