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Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Heresies Collective, Inc.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
70.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2010
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015 and 2021.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records

Creator:
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery  Search this
Names:
Park Place Gallery Art Research, Inc.  Search this
Paula Cooper Gallery  Search this
Paula Johnson Gallery  Search this
Bartlett, Jennifer, 1941-  Search this
Campus, Peter, 1937-  Search this
Cooper, Paula, 1938-  Search this
Di Suvero, Mark, 1933-  Search this
Fleming, Dean  Search this
Forakis, Peter  Search this
Grosvenor, Robert, 1937-  Search this
Leonard, Zoe  Search this
Magar, Anthony, 1936-  Search this
Melcher, Tamara  Search this
Murray, Elizabeth, 1940-  Search this
Myers, Forrest Warden, 1941-  Search this
Novros, David, 1941-  Search this
Ruda, Edwin  Search this
Shields, Alan, 1944-  Search this
Smith, Tony, 1912-1980  Search this
Thompson, Bob, 1937-1966  Search this
Valledor, Leo, 1936-1989  Search this
Extent:
135.3 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Transcripts
Photographs
Date:
circa 1961-2018
Summary:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery. There is an 85.5 linear foot unprocessed addition to this collection donated in 2023 that includes artist files, exhibition files, correspondence, audiovisual material, archtectural plans and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Scope and Content Note:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.

The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.

Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.

Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.

The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.

There is an 85.5 linear foot unprocessed addition to this collection donated in 2022 that includes artist files, exhibition files, correspondence, audiovisual material, architectural plans, and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Arrangement:
The collection is arranged as 4 series:

Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)

Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)

Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)

Series 4: Unprocessed Addition, circa 1970-2018 (Boxes 53-138, OV 139-146; 85.5 linear feet)
Historical Note:
The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.

Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.

The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.

Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.

Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.

Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich Rückriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.

Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).
Related Material:
Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)
Provenance:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in thre accessions in 2006, 2009 and 2022.
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 audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Transcripts
Photographs
Citation:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parkplag
See more items in:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw926d9e348-f361-4c9a-bec4-7cb8f9c08556
EDAN-URL:
ead_collection:sova-aaa-parkplag

Audiovisual Records

Topic:
Radio Smithsonian (Radio program)
Names:
ART: USA (Exhibition) (1965: Washington, D.C.)  Search this
George Catlin's Indian Gallery (Exhibition) (1965: Washington, D.C.)  Search this
Johnson Wax  Search this
Medieval Frescoes from Yugoslavia (Exhibition) (1965: Washington, D.C.)  Search this
Shaker: Furniture and Objects from the Edward Deming Andrews Collection: Commemorating the Bicentennial of the American Shakers (1973-1974: Washington, D.C.)  Search this
Stuart Davis Memorial Exhibition (Exhibition) (1965: Washington, D.C.)  Search this
Hopps, Walter  Search this
Lewton, Val  Search this
Extent:
1.38 cu. ft. (1 record storage box) (0.38 non-standard size boxes)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Audiotapes
Video recordings
Date:
circa 1965-1973
Descriptive Entry:
This accession consists of sound and film recordings pertaining to National Museum of American Art (NMAA) exhibitions. These materials document the exhibitions Medieval Frescoes from Yugoslavia, George Catlin's Indian Gallery, Stuart Davis Memorial Exhibition, Shaker: Furniture and Objects from the Edward Deming Andrews Collection: Commemorating the Bicentennial of the American Shakers, and ART: USA, a collection donated by S.C. Johnson and Son (Johnson Wax). Also included is an interview of Walter Hopps by Val Lewton for Radio Smithsonian. Materials include 16 mm film, 1/4" magnetic tape and 2" magnetic tape.
Topic:
Museum exhibits  Search this
Art museums  Search this
Museum libraries  Search this
Genre/Form:
Motion pictures (visual works)
Audiotapes
Video recordings
Citation:
Smithsonian Institution Archives, Accession 85-059, National Collection of Fine Arts/National Portrait Gallery Library, Audiovisual Records
Identifier:
Accession 85-059
See more items in:
Audiovisual Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa85-059

Exhibition Records

Names:
National Collection of Fine Arts (U.S.)  Search this
National Museum of American Art (U.S.)  Search this
Renwick Gallery  Search this
Smithsonian Institution Traveling Exhibition Service  Search this
Extent:
10.43 cu. ft. (20 document boxes) (1 12x17 box)
Type:
Collection descriptions
Archival materials
Books
Brochures
Exhibition catalogs
Date:
circa 1910-1986
Descriptive Entry:
This collection consists primarily of brochures, booklets, and books cataloging single exhibitions at the National Gallery of Art, the National Collection of Fine Arts, the National Museum of American Art, and the Renwick Gallery. Also included are a few catalogs from exhibitions of SITES. There are catalogs from exhibitions staged by the Smithsonian alone, those staged in conjunction with one or more other art museums, those organized by other museums but shown at the Institution, those held elsewhere but consisting in whole or in part of Smithsonian works, and those organized as the Smithsonian contribution to exhibitions in other countries. In a few cases, the connection between the Institution and the exhibition is not known. The catalogs range in format from the one-page flyers of the pre-World War I period to the lavish publications of recent years. Also included are miscellaneous publications, such as early catalogs of the entire collection (the two-volume set prepared by Holmes in the 1920s); the checklists of the opening exhibition of 1968; and The History of the National Gallery of Art, United States National Museum Bulletin 70, by Richard Rathbun. In addition there is one journal article describing an exhibition of the work of Albert Pinkham Ryder and the text of a dedication ceremony held by the museum.

This record unit chiefly consists of a collection of publications assembled over the years by the library. In addition, catalogs were pulled from two other accessions which contained many copies. However, the collection does not claim to be complete and should be used in conjunction with other records in the Smithsonian Institution Archives, such as the records of the Office of the Director, Record Units 311 and 312, and central administrative files, Record Unit 313, and later accessions. In particular, SITES catalogs produced since the office became independent are not included. For these, researchers should consult Record Units 290 and 316, as well as unprocessed collections.

This record unit contains exhibition catalogs, booklets, and books arranged in alphabetical order. The name of the sponsoring Smithsonian Institution, generally the National Gallery of Art (NGA), the National Collection of Fine Arts (NCFA), the National Museum of American Art (NMAA), the Renwick Gallery (Renwick), and Smithsonian Institution Traveling Exhibition Service (SITES), appears in parentheses. The date of the exhibition follows. For items which do not represent exhibitions, the physical format and publication information are noted. In some cases, the connection of the publication with the Smithsonian is not known.
Historical Note:
Although the Smithsonian had paintings and sculpture in its collections since 1849, the works that remained after the fire of 1865 were dispersed. The turn of the century brought a renewed interest in building the art collection, and in 1907, William Henry Holmes became the first Curator of the National Gallery of Art, as it was officially designated a year earlier. In 1920 the Gallery became an administrative entity, separate from the United States National Museum, of the Institution, and Holmes was named its first Director. The collections were displayed first in the Castle, then in the Arts and Industries Building, and after its completion in 1910, the Natural History Building. A number of bequests, most notably by Harriet Lane Johnston and William T. Evans, fostered the growth of the Gallery. In 1937, it became the National Collection of Fine Arts. When Holmes retired in 1932, Ruel P. Tolman became Acting Director until 1946 when he was named Director. Thomas Beggs assumed the title in 1948 and served until 1964 when David Scott became Director. In 1968 the art collections were at last given a separate building, the Old Patent Office, which was renamed the Fine Arts and Portrait Gallery Building. In 1980 the museum became the National Museum of American Art. Joshua Taylor served as Director from 1970 until his death in 1981, when Harry Lowe became Acting Director. Charles C. Eldredge assumed the position of Director in 1982.

The traveling exhibition service was a part of the art museum from its establishment in 1951 until it became independent in 1965. It is now known as the Smithsonian Institution Traveling Exhibition Service (SITES).

In 1965 the Smithsonian asked that the Renwick Gallery, once home to the Corcoran Gallery of Art and the U. S. Court of Claims, be transferred to the Institution for use as a gallery of "art, craft, and design." The transfer was accomplished, the building restored, and the museum opened in 1972 with Lloyd Herman as Director. Herman served until 1986, when Michael Monroe was named Acting Director and Curator in Charge. Administratively, the Renwick is a curatorial division of NMAA.
Topic:
Art museums  Search this
Museum exhibits  Search this
Museum libraries  Search this
Traveling exhibitions  Search this
Genre/Form:
Books
Brochures
Exhibition catalogs
Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
Identifier:
Record Unit 333
See more items in:
Exhibition Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0333

Folder 24 Catalogue of Paintings ... on the Occasion of the Opening of the Gallery in the New Building of the USNM, March 17, 1910 (published by the National Gallery of Art for an exhibition of 1910)

Container:
Box 5 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 5
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1001

Box 6

Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1014

Folder 1 Catalogue of the 25th National Exhibition of Prints (booklet published by the Library of Congress, 1977, for an exhibition sponsored by the Library and NCFA and exhibited at NCFA, 1977)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1021

Folder 2 Catalogue of the 24th National Exhibition of Prints (booklet published by the Library of Congress, 1975, for an exhibition sponsored by the Library and NCFA and exhibited at NCFA, 1975)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1032

Folder 3 Catalogue of the 23rd National Exhibition of Prints (booklet published by the Library of Congress, 1973, for an exhibition sponsored by the Library and NCFA and exhibited at NCFA, 1973)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1043

Folder 4 Catlin's Indian Gallery (booklet describing the Catlin collection, published by NCFA, 1965)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1054

Folder 5 Celebration: A World of Art and Ritual: Published by the Office of Folklife Programs and the Renwick Gallery for an exhibition at the Renwick, 1982 - Let's Celebrate: A Handbook for Teachers, published in conjunction with the exhibition; Celeb...

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1066

Folder 6 Centennial Exhibition of Paintings by Abbott Handerson Thayer (leaflet of an exhibition at NCFA, 1949)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1077

Folder 7 Centennial Exhibition of Paintings by Edmund C. Tarbell (1862-1938) (leaflet for an exhibition at NCFA of 1962)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1088

Folder 8 A Century of Ceramics in the United States, 1878-1978 (published in 1979 by the Everson Museum of Art at Syracuse, New York, for an exhibition which was shown at the Renwick, 1979-1980)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1099

Folder 9 Cesareo Bernaldo De Quros: An Exhibition of Paintings of Gaucho Life in the Province of Entre Rios, Argentina, 1850-1870 (published 1932 by the Hispanic Society of America for an exhibition which was later shown at the National Gallery of Art,...

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1110

Folder 10 Chaim Gross: Sculpture and Drawings (booklet published for an exhibition at NCFA, 1974)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1121

Folder 11 Charles Sheeler (published for an exhibition at NCFA, 1968)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1133

Folder 12 Charles W. Hawthorne: The Late Watercolors (booklet published for an exhibition at NMAA, 1983)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1144

Folder 13 Chicago Currents: The Koffler Foundation Collection of the National Collection of Fine Arts (leaflet published by NCFA, 1979, for a traveling exhibition circulated by the Western Association of Museums)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1155

Folder 14 Chicago Furniture: Art, Craft, and Industry, 1833-1983 (published by the Chicago Historical Society, 1984, for an exhibition which later was shown at the Renwick Gallery)

Container:
Box 6 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e1166

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