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Rockwell Kent papers, circa 1840-1993, bulk 1935-1961

Creator:
Kent, Rockwell, 1882-1971  Search this
Subject:
Wildenstein, Felix  Search this
Phillips, Duncan  Search this
Hays, Lee  Search this
Untermeyer, Louis  Search this
Zigrosser, Carl  Search this
Robeson, Paul  Search this
DuBois, W.E.B. (William Edward Burghardt)  Search this
Roosevelt, Franklin D. (Franklin Delano)  Search this
Ruggles, Carl  Search this
Stefansson, Vilhjalmur  Search this
Nearing, Helen  Search this
Nearing, Scott  Search this
Pach, Walter  Search this
Rasmussen, Knud  Search this
Reeves, Ruth  Search this
Seeger, Pete  Search this
Daniel, Charles  Search this
Cleland, T. M. (Thomas Maitland)  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Chamberlain, J. E.  Search this
Boyesen, Bayard  Search this
Chase, William Merritt  Search this
Freuchen, Peter  Search this
Gellert, Hugo  Search this
Gottlieb, Harry  Search this
Hartley, Marsden  Search this
FitzGerald, James  Search this
Keller, Charles  Search this
Miller, Kenneth Hayes  Search this
Henri, Robert  Search this
Jones, Dan Burne  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Artists League of America  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
Macbeth Gallery  Search this
International Workers Order  Search this
Type:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9557
(DSI-AAA_SIRISBib)211757
AAA_collcode_kentrock
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211757
Online Media:

Unfixed photography and decolonial imagination in West Africa Jennifer Bajorek

Author:
Bajorek, Jennifer  Search this
Physical description:
xxi, 328 pages illustrations, facsimiles, portraits 26 cm
Type:
Books
History
Place:
Africa, French-speaking West
French-speaking Western Africa
Westafrika
West
Date:
2020
20th century
Topic:
Photography--Political aspects--History  Search this
Photography--Social aspects--History  Search this
Benin  Search this
Senegal  Search this
West Africa  Search this
French-speaking Africa  Search this
decolonization  Search this
democratization  Search this
pictorial works (form)  Search this
Photography--Political aspects  Search this
Photography--Social aspects  Search this
Berichterstattung  Search this
Entkolonialisierung  Search this
Fotografie  Search this
Politik  Search this
Porträtfotografie  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1116422

Nancy Spero papers

Creator:
Spero, Nancy, 1926-2009  Search this
Names:
A.I.R. Gallery (New York, N.Y.)  Search this
Galerie Lelong (New York, N.Y.)  Search this
Golub, Leon, 1922-2004  Search this
Mendieta, Ana, 1948-1985  Search this
Sosa, Irene  Search this
Extent:
26.4 Linear feet
19.12 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Video recordings
Documentary films
Motion pictures
Date:
1940s-2009
Summary:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Scope and Contents:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.

Biographical material includes biographical notes and curricula vitae, as well as several video recordings of documentaries about Spero by Patsy Scala and Irene Sosa which feature original footage of Spero at work. Correspondence is personal and professional, and includes letters from artists including Judy Chicago and Ana Mendieta, writers and curators such as Deborah Frizzell and Susanne Altmann, regarding Spero exhibition catalogs, monographs, and articles, and personal news from family members such as Spero's sons, and correspondence related to other aspects of Spero's career.

Interviews of Spero include transcripts, published interviews, and video recordings. Writings include many of Spero's statements about her work, as well as notes, published versions of articles written by Spero, and video recordings of talks and panel discussions she participated in.

Exhibition files for over 75 shows document the extent to which Spero's work has been widely exhibited in her lifetime with numerous solo exhibitions, including major retrospectives in London, Paris, Barcelona, and Madrid, and dozens of group exhibitions in which she participated over the course of her career.

Gallery and museum files supplement the exhibition files by further documenting Spero's dealings with numerous galleries and museums, including Galerie Lelong, which represents Spero's estate, Barbara Gross Galerie, the first gallery in Germany to represent Spero, the Museum of Fine Arts, Boston, the National Gallery of Canada, and many others. The series also documents Spero's involvement with A.I.R. Gallery, the first independent women's art venue in the United States.

Professional files document other aspects of Spero's career including, but not limited to, awards she received, organizations she participated in or contributed to, publishing projects related to her work, and individual projects she executed such as an installation at the Harold Washington Library in Chicago and the Artemis, Acrobats, Divas & Dancers mosaic tiles she created for the Metropolitan Transit Authority for the 66th Street/Lincoln Center subway station. Also included here are files related to works of art such as Codex Artaud, and Notes in Time.

Subject files, contents of which were presumably used as source material for Spero, document subjects of interest to her, many of which were incorporated into her work and consists primarily of printed material. Broad subject categories include animal rights and conservation, feminism, war, and women. One set of folders documents "museum and political actions" undertaken by Spero and other activists during the 1960s-1970s to fight for equal representation of women in the arts and challenge the male-dominated hierarchy of the art world. Subject files include multiple news articles on torture, rape, and other atrocities committed particularly against women during wartime and by repressive and autocratic political regimes, and also include source material on the archetypal images of women that were fundamental to her interpretation of the female experience.

Printed material documents Spero's entire career from the late 1950s on. Announcements, exhibition catalogs, invitations, news clippings, and periodicals provide comprehensive coverage of her many exhibitions and other events. Printed material also documents the activities of a few other artists, primarily from the 2000s, and includes periodicals, primarily about art, and video recordings of documentaries about art and various other subjects.

Photographic material includes photographs of Nancy Spero from the 1940s on, photos of Spero with family and friends, and photographs of artwork including the heads of Spero's 2007 Maypole: Take No Prisoners which was the last major work completed before her death, originally realized for the Venice Biennale. Also found are a few installation shots and prints, slides, and digital images of Notes in Time at A.I.R. Gallery in 1979.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1950-2009 (Box 1, FC 30; 0.85 linear feet, ER01-ER04; 9.58 GB)

Series 2: Correspondence, 1946-2009 (Boxes 1-4, 27; 2.75 linear feet)

Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.6 linear feet)

Series 4: Writings, 1950-2007 (Boxes 5-6; 1 linear foot)

Series 5: Exhibition Files, circa 1976-2009 (Boxes 6-9, 27, OV 28; 3.3 linear feet, ER09-ER10, ER14-ER17; 1.5 GB)

Series 6: Gallery and Museum Files, 1972-2009 (Boxes 9-14; 5.1 linear feet; ER05-ER08, ER12-ER13; 2.962 GB)

Series 7: Professional Files, circa 1967-2008 (Boxes 14-17, RD 29; 3.5 linear feet; ER15; 0.74 GB)

Series 8: Subject Files, 1950s-2009 (Boxes 17-19, 27, OV 28; 2.4 linear feet)

Series 9: Business Records, circa 1976-2008 (Boxes 19-20; 0.7 linear foot)

Series 10: Printed Material, 1949-2009 (Boxes 20-25, 27, OV 28; 5.5 linear feet)

Series 11: Photographic Material, 1940s-2009 (Boxes 25-27; 0.7 linear foot; ER18-ER19; 0.151 GB)
Biographical / Historical:
Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist based in New York City whose work was executed primarily on paper from the 1960s on, and often incorporated text. Spero was among the first feminist artists and a political activist whose convictions were expressed relentlessly in her work. Using archetypal representations of women to examine the range of female experience, Spero centered "woman as protagonist" whilst simultaneously examining the suffering women have long been subjected to through structural inequality, the systematic abuses of repressive political regimes, and the atrocities of war.

Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). Spero studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. Spero and Golub returned to New York in 1964 with their three sons.

Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became an activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery, and Spero's work from here on was primarily executed on paper.

Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In the 1970s archetypal representations of women in mythology, history, art, and literature became predominant in her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.

Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.

Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).

After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.
Related Materials:
Also among the holdings of the Archives of American Art are an interview with Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.
Provenance:
Following a gift of materials by Nancy Spero in 1979, the majority of the collection was donated by Spero's sons, Stephen Golub, Philip Golub, and Paul Golub, in 2013.
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 References 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:
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
Art -- Political aspects  Search this
Feminism and art  Search this
Women artists  Search this
Women printmakers  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Video recordings
Documentary films
Motion pictures
Citation:
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.spernanc
See more items in:
Nancy Spero papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ee586015-b282-427f-88a2-0768b0b0e79b
EDAN-URL:
ead_collection:sova-aaa-spernanc
Online Media:

Livingston L. Biddle, Jr. papers, circa 1940-2002

Creator:
Biddle, Livingston, 1918-2002  Search this
Subject:
Drexel, Katharine Mary, Saint  Search this
Davis, R. A.  Search this
Carter, Jimmy  Search this
Biddle, Catharina Baart  Search this
Asawa, Ruth  Search this
Alexander, Jane  Search this
Maxwell, Barb  Search this
Mondale, Walter F.  Search this
Schieffer, Bob  Search this
O'Connor, Sandra Day  Search this
Rauschenberg, Robert  Search this
Scholder, Fritz  Search this
Rostropovich, Mstislav  Search this
Jessup, Peter  Search this
Johnson, Lady Bird  Search this
Watson, Howard N.  Search this
King, Susan  Search this
Lawrence, Jacob  Search this
Temple, Louann  Search this
Edwards, Bob  Search this
Glenn, John  Search this
Hammer, Armand  Search this
Kennedy, Edward M. (Edward Moore)  Search this
Hanks, Nancy  Search this
Pell, Claiborne  Search this
Oliphant, Pat  Search this
Rosenquist, James  Search this
Bryn Mawr College  Search this
Fordham University  Search this
National Endowment for the Arts  Search this
Type:
Video recordings
Scrapbooks
Sketches
Diaries
Interviews
Manuscripts
Photographs
Sound recordings
Transcripts
Citation:
Livingston L. Biddle, Jr. papers, circa 1940-2002. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Political aspects  Search this
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)16123
(DSI-AAA_SIRISBib)362808
AAA_collcode_biddlivi
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_362808
Online Media:

Livingston L. Biddle, Jr. papers

Creator:
Biddle, Livingston, 1918-2002  Search this
Names:
Bryn Mawr College  Search this
Fordham University  Search this
National Endowment for the Arts  Search this
Alexander, Jane  Search this
Asawa, Ruth  Search this
Biddle, Catharina Baart, 1912-2005  Search this
Carter, Jimmy, 1924-  Search this
Davis, R. A.  Search this
Drexel, Katharine Mary, Saint, 1858-1955  Search this
Edwards, Bob, 1947-  Search this
Glenn, John, 1905-  Search this
Hammer, Armand, 1898-1990  Search this
Hanks, Nancy  Search this
Jessup, Peter, 1958-  Search this
Johnson, Lady Bird, 1912-2007  Search this
Kennedy, Edward M. (Edward Moore), 1932-2009  Search this
King, Susan  Search this
Lawrence, Jacob, 1917-2000  Search this
Maxwell, Barb  Search this
Mondale, Walter F., 1928-  Search this
O'Connor, Sandra Day, 1930-  Search this
Oliphant, Pat, 1935-  Search this
Pell, Claiborne, 1918-2009  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rosenquist, James, 1933-  Search this
Rostropovich, Mstislav, 1927-2007  Search this
Schieffer, Bob  Search this
Scholder, Fritz, 1937-2005  Search this
Temple, Louann  Search this
Watson, Howard N.  Search this
Extent:
40.2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Scrapbooks
Sketches
Diaries
Interviews
Manuscripts
Photographs
Sound recordings
Transcripts
Date:
circa 1940-2002
Summary:
The papers of government arts administrator and novelist Livingston L. Biddle, Jr. (1918-2002) measure 40.2 linear feet and date from circa 1940 to 2002. The papers are comprised of biographical materials, correspondence, interviews, writings, numerous files reflecting his work to establish the National Endowment for the Arts (NEA), political committee files, personal legal records, printed materials, scrapbooks, and photographs. Throughout the collection are video and sound recordings.
Scope and Contents:
The papers of government arts administrator and novelist Livingston L. Biddle, Jr. (1918-2002) measure 40.2 linear feet and date from circa 1940 to 2002. The papers are comprised of biographical materials, correspondence, interviews, writings, numerous files reflecting his work to establish the National Endowment for the Arts (NEA), political committee files, personal legal records, printed materials, scrapbooks, and photographs. Throughout the collection are video and sound recordings.

Biographical materials consist of awards; diplomas; genealogy records; resumes; and files for Biddle's work at Fordham, his nomination for the National Medal of Arts award, and about his second wife Catharina Baart. Correspondence is with family, friends, and professional and political contacts such as Jane Alexander, President Jimmy Carter, Armand Hammer, Nancy Hanks, Edward Kennedy, Lady Bird Johnson, Sandra Day O'Connor, Claiborne Pell, Robert Rauschenberg, Slava Rostropovich, and others.

Interviews with Biddle include transcripts, four sound recordings, and two video recordings of Biddle with R.A. Davis, Bob Edwards, Peter Jessup, Susan King, Bob Schieffer, and Louann Temple.

Among the writings are journals, articles, poetry, speech notes, manuscript drafts of Our Government and the Arts: A Perspective from the Inside and Sam Bentley's Island, one video recording of "Art/Work/USA" by Barbara Rose, and one sound recording of a film introduction entitled "The Eagle".

Files concerning the establishment and early years of the National Endowment of the Arts consist of correspondence; congressional briefing books, committee files, and reports; financial material; drafts of the National Foundation on the Arts and Humanities Act of 1965; one sound reel titled "Swearing-In of L.L. Biddle, Jr.," and three video recordings. Additional files concerning Biddle's work for congressional committees and political campaigns include correspondence, meeting agendas and notes, and printed material concerning multiple arts organizations and the political campaigns for Jimmy Carter, Walter Mondale, and Claiborne Pell. Family and real estate records, a partnership agreement, and will are in personal legal records.

Printed materials include booklets, clippings, event invitations and programs, flyers, magazines and journals, and posters autographed by Jacob Lawrence, Fritz Scholder, and John Glenn. Additionally, one commercial sound cassette recordings of National Public Radio's program Performance Today is also found. Two mixed-media scrapbooks contain memorabilia from Biddle's professional life and international travel.

Photographs are of family, travel, and friends and colleagues at various events. Six video recordings are home movies of Bryn Mawr and documentaries about St. Katherine Drexel. Artwork in the form of pencil and watercolor sketches is by Ruth Asawa Lanier, Barb Maxwell, Pat Oliphant, James Rosenquist, and Howard N. Watson.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1950-2002 (2.5 linear; Box 1-3, 41, OV 43)

Series 2: Correspondence, 1956-2001 (2 linear feet; Boxes 3-5)

Series 3: Interviews, 1978-2002 (0.5 linear feet; Boxes 5-6)

Series 4: Writings, 1940-2002 (12 linear feet; Boxes 6-18)

Series 5: National Endowment for the Arts, 1964-2000 (10 linear feet; Boxes 18-27, 42)

Series 6: Committees and Political Campaigns, 1944-2001 (3.5 linear feet; Boxes 27-30)

Series 7: Personal Legal Records, 1952-1986 (1 linear foot; Boxes 30-31)

Series 8: Printed Materials, circa 1950-2000 (3.5 linear feet; Boxes 31-34, 41, OV 44)

Series 9: Scrapbooks, 1970-1998 (0.3 linear feet; Boxes 34, 42)

Series 10: Photographs and Video Recordings, circa 1950-2002 (4.6 linear feet: Boxes 34-40, OV 44)

Series 11: Artwork, 1976-1989 (0.3 linear feet; Box 40, OV 44)
Biographical / Historical:
Livingston L. Biddle, Jr. (1918-2002) was a federal government arts administrator and novelist active in Philadelphia, Pennsylvania and Washington, D.C.

Livingston L. Biddle was born in Bryn Mawr, Pennsylvania in 1918 to a distinguished and wealthy family. He graduated from Princeton University in 1940. During World War II, Biddle volunteered as an ambulance driver in Africa for the American Field Services.

While working as a special assistant to Rhode Island Democratic Senator Claiborne Pell in the 1960s, Biddle drafted the legislation for the National Foundation on the Arts and Humanities Act of 1965, which led to the creation of the National Endowment of the Arts (NEA) one year later. Biddle served as deputy chairman of the NEA from 1966 to 1967, as congressional liaison director in 1975, and as chairman from 1977 to 1981. In 1976, he served as director of the Congressional Subcommittee on Education, Arts, and Humanities.

Also a writer, Biddle wrote four novels, all set in Philadelphia, including Sam Bentley's Island published in 1961. From 1968 to 1970, he was a professor and chairman of Fordham University's arts division. Biddle also published a non-fiction book about his experiences establishing and working for the National Endowment for the Arts (NEA) titled Our Government and the Arts: A Perspective from the Inside in 1988.

Biddle married artist Catharina Baart in 1973 after his first wife, Cordelia Frances Fenton, died in 1972. Biddle died in Washington, D.C. in 2002.
Provenance:
The Livingston L. Biddle, Jr. papers were donated in 2013 by Thomas O'Callaghan, a close friend of Biddle's who inherited the papers.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy 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 -- Washington (D.C.)  Search this
Arts administrators -- Washington (D.C.)  Search this
Topic:
Art -- Political aspects  Search this
Genre/Form:
Video recordings
Scrapbooks
Sketches
Diaries
Interviews
Manuscripts
Photographs
Sound recordings
Transcripts
Citation:
Livingston L. Biddle, Jr. papers, circa 1940-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.biddlivi
See more items in:
Livingston L. Biddle, Jr. papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c9fc730c-7ddc-4243-90c5-d3592e62ea09
EDAN-URL:
ead_collection:sova-aaa-biddlivi

Oral history interview with Harold Rosenberg

Interviewee:
Rosenberg, Harold, 1906-1978  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Club (New York, N.Y.)  Search this
Office of War Information. Washington, D.C.  Search this
United States. Work Projects Administration  Search this
Baumbach, Harold, 1903-  Search this
Blume, Peter, 1906-1992  Search this
Breton, André, 1896-1966  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Gorky, Arshile, 1904-1948  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Krasner, Lee, 1908-1984  Search this
Lundeberg, Helen, 1908-1999  Search this
Léger, Fernand, 1881-1955  Search this
Matta, 1912-2002  Search this
Miró, Joan, 1893-  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Pollock, Jackson, 1912-1956  Search this
Prestopino, Gregorio  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Tobey, Mark  Search this
Extent:
244 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1970 December 17-1973 January 28
Scope and Contents:
An interview of Harold Rosenberg conducted 1970 December 17-1973 January 28, by Paul Cummings for the Archives of American Art over nine sessions.
Rosenberg speaks on a wide variety of topics including Marxism and Communism; art criticism; teaching and the philosopy of art; how his interest in art developed over the years; getting his writings published and starting a magazine; what intrigues him about the avant-garde; when and why he started painting; action painting; the inaccuracies in art history about Avant-gardism and Surrealism; working as a mural painter for the College Art Association; moving from the WPA's art project to the writer's project, and becoming an art editor; what happened to the works of art done under the WPA after it ended; and moving to the Hamptons.
He speaks in detail on the New York art scene during the 1930s, 1940s, and 1950s; The Club; writing about art; politics and art; Shakespeare and literature's influence on art and vice versa; the various economic aspects of art; how the Depression affected him and the people he knew; the projects he worked on in the WPA; and working for the OWI after the WPA disbanded.
He recalls Mark Rothko, Harold Baumbach, Willem de Kooning, Robert Motherwell, Peter Blume, Helen Lundberg, André Breton, Arshile Gorky, Roberto Matta, Jackson Pollock, David Smith, Lee Krasner, Fernand Léger, Joan Miró, Jim Leshay, Stuart Davis, Bruce Inverarity, Barney Newman, Mark Tobey, Gregorio Prestopino, and many others.
Biographical / Historical:
Harold Rosenberg (1906-1978) was a writer and educator from New York, N.Y.
General:
Originally recorded on 5 sound tapes. Reformatted in 2010 as 9 digital wav files. Duration is 10 hr., 4 min.
Interview transcript is not in chronological order; arrangement designated by the interviewer Paul Cummings.
Provenance:
These interviews are 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art, American  Search this
Educators -- New York (State) -- New York -- Interviews  Search this
Art -- Economic aspects  Search this
Art -- Philosophy  Search this
Art -- Political aspects  Search this
Art and literature  Search this
Art criticism  Search this
Surrealism  Search this
Avant-garde (Aesthetics) -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.rosenb70
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973c587b6-e4b1-453e-9790-0420db435320
EDAN-URL:
ead_collection:sova-aaa-rosenb70
Online Media:

Rockwell Kent papers

Creator:
Kent, Rockwell, 1882-1971  Search this
Names:
American Artists' Congress  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
International Workers Order  Search this
Macbeth Gallery  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
Boyesen, Bayard  Search this
Chamberlain, J. E.  Search this
Chase, William Merritt, 1849-1916  Search this
Cleland, T. M. (Thomas Maitland), 1880-1964  Search this
Daniel, Charles, 1878-1971  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Fitzgerald, James, 1899-1971  Search this
Freuchen, Peter, 1886-1957  Search this
Gellert, Hugo, 1892-1985  Search this
Gottlieb, Harry, 1895-  Search this
Hartley, Marsden, 1877-1943  Search this
Hays, Lee, 1914-1981  Search this
Henri, Robert, 1865-1929  Search this
Jones, Dan Burne  Search this
Keller, Charles, 1914-2006  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nearing, Helen  Search this
Nearing, Scott, 1883-1983  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Rasmussen, Knud, 1879-1933  Search this
Reeves, Ruth, 1892-1966  Search this
Robeson, Paul, 1898-1976  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Ruggles, Carl, 1876-1971  Search this
Seeger, Pete, 1919-2014  Search this
Stefansson, Vilhjalmur, 1879-1962  Search this
Untermeyer, Louis, 1885-1977  Search this
Wildenstein, Felix, 1883-1952  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
88 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Sketches
Business records
Photographs
Drawings
Date:
circa 1840-1993
bulk 1935-1961
Summary:
The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
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 -- New York (State)  Search this
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Function:
Labor unions
Genre/Form:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kentrock
See more items in:
Rockwell Kent papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a
EDAN-URL:
ead_collection:sova-aaa-kentrock
Online Media:

Patricia Hills papers

Creator:
Hills, Patricia  Search this
Names:
Women's Caucus for Art  Search this
Johnson, Eastman, 1824-1906  Search this
Lawrence, Jacob, 1917-2000  Search this
Neel, Alice, 1900-1984  Search this
Sargent, John Singer, 1856-1925  Search this
Stevens, May  Search this
Extent:
46.7 Linear feet
2.19 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
circa 1900-2022
bulk 1968-2009
Summary:
The papers of art historian, curator, and educator Patricia Hills measure 46.7 linear feet and 2.19 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, Eastman Johnson, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some of this material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.
Scope and Contents:
The papers of art historian, curator, and educator Patricia Hills measure 46.7 linear feet and 2.19 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, Eastman Johnson, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.
Arrangement:
The collection is arranged as 12 series.

Series 1: Correspondence, circa 1958-2019 (2.6 Linear Feet; Boxes 1-2, 25)

Series 2: Project Files, circa 1900-2011 (15.2 Linear Feet; Boxes 3-13, 25-30, 41-50, OV24, 2.11 GB; ER01-ER02, ER06-ER09)

Series 3: Whitney Museum Files, circa 1900-2015, bulk 1973-1987 (4.1 Linear Feet; Boxes 13-16, 30)

Series 4: Boston University Files, circa 1974-2015 (1.3 linear feet; Boxes 30-31)

Series 5: Professional Files, circa 1959-2019 (2.4 linear feet; Boxes 17-18, 32)

Series 6: Membership and Affiliation Records, circa 1969-2013 (2 linear feet; Boxes 18-20, 32)

Series 7: Museum of Fine Arts Restructuring Files, circa 1997-2005 (1.2 linear feet; Boxes 32-33)

Series 8: Writings, circa 1962-2019 (5.4 linear feet; Boxes 20-21, 34-38, 0.068 GB; ER03, ER05)

Series 9: Teaching Files, circa 1974-2019 (0.9 linear feet; Box 39)

Series 10: Artist Files, circa 1958-2014 (0.9 Linear Feet; Box 21)

Series 11: Subject Files, circa 1961-2007 (1.0 linear Feet; Box 22, 0.004 GB; ER04)

Series 12: Printed Material, circa 1970-2010 (1.0 linear Feet; Box 23)
Biographical / Historical:
Patricia Hills (1936-) is an art historian, curator, and Professor Emerita of American Art and African American Art at Boston University. Hills obtained a B.A. from Stanford University in Modern European Literature, an M.A. from Hunter College in 1968, where she was advised by Leo Steinberg, and her PhD. from New York University's Institute of Fine Arts. Hills worked as Associate and later Adjunct Curator of 18th and 19th Century American Art at the Whitney Museum of American Art from 1972 until 1987. During that time she organized exhibitions including John Singer Sargent (1986) while progressively becoming more invested as an educator, with teaching positions at Hunter College and the Institute of Fine Arts. In February 2011 she received the Distinguished Teaching of Art History award from the College Art Association.

Hills served as the Director of the Boston University Art Gallery from 1980-1989, and began her tenure in the art history department as Associate Professor in 1978. She was co-founder of the Boston Chapter of the Women's Caucus for Art and was highly active in the College Art Association and American Studies Association. She has held fellowships at numerous institutions including the W.E.B. DuBois Institute for African and African American Research at Harvard University, the Smithsonian American Art Museum, the Georgia O'Keeffe Museum Research Center, and the Gilder Lehrman Institute of American History.

As a principal author she is responsible for organizing a number of monograph and exhibition catalog publishing efforts including Painting Harlem Modern: The Art of Jacob Lawrence (2010), May Stevens (2005), Eastman Johnson: Painting America (co-authored, 1999), John Singer Sargent (1986), Alice Neel (1983), Social Concern and Urban Realism: American Painting of the 1930s (1983), Turn-of-the-Century America: Paintings, Graphics, Photographs, 1890-1910 (1977), The Painters' America: Rural and Urban Life, 1810-1910 (1974), and The American Frontier: Images and Myths (1973). In addition, Patricia Hills has authored numerous articles for art publications, served as reviewer for College Art Association's CAA Reviews, and has contributed greatly as a peer reviewer and editor. From 1990 to 1999, she served as series editor for six books in the Cambridge Studies in American Visual Culture series, published by Cambridge University Press.
Provenance:
Donated in 2006, 2018, 2019 and 2022 by Patricia Hills.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. 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.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Occupation:
Educators -- Massachusetts -- Boston  Search this
Art historians -- Massachusetts -- Boston  Search this
Museum curators -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Art, American -- 19th century  Search this
Art -- Political aspects  Search this
Women artists  Search this
Women educators  Search this
Women art historians  Search this
Women museum curators  Search this
Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hillspat
See more items in:
Patricia Hills papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94c3f79a5-92b6-4d74-8ddb-d1957923a415
EDAN-URL:
ead_collection:sova-aaa-hillspat

Joan Semmel papers

Creator:
Semmel, Joan, 1923-  Search this
Names:
Bernstein, Judith, 1942-  Search this
Edelson, Mary Beth  Search this
Golden, Eunice  Search this
Grossman, Nancy  Search this
Hammond, Harmony  Search this
Hardy, John  Search this
Markson, David  Search this
Nieto, José Antonio  Search this
Schapiro, Miriam, 1923-2015  Search this
Sleigh, Sylvia  Search this
Stevens, May  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Illustrations
Photographs
Date:
1949-2013
bulk 1960-2013
Summary:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist, and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.
Scope and Contents:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.

Among the biographical materials are awards, educational records,and audiovisual recordings about Joan Semmel and her work.

Professional correspondence concerns exhibitions, publication permissions, panel discussions, symposia, and visiting artist and summer school appointments. Also included are letters of recommendation for colleagues and students. A scattering of personal letters are from novelist David Markson and José Antonio, both of whom had personal relationships with Semmel. There are also a few letters from friends of a purely social nature and a few letters concerning routine personal affairs.

There are two interviews with Joan Semmel on video recordings, one was conducted for a television broadcast and the other is unidentified.

Writings by Semmel include the manuscript, illustrations, research material, and letters relating to her unpublished book about women's erotic art. Also found are articles, artist's statements, and notes for talks about her work. The writings about Semmel consist of several student papers.

Project files relate to two exhibitions curated by Semmel, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds (2000). One file is related to a project in which Semmel was involved to document the role and status of women in the arts.

Scattered teaching files concern a course about contemporary women artists developed and taught by Semmel for the women's studies program at Rutgers University, circa 1978. Also documented are summer programs at Skowhegan and Sommerakademie in Austria where Semmel served as an instructor.

Binders (now unbound) of printed materials were compiled by Semmel consisting of exhibition catalogs and announcements for solo and group shows, reviews, posters, and miscellaneous printed matter.

Photographs of people include Joan Semmel, friends and colleagues. Among the individuals pictured are: writer David Markson, painter John Hardy, José Antonio Nieto; and feminist artists: Judy Bernstein, Mary Beth Edelson, Eunice Golden, Nancy Grossman, Harmony Hammond, Miriam Schapiro, Sylvia Sleigh, and May Stevens. There are slides, photographs, color photocopies and digital images of Semmel's paintings. Of particular interest are photographs, photocopies of photographs, and digital images that served as source material for paintings, including portrait commissions.
Arrangement:
The collection is arranged in 8 seres:

Missing Title

Series 1: Biographical Materials, 1949-2013 (Box 1; 0.6 linear feet)

Series 2: Correspondence, 1973-2013 (Boxes 1-2; 1.2 linear feet)

Series 3: Interviews, circa 1970s-1986 (Box 2; 0.2 linear feet)

Series 4: Writings, 1970s-2009 (Box 3; 0.7 linear feet)

Series 5: Project Files, 1972-2000 (Box 3; 3 folders)

Series 6: Teaching Files, 1970s-2000 (Box 3; 0.4 linear feet)

Series 7: Printed Material, circa 1960s-2013 (Boxes 4-6, OV 8; 2.2 linear feet)

Series 8: Photographic Materials, circa 1965-2013 (Boxes 6-7; 0.6 linear feet)
Biographical / Historical:
Joan Semmel (1932- ) is an abstract painter working in New York City and Easthampton, N. Y. Semmel's work explores erotic themes and the female body. She taught painting at the Mason Gross School of the Arts at Rutgers University from 1978-2000.

Born in New York City in 1932, Joan Semmel studied at the Cooper Union, the Art Students League of New York, and received her BFA in 1963 and MFA in 1972 from Pratt Institute. Semmel moved to Spain in 1963 and exhibited her abstract expressionist work in galleries and museums there before returning to New York in 1970.

Upon Semmel's return to New York, she became involved in the feminist art movement. One of the original Guerrilla Girls, Semmel was involved with several feminist activist art groups devoted to gender equality in the art world. Semmel spent years researching a book about women's erotic art. At the same time, her painting style shifted to incorporate more figurative imagery and she began working on series that explored the themes of the female body, desire, and aging. Each series consisted of 10-30 paintings, produced over several years, among them First and Second Erotic Series, Self Images, Portraits, Figure in Landscape, Gymnasium, Locker Room, Overlays, and Mannequins.

In addition to her teaching career at Rutgers University as a tenured Professor of Painting, Semmel taught briefly at the Brooklyn Museum Art School, Skowhegan, and the Summer Academy of Fine Arts in Salzburg, Germany. Over the years she served as a visiting artist, critic, and lecturer at many colleges, and participated in numerous symposia, panel discussions and conferences. She has received several grants and awards including Macdowell Colony and Yaddo residencies.

Semmel has exhibited widely and prolifically in the United States, Spain, the Netherlands, and South America, in addition to curating two exhibitions, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds - Art in General (2000). Her work is represented in the permanent collections of many museums including the Brooklyn Museum of Art, Chrysler Museum, Guild Hall, Museum of Women in the Arts, Parrish Art Museum, and Vassar College Museum.

Joan Semmel continues to live and work in New York City and Easthampton, NY.
Provenance:
Donated by Joan Semmel in 2014.
Restrictions:
Use of original material requires an appointment. Use of archival 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:
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women and erotica  Search this
Women artists  Search this
Painting, Abstract  Search this
Feminism and art  Search this
Erotica  Search this
Art -- Political aspects  Search this
Genre/Form:
Interviews
Video recordings
Illustrations
Photographs
Citation:
Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.semmjoan
See more items in:
Joan Semmel papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99aac2ce9-32e8-4fc5-b7d4-e95f090b5aa7
EDAN-URL:
ead_collection:sova-aaa-semmjoan
Online Media:

Patricia Hills papers, circa 1900-2022

Creator:
Hills, Patricia, 1936-  Search this
Subject:
Lawrence, Jacob  Search this
Neel, Alice  Search this
Sargent, John Singer  Search this
Stevens, May  Search this
Johnson, Eastman  Search this
Women's Caucus for Art  Search this
Citation:
Patricia Hills papers, circa 1900-2022. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
Art, American -- 19th century  Search this
Art -- Political aspects  Search this
Women artists  Search this
Women educators  Search this
Women art historians  Search this
Women museum curators  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)17590
(DSI-AAA_SIRISBib)396402
AAA_collcode_hillspat
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_396402

Peter Howard Selz papers

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.
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
Online Media:

Decolonizing the camera

Author:
Sealy, Mark  Search this
Publisher:
Lawrence & Wishart  Search this
Autograph (Organization)  Search this
Physical description:
267 pages, 20 unnumbered pages of plates illustrations (some color) 22 cm
Type:
Books
Photobooks
Livres de photographies
Date:
2019
19th century
20th century
Topic:
Photography--Social aspects  Search this
Photography--Philosophy  Search this
Photographie--Aspect social  Search this
Photographie--Philosophie  Search this
Photography  Search this
Racism--Political aspects--History  Search this
Imperialism--History  Search this
Racism in art  Search this
Imperialism in art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1145916

Contemporary art, material culture, and the sonic impulse

Author:
Cassel Oliver, Valerie  Search this
Contributor:
Bradley, Regina N. 1984-  Search this
Braxton, Charlie R  Search this
Brownlee, Andrea Barnwell  Search this
Buick, Kirsten Pai  Search this
Burris, Jennifer 1982-  Search this
Combs, Rhea L.,  Search this
McArthur, Park  Search this
DJ Spooky That Subliminal Kid  Search this
Moten, Fred  Search this
Pinn, Anthony B  Search this
Ramsey, Guthrie P  Search this
Reeves, Roger  Search this
Issuing body:
Virginia Museum of Fine Arts  Search this
Host institution:
Contemporary Arts Museum (Houston, Tex.)  Search this
Crystal Bridges Museum of American Art  Search this
Museum of Contemporary Art/Denver  Search this
Physical description:
xiii, 282 pages illustrations (chiefly color), portraits 28 x 29 cm
Type:
Exhibitions
Music
Expositions
Musique
In art
Exhibition catalogs
Place:
Southern States
États-Unis (Sud)
Date:
2021
20th century
21st century
20e siècle
21e siècle
Topic:
African American art--History  Search this
Material culture  Search this
African Americans  Search this
African Americans--Religion  Search this
African American art--Political aspects  Search this
Art noir américain--Histoire  Search this
Culture matérielle  Search this
Noirs américains  Search this
Noirs américains--Religion  Search this
Art noir américain--Aspect politique  Search this
African American art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1157055

Oral history interview with Julie Ault

Interviewee:
Ault, Julie  Search this
Interviewer:
Kerr, Theodore  Search this
Names:
Group Material (Firm : New York, N.Y.)  Search this
National Endowment for the Arts  Search this
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Alderfer, Hannah  Search this
Alexander, Vikky, 1959-  Search this
Ashford, Doug  Search this
Beck, Martin, 1962-  Search this
Blake, Nayland, 1960-  Search this
Brennan, Patrick  Search this
Evans, Steven, (Curator)  Search this
Garrels, Gary  Search this
Gonzalez-Torres, Felix, 1957-1996  Search this
Hawkins, Yolanda  Search this
Kalin, Tom  Search this
Klein, Jochen, 1967-1997  Search this
Lindell, John  Search this
Locks, Sabrina  Search this
Maharaj, Sarat (Sarat Chandra), 1952-  Search this
McCarty, Marlene, 1957-  Search this
McLaughlin, Mundy  Search this
Meyer, Richard, 1966-  Search this
Miller-Keller, Andrea  Search this
Moffett, Donald, 1955-  Search this
Nelson, Marybeth  Search this
Olander, William  Search this
Pasternak, Anne, 1964-  Search this
Phillips, Lisa, 1954-  Search this
Ramspacher, Karen  Search this
Rinder, Lawrence  Search this
Rollins, Tim, 1955-  Search this
Sandqvist, Gertrud  Search this
Serrano, Andres, 1950-  Search this
Staniszewski, Mary Anne  Search this
Szypula, Peter  Search this
Tucker, Marcia  Search this
Wagner, Frank  Search this
Wright, Charles  Search this
Extent:
6 Items (sound files (6 hr., 3 min.) Audio, digital, wav)
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
New York (N.Y.) -- Description and Travel
Washington (D.C.) -- Description and Travel
Date:
2017 November 14-16
Scope and Contents:
An interview with Julie Ault conducted 2017 November 14 and 16, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at a studio in Brooklyn, New York.
Ault speaks of the nature of memory and giving an oral history; her skepticism of linear narratives; leaving rural Maine for Washington, DC at age 17; her family history; her interest in popular culture and commercial culture as a teenager; disco and nightclubs in Washington and New York in the late 1970's; working a variety of day jobs in New York, including a telephone answering service; meeting Tim Rollins for the first time in Maine; her interest in conversation; her relationship to questions; the formation of Group Material in 1979; her relationship with Andres Serrano; Group Material's collaborative dynamic, and its effect on her personal development; the complexities of trying to write or tell history; the shifting configurations and contexts of Group Material over 17 years of activity; mounting, and thinking critically about, individual exhibitions after Group Material; the first AIDS Timeline in 1989; the ephemerality of the Timeline; book projects as a means of depositing personal memories; her first memories of the AIDS crisis beginning in 1983; Group Material's Democracy and AIDS series at Dia in 1988; investigating the tension between art and activism in the context of HIV/AIDS; Karen Ramspacher's entry and contributions to Group Material; the initial decision to employ the form of a timeline and four arenas of research; different audience relationships and reactions to the Timeline; the collaborative process of creating the Timeline; losing NEA funding after the Timeline, amid the early '90s culture wars; Group Material's second exhibition of AIDS Timeline in 1990; her friendship with Felix Gonzalez-Torres; Group Material's third exhibition of AIDS Timeline in 1991; the Macho Man, Tell It To My Heart exhibition; and an acknowledgement of topics that could not be covered in the interview. Ault also recalls Doug Ashford, Vikky Alexander, Yolanda Hawkins, Mundy McLaughlin, Sarat Maharaj, Gertrud Sandqvist, Marybeth Nelson, Patrick Brennan, Hannah Alderfer, Peter Szypula, Sabrina Locks, Larry Rinder, Richard Meyer, Bill Olander, Marcia Tucker, Gary Garrels, Charles Wright, Frank Wagner, Martin Beck, Nayland Blake, Anne Pasternak, Mary Anne Staniszewski, John Lindell, Tom Kalin, Donald Moffett, Marlene McCarty, Jochen Klein, Lisa Phillips, Andrea Miller-Keller, Steven Evans, and others.
Biographical / Historical:
Julie Ault (1957- ) is an artist, writer, and curator in New York, New York. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
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.
Occupation:
Authors -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Political activists  Search this
Topic:
AIDS (Disease)  Search this
AIDS (Disease) and the arts  Search this
Art -- Political aspects  Search this
History -- Philosophy  Search this
Oral history  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ault17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw929509f5d-db8b-454a-b779-1c146a51a0e3
EDAN-URL:
ead_collection:sova-aaa-ault17
Online Media:

Masks and staffs identity politics in the Cameroon Grassfields Michaela Pelican

Author:
Pelican, Michaela  Search this
Physical description:
xiii, 244 pages illustrations, maps 24 cm
Type:
Books
Place:
Cameroon
Cameroun
Kamerun
Nordwest
Date:
2015
Topic:
Ethnicity  Search this
Ethnic conflict  Search this
Ethnic relations--Political aspects  Search this
Ethnicité  Search this
Conflits ethniques  Search this
Relations interethniques--Aspect politique  Search this
Ethnic relations  Search this
Sozialanthropologie  Search this
Politische Anthropologie  Search this
Identitätspolitik  Search this
Ethnizität  Search this
Kulturkontakt  Search this
Kulturkonflikt  Search this
Interessenkonflikt  Search this
Gewalttätigkeit  Search this
Konversion  Search this
Bantu  Search this
Bororo  Search this
Hausa  Search this
Antropologi  Search this
Nationell identitet  Search this
Historia  Search this
Politik och samhälle  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1146026

Harry Gottlieb papers

Topic:
Art front
Creator:
Gottlieb, Harry, 1895-  Search this
Summit Gallery (New York, N.Y.)  Search this
Names:
American Artists' Congress  Search this
American Society of Painters, Sculptors and Gravers  Search this
Artists Equity Association  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
New York WPA Artists, Inc.  Search this
Kent, Rockwell, 1882-1971  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Solman, Joseph, 1909-2008  Search this
Extent:
2.4 Linear feet ((on 3 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1910-1982
Scope and Contents:
Biographical material, correspondence, writings, business records, printed material, photographs, sketches and notebooks.
REEL D343: Files kept by Gottlieb on the Works Progress Administration, 3rd Woodstock Art Conference, American Artists' Congress, American Society of Painters, Sculptors and Gravers and the Artists Union, N.Y.; newsletters, correspondence and minutes from Artists Equity Association; issues of "Art Front", "Art Project Reporter" and "ALA News" of the Artists League of America; correspondence, 1928-1951; clippings, exhibition catalogs and announcements; silk screen prints; notes and an autobiographical sketch. Photographs include: one of Gottlieb and Joseph Solomon, ca. 1950; one of Gottlieb in his studio, 1939; 4 of the Carnegie Institute International exhibit, 1931, showing Gottlieb's work; and a group photograph of the Artists Equity Testimonial Dinner honoring Yasuo Kuniyoshi, 1948.
REEL 3889-3890: Biographical information; correspondence, including letters from Rockwell Kent; records of the Summit Gallery, business records and price lists for art work; 1 charcoal drawing, 2 ink drawings and 3 sketches; notes, layouts and a contract for Gottlieb's book, THE ART OF HARRY GOTTLIEB; notebooks; material on the Artists Equity Association, the Artists Union, N.Y., Public Art Preservation Committee, and New York WPA Artists, Inc.; exhibition announcements, catalogs, clippings and press releases; and photographs, 1935-1953, of Gottlieb and his art work.
Biographical / Historical:
Painter, printmaker; New York, N.Y. b. 1895; d. 1992. Born in Bucharest, Romania. Member of N.Y. Artists' Union, American Society of Painters, Sculptors and Gravers, and the American Artists Congress. Served as a WPA artist. Pioneer in the development of silk screen process as a fine art form.
Provenance:
Material donated by Harry Gottlieb, 1968 and 1982.
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:
Serigraphers -- New York (State) -- New York  Search this
Painters  Search this
Topic:
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Screen process printing  Search this
Serigraphy -- New York (State) -- New York  Search this
Trade-unions and the arts -- New York (State) -- New York  Search this
Prints -- Technique  Search this
Identifier:
AAA.gottharr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d0f87afa-0e38-4ffa-988b-97d27c3a7bff
EDAN-URL:
ead_collection:sova-aaa-gottharr

A site of struggle American art against anti-Black violence edited by Janet Dees ; with contributions by Sampada Aranke, Courtney R. Baker, Huey Copeland, Leslie M. Harris, LaCharles Ward

Title:
American art against anti-Black violence
Writer of added commentary:
Dees, Janet  Search this
Aranke, Sampada  Search this
Baker, Courtney  Search this
Harris, Leslie M (Leslie Maria) 1965-  Search this
Ward, LaCharles 1988-  Search this
Writer of preface:
Copeland, Huey  Search this
Host institution:
Mary and Leigh Block Museum of Art  Search this
Montgomery Museum of Fine Arts  Search this
Physical description:
133 pages, 3 unnumbered pages illustrations (some color), portraits (some color) 29 cm
Type:
Exhibitions
Exhibition catalogs
Place:
United States
Date:
2022
20th century
21st century
Topic:
African American art  Search this
African Americans in art  Search this
African Americans--Violence against  Search this
Racism and the arts  Search this
Black people--Violence against  Search this
Black people in art  Search this
Violence in art  Search this
African Americans--Social conditions  Search this
Racism--History  Search this
Art--Political aspects  Search this
Art, American  Search this
Art américain  Search this
Personnes noires dans l'art  Search this
Personnes noires--Violence envers  Search this
Violence dans l'art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1159895

Build the power of hip-hop diplomacy in a divided world Mark Katz

Author:
Katz, Mark 1970-  Search this
Physical description:
1 online resource illustrations (black and white, and colour)
Type:
Electronic resources
Date:
2019
Topic:
Rap (Music)--Political aspects  Search this
Music and diplomacy  Search this
Cultural diplomacy  Search this
Rap (Music)--Religious aspects--Islam  Search this
Musique et diplomatie  Search this
Diplomatie culturelle  Search this
MUSIC / Genres & Styles / Rap & Hip Hop  Search this
Call number:
ML3918.R37 K37 2019 (Internet)
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1160649

Inscribing I-story : Mortimo Planno's art / Jahlani Niaah

Author:
Niaah, Jahlani  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Planno, Mortimer "Kumi," 1929-2006  Search this
Type:
Articles
Place:
Jamaica
Date:
2014
Topic:
Painters  Search this
Painting, Jamaican--Political aspects  Search this
Call number:
F1861 .J277
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1037454

National museums in Africa identity, history and politics edited by Raymond Silverman, George Abungu and Peter Probst

Editor:
Silverman, Raymond Aaron  Search this
Abungu, George  Search this
Probst, Peter  Search this
Physical description:
xvii, 265 pages illustrations, maps 25 cm
Type:
Books
History
Place:
Africa
Afrique
Date:
2022
Topic:
National museums  Search this
Museums--Political aspects--History  Search this
Museums--Social aspects--History  Search this
Musées nationaux  Search this
Musées--Aspect politique--Histoire  Search this
Musées--Aspect social--Histoire  Search this
Museums--Political aspects  Search this
Museums--Social aspects  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1147122

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