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Oral history interview with Lucy Lippard

Interviewee:
Lippard, Lucy R.  Search this
Interviewer:
Heinemann, Sue  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Art Workers Coalition  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Guerilla Art Action Group  Search this
Heresies Collective, Inc.  Search this
Museum of Modern Art (New York, N.Y.) -- Employees  Search this
Political Art Documentation/Distribution (Organization)  Search this
Smith College -- Students  Search this
Ashton, Dore  Search this
Chicago, Judy, 1939-  Search this
Hammond, Harmony  Search this
Judd, Donald, 1928-1994  Search this
LeWitt, Sol, 1928-2007  Search this
Miss, Mary, 1944-  Search this
Reinhardt, Ad, 1913-1967  Search this
Ryman, Robert, 1930-2019  Search this
Schneemann, Carolee, 1939-  Search this
Sholette, Gregory  Search this
Stevens, May  Search this
Extent:
4 Items (memory cards (4 hr., 29 min.), secure digital, wav, 1.25 in.)
97 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2011 Mar. 15
Scope and Contents:
An interview with Lucy Lippard conducted 2011 Mar. 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Lippard's home, in Galisteo, N.M.
Lippard discusses her childhood summers in Maine; growing up in New Orleans, La., and Charlottesville, Va.; attending the Abbot Academy and Smith College; her junior year in Paris; working in the Museum of Modern Art Library; living on Avenue D; meeting Bob Ryman and Sol Lewitt; birth of her son Ethan; Dore Ashton as a role model; involvement with various groups and political causes including the Angry Arts movement, the Art Workers' Coalition, Women Artists' Committee, Guerilla Art Action Group, Womanhouse, Political Art Documentation and Distribution (PAD/D), the Ad Hoc Women Artists Committee, and others; the development of Heresies Collective; her publications including, "From the Center: Feminist Essays on Women's Art," (1976), "On the Beaten Track: Tourism, Art and Place," (1999), "Mixed Blessings: New Art in a Multicultural America," (1990, 2000), "The Lure of the Local: Sense of Place in a Multicentered Society," (1997), and "Overlay: Contemporary Art and the Art of Prehistory," (1983) ; curating exhibitions; travels to Argentina and Mexico; moving to Galisteo, N.M.; interest in the Galisteo Basin; teaching; and other topics. She recalls Ad Reinhardt, Donald Judd, Harmony Hammond, Judy Chicago, Gregory Sholette, Carolee Schneemann, Max Koszloff, Joyce Koszloff, May Stevens, Betsy Hess, Mary Miss, and others.
Biographical / Historical:
Lucy R. Lippard (1937- ) is a writer and art critic in New York, N.Y. and Galisteo, N.M.
General:
Originally recorded on Edirol R-09HR on 4 secure digital memory cards. Duration is 4 hr., 29 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Art critics -- New York (State) -- New York -- Interviews  Search this
Art historians -- New Mexico -- Santa Fe -- Interviews  Search this
Topic:
Authors -- New York (State) -- New York -- Interviews  Search this
Curators -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lippar11
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lippar11

Lil Picard papers

Creator:
Picard, Lil  Search this
Names:
Art Workers Coalition  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1955-1972
Scope and Contents:
Catalogs; clippings; material relating to the feminist art movement in the U.S. and to the Art Workers Coalition; photographs; notes; and commentary on American and English writers and artists.
Biographical / Historical:
Art critic, performance artist, sculptor and painter; New York, N.Y.
Provenance:
Donated 1973 by Lil Picard.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Performance artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists -- New York (State) -- New York  Search this
Art criticism -- New York (State) -- New York  Search this
Identifier:
AAA.picalil
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-picalil

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
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:
56.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2007
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 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.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 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.
Arrangement:
The collection is arranged as eight series:

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)
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, and 2006.
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:
Art critics  Search this
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism and art  Search this
Minimal art  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
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Oral history interview with Hans Haacke, 2009 Aug. 20-21

Interviewee:
Haacke, Hans, 1936-  Search this
Interviewer:
Richards, Judith Olch, 1947-  Search this
Type:
Sound recordings
Interviews
Record number:
(DSI-AAA_CollID)15712
(DSI-AAA_SIRISBib)283572
AAA_collcode_haacke09
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_283572

Oral history interview with Jacqueline Skiles, 1971

Interviewee:
Skiles, Jacqueline Dean, 1937-  Search this
Interviewer:
Holmes, Doloris  Search this
Type:
Interviews
Topic:
Art, American  Search this
Women artists -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12300
(DSI-AAA_SIRISBib)214182
AAA_collcode_skiles71
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214182

Oral history interview with Carl Andre, 1972

Interviewee:
Andre, Carl, 1935-  Search this
Interviewer:
Raikin, Laurin  Search this
Subject:
Art Workers Coalition  Search this
National Art Workers Community (U.S.)  Search this
Type:
Interviews
Topic:
Art -- Political aspects  Search this
Art and state  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)12059
(DSI-AAA_SIRISBib)214150
AAA_collcode_andre72
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214150

Oral history interview with Irving Petlin

Interviewer:
Petlin, Irving, 1934-2018  Search this
McElhinney, James Lancel, 1952-  Search this
Extent:
6 Items (sound files (4 hrs., 27 min.), digital, wav)
103 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2016 September 13-15
Scope and Contents:
An interview with Irving Petlin conducted 2016 September 13 and 15, by James McElhinney, for the Archives of American Art at Petlin's home in New York, New York.
Petlin speaks of his childhood in Chicago, where he attended the Art Institute Children's school; his grandparents; his early artistic influences, including Munch, Van Gogh, Redon, Matta, and Gorky; the influence of the Chicago Imagists; studying art at Yale University; his military service in Army Intelligence; his studio on the Monkey Block in San Francisco; the Dilexi Gallery; living and working in Paris; working as a visiting artist at UCLA; his decision to use primarily pastels in his work; his series on Edmond Jabes, Primo Levi, and others; his witnessing of the Paris protests against the Algerian War; his involvement in protests and artworks against the Vietnam War in the U.S.; his involvement in the Art Workers Coalition; and his practice of working in series. Petlin also recalls Leon Golub, Claes Oldenberg, Nancy Spero, Joseph Randall Shapiro, Josef Albers, Varujan Boghosian, William Bailey, Richard Diebenkorn, Elmer Bischoff, Jim Newman, Eva Hesse, Robert Birmelin, R.B. Kitaj, Ed Kienholz, John Weber, Virginia Dwan, Mark di Suvero, Leo Castelli, and others.
Biographical / Historical:
Interviewee Irving Petlin (1934-2018 ) was a painter in New York, New York. Interviewer James McElhinney (1952- ) is a painter and educator of 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.
Topic:
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.petlin16
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-petlin16

Oral history interview with Hans Haacke

Interviewee:
Haacke, Hans, 1936-  Search this
Interviewer:
Richards, Judith Olch  Search this
Extent:
8 Items (Sound recording: 8 sound files (5 hr., 13 min.), digital, wav file)
105 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 Aug. 20-21
Scope and Contents:
An interview of Hans Haacke conducted 2009 Aug. 20 and 21, by Judith Olch Richards, for the Archives of American Art, at Haacke's home, in New York, N.Y.
Interview of Hans Haacke, conducted by Judith O. Richards for the Archives of American Art, in New York, New York on August 20, 21 and 28, 2009. Haacke speaks of growing up in pre-war Germany; the effect of war on his childhood; his grandfather's interest in art and it's early influence on him; traveling across Europe during high school; attending art school in Kassel, Germany where he majored in painting and studied under Fritz Winter; an early belief that all contemporary art must be abstract; his interaction with Otto Piene through the Zero Group in Düsseldorf, Germany during the 1960s; his determination to become an artist; his involvement with the early days of documenta in Kassel; two post graduate grants, the DAAD which took him to Stanley William Hater's Atelier 17 in Paris and the Fulbright Scholarship that brought him to Tyler School of Fine Arts at Temple University in Pennsylvania; his first three dimensional objects and his interest in reflective materials and water; the importance of viewer participation and interaction in his works; moving back to Germany for two years and returning to the United States in 1965 and making New York City his permanent residence; his interest in what was called 'kinetic art' and his relationship with Willoughby Sharp; the element of play in his work; the term 'real time systems' as applied to his own work and the meaning of 'system' when applied to art work in general; his long teaching post at Cooper Union from 1967-2002 and a love of teaching; the critique of the institution and its role in his work; the Art Workers Coalition; Westbeth Artist Community in New York City; the work Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971, the closing of his show at the Guggenheim Museum in New York because of the controversy over the piece; his continued interest in presenting information rather than commentary; various works that ask the visitor questions; various works that question provenance and proper ownership of major works of art; showing at galleries when his work was forced out of shows at major museums around the world; his studio practices; the role computer technology plays in helping him realize new projects; participating in competitions; his work entitled Germania [1993] that won him the Golden Lion at the Venice Biennale and several other works touch on the themes of German nationalism, including To the Population [2000] and Memorial to Rosa Luxemburg [2006]; the relationship between his art and works of sociology; showing at the Paula Cooper Gallery in New York City; his interest in writing as a way to articulate his ideas to critics, viewers and other artists; his experiences in the art world over the past 40 years. Haacke also recalls Günther Uecker, Heinz Mack, Arnold Bode, Vassilakis Takis, John Hendricks, Leon Golub, David Pease, Al Held, Robert Morris, Yvonne Rainer, George Wittenborn, Robert Motherwell, Lucio Fontana, the Gutai Group, George Rickey, Jesús Rafael Soto, Jack Burnham, Howard Wise, Jon Hendricks, Edward Fry, Thomas Messer, Kynaston McShine, Charles Saatchi, Seth Siegelaub, Robert Projansky, Nam June Paik, Norman Poster, Pierre Bourdieu, Kasper König, Howard Becker, Andrea Fraser, Johann Kresnik, Maria Eichhorn, Benjamin Buchloh, Eva Cockroft and others. Total: 2 digital recording discs; 2 hours, 10 min.; transcribed 105 pages.
Biographical / Historical:
Interviewee Hans Haacke (1936- ) is a conceptual artist and educator in New York, N.Y. He taught at Cooper Union in New York, N.Y. Interviewer Judith Olch Richards (1947- ) is former Executive director of iCI in New York, N.Y.
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.
Rights:
Authorization to publish, quote or reproduce must be obtained from Hans Haacke.
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.haacke09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-haacke09

Oral history interview with Jacqueline Skiles

Creator:
Skiles, Jacqueline Dean, 1937-  Search this
Interviewer:
Holmes, Doloris  Search this
Extent:
13 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1971
Scope and Contents:
Interview of Jacqueline Skiles conducted by Doloris Holmes for the Archives of American Art "Art World in Turmoil" oral history project.
Biographical / Historical:
Political artist, member of Women Artists in Revolution and a member of Art Workers Coalition.
Provenance:
This interview is part of the Archives' 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:
Use requires an appointment.
Topic:
Art, American  Search this
Women artists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Identifier:
AAA.skiles71
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-skiles71

Oral history interview with Carl Andre

Creator:
Andre, Carl, 1935-  Search this
Interviewer:
Raikin, Laurin  Search this
Names:
Art Workers Coalition  Search this
National Art Workers Community (U.S.)  Search this
Extent:
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1972
Scope and Contents:
Interview of Carl Andre conducted in 1972, by Laurin Raikin, for the "Art World in Turmoil" oral history project.
Andre speaks of politics and art; capitalism and class structure; the gallery system; professional organizations including the National Art Workers Community and the Art Workers Coalition; economic survival and the success of American artists; exploitation of artists; "radical art"; and the need for and artist's trade union.
Biographical / Historical:
Carl Andre (1935- ) is a sculptor in New York, New York.
Provenance:
This interview is part of the Archives' 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:
ACCESS RESTRICTED; written permission required. Contact Archives Reference Services for information.
Use of this interview, with permission, requires an appointment and is limited to the Archives of American Art reading rooms.
Topic:
Art -- Political aspects  Search this
Art and state  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Identifier:
AAA.andre72
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andre72

Atlanta Art Workers Coalition, Atlanta, GA

Collection Creator:
National Endowment for the Arts. Visual Arts Program  Search this
Container:
Box 3, Folder 17
Type:
Archival materials
Date:
1977-1979
Collection 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 in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
National Endowment for the Arts, Visual Arts Program selected records, 1970-1980. Archives of American Art, Smithsonian Institution.
See more items in:
National Endowment for the Arts, Visual Arts Program selected records
National Endowment for the Arts, Visual Arts Program selected records / Series 1: Art Organization Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-natiendo-ref174

Lucy R. Lippard papers, 1930s-2007, bulk 1960-1990

Creator:
Lippard, Lucy R., 1937-  Search this
Subject:
Chicago, Judy  Search this
Andre, Carl  Search this
Stevens, May  Search this
Pearson, Henry  Search this
Darboven, Hanne  Search this
Henes, Donna  Search this
Hammond, Harmony  Search this
LeWitt, Sol  Search this
Edelson, Mary Beth  Search this
Judd, Donald  Search this
Johnson, Ray  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Alliance for Cultural Democracy  Search this
Studio International  Search this
University of Colorado  Search this
Political Art Documentation/Distribution  Search this
Printed Matter, Inc.  Search this
Addison Gallery of American Art  Search this
Women's Caucus for Art  Search this
Type:
Sound recordings
Interviews
Photographs
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism and art  Search this
Minimal art  Search this
Record number:
(DSI-AAA_CollID)7895
(DSI-AAA_SIRISBib)210062
AAA_collcode_lipplucy
Theme:
Women
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210062
Online Media:

Correspondence by Name

Collection Creator:
Lippard, Lucy R.  Search this
Type:
Archival materials
Date:
1950s-2006
Scope and Contents:
The series documents all aspects of Lippard's professional life, primarily from the 1960s on, including her relationship with artists such as Carl Andre, Iain Baxter (N. E. Thing Co.), Bruce Barber, Carole Berge, Steve Cagan, Don Celender, Judy Chicago, Hanne Darboven, Ken Friedman, Donna Henes, Hera, Alexis Hunter, Ray Johnson, Joseph Kossuth, Sol LeWitt, Martha Rosler, Henry Pearson, Arthur and Irene Siegel, Tal Streeter, Bill Vazan and many more. Lippard's interest in and commitment to the emerging feminist art scene can be traced in correspondence with artists such as Joan Braderman, Mary Beth Edelson, Harmony Hammond, Ruth Hardinger, Elizabeth Hess, Miriam Schapiro, May Stevens and Merle Temkin, many of whom, along with Lippard, were founding members of the New York-based Heresies Collective.

Also found here are correspondence and other material documenting Lippard's involvement with art galleries, art institutions and activist groups including Addison Gallery of American Art, Alliance for Cultural Democracy, and Political Art Documentation/Distribution (PAD/D). PAD/D material consists of 11 audio recordings from circa 1984 related to "Artists Call Against U.S. Intervention in Central America" and other activities of the group. Eight folders document the founding and early years of the Women's Caucus for Art from the early 1970s to 1981 and the series includes Lippard's correspondence with related individuals and organizations such as Arlene Raven, Sheila de Bretteville and the College Art Association. Records on the Art Workers Coalition (AWC) and the Museum of Modern Art document Lippard's involvement in the AWC's artists' rights protests aimed at pressurizing the Museum of Modern Art and other museums to implement certain reforms, including a weekly free admission day.

Correspondence with Ray Johnson includes original letters from Johnson to Lippard and many examples of his mail art. A folder of letters from Christo and Jean-Claude includes a letter illustrated with sketches of artwork that had impressed Christo at a University of British Columbia art show and describing a meeting with Ray Johnson. Six folders of correspondence from Hanne Darboven are interspersed with her distinctive colors, dashes, numbers and wavy lines and letters and postcards from Sol LeWitt include sketches and descriptions of artwork.

Lippard corresponded with many artists outside the United States, including Australian artists Vivienne Binns and Peter Kennedy, and New Zealand artist Bruce Barber, and wrote an article for Arts Canada on the Canadian group Pulsa. Her interest in landscape art can be traced in her correspondence with artists such as Bill Vazan and British artist Richard Long.

There are 4 folders of correspondence between Lippard and James (Jim) Fitzimmons regarding her work for the publication Art International during the 1960s, and two folders of correspondence with publisher Harry N. Abrams, Inc., but the bulk of the correspondence related to Lippard's writings can be found in Series 3.1. Other writers with whom Lippard corresponded include New York art critic Frederick Ted Castle, artist and writer Judy Loeb, writer and storyteller Gioia Timpanelli and Argentine-born critic Susana Torre, who designed the cover for Lippard's book From the Center: Feminist Essays on Women's Art (1976).

The series includes one folder each of correspondence from Lippard's parents Margaret Lippard and Vernon W. Lippard.

Sound recordings are on seven sound tape reels and seventeen sound cassettes.
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy, Subseries 2.1
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref1209

Art Workers Coalition

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 2, Folder 8-9
Type:
Archival materials
Date:
circa 1969-circa 1970s
Scope and Contents:
Oversized material housed in OV 54
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref1260

Art Workers Coalition, Slide Show Discussion, Simon Frasier University (1969 Feb)

Collection Creator:
Lippard, Lucy R.  Search this
Extent:
1 Sound tape reel
Container:
Box 2, Folder 16
Type:
Archival materials
Sound tape reels
Date:
1969
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3024

Art Workers Coalition, 2nd Discussion Group, Alternatives Committee (1969 May 29)

Collection Creator:
Lippard, Lucy R.  Search this
Extent:
1 Sound tape reel
Container:
Box 2, Folder 17
Type:
Archival materials
Sound tape reels
Date:
1969
Scope and Contents:
The only attendee that is named in the recording is Lucy Lippard. Others present may include Robert Morris and Rudolph Baranik.
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3025

Art Workers Coalition, Open Hearing Tapes 1-2

Collection Creator:
Lippard, Lucy R.  Search this
Extent:
2 Sound tape reels
Container:
Box 2, Folder 18
Type:
Archival materials
Sound tape reels
Date:
circa 1960s
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3026

Art Workers Coalition, Open Hearing Tapes 3-4

Collection Creator:
Lippard, Lucy R.  Search this
Extent:
2 Sound tape reels
Container:
Box 2, Folder 19
Type:
Archival materials
Sound tape reels
Date:
circa 1960s
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3027

Art Workers Coalition

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 2, Folder 10
Type:
Archival materials
Date:
1968-1969
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3047

Art Workers Coalition

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 2, Folder 11-13
Type:
Archival materials
Date:
1969
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref3048

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