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Elisabeth Commanday papers

Creator:
Commanday, Elisabeth, 1890-1994  Search this
Names:
Anrep, Alda  Search this
Berenson, Bernard, 1865-1959  Search this
Berenson, Elizabeth  Search this
Mariano, Nicky  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1949-1975
Summary:
The scattered papers of art collector Elisabeth Commanday measure 0.4 linear feet and date from 1949 to 1974. The collection relates to longtime friendships between Commanday and art historian Bernard Berenson, his sister Elizabeth Berenson, his companion Nicky Mariano, and Mariano's sister Baroness Alda von Anrep. The papers include correspondence, notes, photographs, and printed material.
Scope and Contents:
The scattered papers of art collector Elisabeth Commanday measure 0.4 linear feet and date from 1949 to 1974. The collection relates to longtime friendships between Commanday and art historian Bernard Berenson, his sister Elizabeth Berenson, his companion Nicky Mariano and Mariano's sister Baroness Alda von Anrep. Found is correspondence, notes, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Art collector Elisabeth (Betty) Krieger Commanday (1891-1994) lived in New York City and Boston, Massachusetts. She travelled throughout Europe and maintained a correspondence with art historian Bernard Berenson.
Provenance:
Donated 1993 by Maurice Commanday, son of Elisabeth Commanday. Commanday corresponded with Berenson for nearly ten years. At his death in 1959, Berenson's companion Nicky Mariano returned to Commanday all of her letters, which she discarded, except for the earliest letter written in April 1949.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Collectors  Search this
Topic:
Art -- Collectors and collecting  Search this
Citation:
Elisabeth Commanday papers, 1949-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.commelis
See more items in:
Elisabeth Commanday papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d68e80a5-94ce-4ebf-8e2c-e702d50ac5d2
EDAN-URL:
ead_collection:sova-aaa-commelis

Bob Thompson papers

Creator:
Thompson, Bob, 1937-1966  Search this
Names:
Billiard Place  Search this
David Anerson Gallery  Search this
Donald Morris Gallery  Search this
Sluggs Jazz Club  Search this
The Billard Palace  Search this
Whitney Museum of American Art  Search this
Baraka, Amiri, 1934-2014  Search this
Beskind, Dorothy Levitt  Search this
Bridwell, Margaret  Search this
Covi, Dario A.  Search this
Crodel, Charles, 1894-1973  Search this
Cruz, Emilio, 1938-  Search this
Ginsberg, Allen, 1926-  Search this
Martin, Mary, 1913-  Search this
May, Mary Spencer  Search this
Ratcliff, Carter  Search this
Schapiro, Meyer, 1904-  Search this
Spellman, A. B., 1935-  Search this
Thompson, Bessie  Search this
Thompson, Carol  Search this
Wilke, Ulfert, 1907-1987  Search this
Wilson, Judith, 1952-  Search this
Young, Kenneth, 1933-  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Date:
1949-2005
Summary:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.
Scope and Contents:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Biographical material includes certificates, school memorabilia, biographical chronologies, a memorial program and obituaries, and a transcript of "Bob Thompson: His Life and Friendships" panel discussion with several notable artists commenting on Thompson. There is also a video recording copy of a 1965 film by Dorothy Levitt Beskind titled Bob Thompson Happening which was made to accompany a 1999 exhibition at the Whitney Museum of Art.

Carol Thompson's correspondence is with various galleries, dealers, and friends primarily concerning Bob Thompson's artwork and posthumous exhibitions. There is correspondence with art historian Judith Wilson, the artist's mother Bessie Thompson, David Anderson Gallery, and Donald Morris Gallery.

Writings by Bob Thompson include church speeches, a letter to the editor of Louisville Courier Journal, a poem, and an artist statement. There are also writings about Thompson by others, including his mother Bessie Thompson, wife Carol Thompson, and artists and friends, including Margaret Bridwell, Dario Covi, Carl Crodel, Emilio Cruz, Allen Ginsberg, LeRoi Jones, Mary H. Martin, Mary Spencer May, Carter Ratcliff, Meyer Schapiro, A. B. Spellman, Ulfert Wilke, and Ken Young. The writings by friends are mostly in the form of recollections by friends that were gathered as a memorial tribute to Thompson.

Exhibition files consist of material related to posthumous group and solo exhibitions of Bob Thompson's work.

The majority of the personal business records are posthumous and include inventories, loan and consignment forms, sales and appraisal records, and scattered correspondence.

Printed material includes exhibition catalogs, magazine and newspaper clippings about Bob Thompson, blank postcards of artwork, posters, and press releases.

There are photographs of Bob Thompson, family, and friends, including many artists, shot in various locations in New York City and Provincetown, as well as in Spain, France, and Italy. There are images of Thompson's Rivington Street studio, the Billiard Palace and the Slugs Jazz Club in New York City, exhibitions, events, street scenes, and artwork. There are four photographs albums, one of the Thompson's wedding, two of exhibitions (one is disbound), and one personal album with many photographs of friends and family, including the artist's mother Bessie Thompson and wife Carol Thompson.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1953-2003 (0.2 linear feet; Box 1)

Series 2: Carol Thompson's Correspondence, 1971-2000 (0.1 linear feet; Box 1)

Series 3: Writings, 1949-1998 (0.1 linear feet; Box 1)

Series 4: Exhibition Files, 1978-2001 (0.1 linear feet; Box 1)

Series 5: Personal Business Records, 1965-2001 (0.1 linear feet; Box 1)

Series 6: Printed Material, 1960-2005 (0.7 linear feet; Boxes 1-2, 4, OV 5)

Series 7: Photographs, 1951-2000 (0.7 linear feet; Boxes 2-4)
Biographical / Historical:
Bob Thompson (1937-1966) was an African American figurative painter who worked primarily in New York City.

Thompson was born in Louisville, Kentucky in 1937. He attended Boston University as a pre-med student, but quit the program and returned to Kentucky to attend the University of Louisville and study painting under German expressionist artist Ulfert Wilke. As a student, he spent a summer in Provincetown, Massachusetts and immersed himself in the art communities there. In 1958, Thompson moved to New York City and reunited with several artists he had met in Provincetown and participated in some of the earliest "happenings," somewhat informal art events or gatherings usually involving performance art and music, in 1960. He became a regular at the jazz clubs The Five Spot and Slugs and became friends with several jazz musicians. Many of Thompson's paintings reflect his interest in jazz. He also formed friendships with writers Allen Ginsberg and LeRoi Jones. In 1960, he had his first solo exhibition at the Delancy Street Museum.

The same year as his first solo exhibition, Thompson married Carol Plenda and the couple lived in Paris from 1961-1962 after he received a Whitney Foundation fellowship. They lived in Ibiza, Spain the following year. Thompson painted prolifically while abroad, and when he returned to New York City in 1963, he brought many paintings with him. He quickly found representation by Martha Jackson Gallery and the gallery featured Thompson's work in solo exhibitions in 1963-1965. His reputation grew and more exhibitions across the country followed.

In late 1965, Thompson and his wife traveled to Rome, Italy, where he continued to study art and paint. Thompson died in Rome in 1966 at the age of 28 from a drug overdose not long after receiving gall bladder surgery.
Provenance:
The collection was donated by Elaine Plenda, the artist's sister-in-law, in 2006, 2010, 2011, and 2012.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of video recording requires advance notice. Contact Reference Services for more information.
Rights:
"Bob Thompson Happening" (1965) video: Permission to publish, quote or reproduce requires written permission from Joanne Elkin. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Video recordings
Photographs
Citation:
Bob Thompson papers, 1949-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thombob
See more items in:
Bob Thompson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95cbba908-2706-4ba6-8bb0-58c271c29d62
EDAN-URL:
ead_collection:sova-aaa-thombob
Online Media:

Patricia Hills papers

Creator:
Hills, Patricia  Search this
Names:
Women's Caucus for Art  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:
47.5 Linear feet
0.113 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 47.5 linear feet and 0.113 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, 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.

There is an 8.4 linear foot unprocssed addition to this collection donated in 2022 that includes Patricia Hills' research material regarding Eastman Johnson, consisting of biographical information; professional correspondence; printed material; institutional, exhibition, subject and genre files for Eastman Johnson's works of art; photographs of works of art; writings and lectures; catalog cards; and files regarding works not by Johnson.
Scope and Contents:
The papers of art historian, curator, and educator Patricia Hills measure 47.5 linear feet and 0.113 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, 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.

There is an 8.4 linear foot unprocssed addition to this collection donated in 2022 that includes Patricia Hills' research material regarding Eastman Johnson, consisting of biographical information; professional correspondence; printed material; institutional, exhibition, subject and genre files for Eastman Johnson's works of art; photographs of works of art; writings and lectures; catalog cards; and files regarding works not by Johnson.
Arrangement:
The collection is arranged as 13 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, OV24, 0.041 GB; ER01-ER02)

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)

Series 13: Unprocessed Addition, circa 1970-2022 (8.4 linear feet; Boxes 40-49)
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

Oral history interview with Elma Lewis

Interviewee:
Lewis, Elma  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Elma Lewis School of Fine Arts  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 July 25 and Sept. 19, 1997
Scope and Contents:
An interview of Elma Lewis conducted 1997 July 25 and Sept. 19, by Robert Brown, for the Archives of American Art, in Lewis' home, Roxbury, Mass.
Lewis discusses her parents, immigrants from Barbados; her father being very politicized, quickly disillusioned regarding economic opportunity and racism; meeting Marcus Garvey and becoming a member of United Negro Improvement Association; her parents giving her a very strong cultural sense of her race and culture steeped in Christian doctrine; family thought in pan-African terms; attending integrated schools; World War II as a watershed for the Black community; her brother graduating from Harvard medical school after their mother demanded he be admitted, though still he had difficulty being accepted in medical community; another brother who became a concert pianist; her study of dance (ballet) for many years.
Father's encouragment to attend Emerson College in Boston (1939-1943); preparation for a career in music and the performing arts; teachers' training at Boston University (1943-1944); teaching at the school of dance and performing arts run by Doris Jones; Lewis founding her own school, the Elma Lewis School of Fine Arts in the largely Black Roxbury section of Boston in 1950; incorporating the visual arts; teaching by Alvin Ailey, Talley Beatty, Duke Ellington; problems posed by patronizing white liberal community; development of cooperative program with the Museum of Fine Arts, Boston; hiring the artist John Wilson and art historian Edmund Barry Gaither to further develop visual arts programs; and the primacy of culture and spirituality.
Biographical / Historical:
Elma Lewis (1921-2004) was an artist and teacher from Boston, Mass.
General:
Originally recorded on 1 sound cassettes. Reformatted in 2007 as 2 digital wav files. Duration is 1 hr., 32 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Educators -- Massachusetts -- Boston  Search this
Topic:
African American artists  Search this
Women artists  Search this
Women educators  Search this
African American educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lewis97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97be9c26d-e880-4140-99dd-8ed19662b156
EDAN-URL:
ead_collection:sova-aaa-lewis97
Online Media:

Oral history interview with John Wilson

Interviewee:
Wilson, John, 1922-2015  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Boston University. School of Fine and Applied Arts  Search this
Museum of Fine Arts, Boston. School  Search this
Aronson, David, 1923-2015  Search this
Bengtz, Ture, 1907-1973  Search this
Gaither, Edmund B.  Search this
Hurwitz, Sidney, 1932-  Search this
Kay, Reed  Search this
Kramer, Jack  Search this
Lewis, Elma  Search this
Léger, Fernand, 1881-1955  Search this
Rivera, Diego, 1886-1957  Search this
Siqueiros, David Alfaro  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
497 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1993 March 11-1994 August 16
Scope and Contents:
An interview of John Woodrow Wilson conducted 1993 March-1994 August, by Robert F. Brown, for the Archives of American Art.
Wilson discusses his childhood as a member of a family of middle class blacks from British Guiana (now Guyana); his father's grave disappointments in the face of racial discrimination; his parents' push for their children to succeed; early urge to read and draw; encouragement by School of the Museum of Fine Arts, Boston students who taught at the Roxbury Boys Club; his secondary education; and friends.
He talks about his education at the MFA School, Boston, and comments on such teachers as Ture Bengtz and Karl Zerbe and compares their exacting methods with those of Fernand Leger, his teacher in Paris.
His work of the 1940s prior to going to Paris; the importance of early awards and sales received while still a student at the MFA School; the excitement of sharing a studio with fellow students, Francesco Carbone and Leo Prince; and encouragement to stay in school during WW II with the promise of a European study fellowship after the war.
The great impact of his years in Paris (1948-49); the lack of racial prejudice; the liberating effect of Leger's teaching; his awe of the work of Masaccio and Piero della Francesca during a trip to Italy; and the deep impression made on him by seeing tribal art in the Musee de l'Homme, Paris.
Continued discussion of Leger; his teaching methods; and influences on his work.
His first teaching position at the MFA School; his involvement in civil rights in Boston; his gregariousness and the use of his studio as a meeting place for artists and political activists; his involvement with socialism in Boston and New York; and working in a socialist children's camp. He remembers meeting Paul Robeson, Charles White, Elizabeth Catlett, and Bob Blackburn, who was then setting up his printmaking atelier in New York; marriage to a fellow socialist (June 1950); move to Mexico on a fellowship to study with Jose Orozco on the advice of Leger, only to find that Orozco had died; terrors of travel as an interracial couple through the U.S.; and different racial attitudes in Mexico and the U.S.
Living in Mexico (1950-56) and anecdotes of David Alfaro Siqueiros and Diego Rivera; his wife's meeting with Frieda Kahlo and seeing her collection of folk art; their free and cosmopolitan, if impoverished, life in Mexico; his work in a printmaking atelier and on the production of frescoes, and a lengthy aside about his brilliant brother, Freddie, who because he was black was not allowed to pursue his first love, geology, for many years.
Continued discussion of his experiences in Mexico; the dreary year (1957) he spent doing commercial art for a meatpackers' union in Chicago, a city he disliked; his move to New York in 1958, taking on commercial work to support his family, and teaching anatomy at the Pratt Institute.
Teaching art at a junior high school in the Bronx, and his gaining respect of students through special projects; teaching drawing at Boston University (1965-86), his approach to teaching including his demanding standards, the seriousness of the students, his opposing rigid attendance and grading rules, and colleagues, such as David Aronson who had created the School, Reed Kay, Jack Kramer, Sidney Hurwitz, and the University president, John Silber.
Working with the black arts entrepreneur, Elma Lewis, in setting up a visual arts program for the Boston black community (late 1960s-1970s), including the selection of a curator, Edmund Barry Gaither, a young art historian, who eventually established a museum of African-American art; his participation in various black art exhibitions, despite his belief that art should be seen regardless of the ethnic origins of artists; his move toward sculpture, beginning in the early 1960s, as a medium most expressive of black persons, culminating in the 1980s in a series of colossal heads and a statue of Martin Luther King, Jr. for the U.S. Capitol (1985-86); and why he makes art and will so long as he is able.
Biographical / Historical:
John Wilson (1922- ) is an African American painter, sculptor, illustrator, printmaker, and educator from Boston, Massachusetts. Full name John Woodrow Wilson.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 16 hr., 2 min.
Uneven transcription reflects Wilson's unusual speech pattern.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the transcription and microfilming of the interview provided by the Newland Foundation.
Occupation:
Painters -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Printmakers -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Topic:
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American printmakers  Search this
African American sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilson93
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f3601751-82e4-488d-b246-deda68bea613
EDAN-URL:
ead_collection:sova-aaa-wilson93
Online Media:

Wayne Andersen papers, 1952-1994

Creator:
Andersen, Wayne V., 1928-  Search this
Subject:
Schaefer-Simmern, Henry  Search this
Smith, David  Search this
Ferber, Herbert  Search this
Golub, Leon  Search this
Lipton, Seymour  Search this
Moore, Henry, 1898-1986  Search this
Citation:
Wayne Andersen papers, 1952-1994. Archives of American Art, Smithsonian Institution.
Topic:
Sculpture, Modern -- 20th century  Search this
Sculpture, American -- History -- Sources  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)5646
(DSI-AAA_SIRISBib)208480
AAA_collcode_andewayn
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208480

Sylvester Rosa Koehler papers, 1833-1904, bulk 1870-1890

Creator:
Koehler, S. R. (Sylvester Rosa), 1837-1900  Search this
Subject:
Falconer, John Mackie  Search this
Anderson, Alexander  Search this
Juengling, Frederick  Search this
Harfin, Jean F.  Search this
Smillie, James David  Search this
Citation:
Sylvester Rosa Koehler papers, 1833-1904, bulk 1870-1890. Archives of American Art, Smithsonian Institution.
Topic:
American Art Review  Search this
Prints -- 19th century  Search this
Art literature  Search this
Museum curators -- Massachusetts -- Boston  Search this
Artists -- United States  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)7082
(DSI-AAA_SIRISBib)209215
AAA_collcode_koehsylv
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209215
Online Media:

Art and life in Boston, 1837-1850 : a study of the painter and sculptor in American Society / by Frederic Alan Sharf, 1956

Creator:
Sharf, Frederic Alan  Search this
Place:
Boston (Mass.) -- Social conditions
Citation:
Art and life in Boston, 1837-1850 : a study of the painter and sculptor in American Society / by Frederic Alan Sharf, 1956. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 19th century -- History -- Massachusetts -- Boston  Search this
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8465
(DSI-AAA_SIRISBib)210641
AAA_collcode_sharfred
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210641

Daniel Varney Thompson papers, 1848-1979, bulk 1923-1979

Creator:
Thompson, Daniel V. (Daniel Varney), 1902-1980  Search this
Subject:
Berenson, Bernard  Search this
Greene, Belle da Costa  Search this
McKean, Mary Sargeant  Search this
Winslow, Henry  Search this
Thompson, Randall  Search this
Courtauld Institute of Art  Search this
Type:
Notebooks
Diaries
Sketchbooks
Drawings
Watercolors
Photographs
Poetry
Musical scores
Prints
Oil paintings
Manuscripts
Citation:
Daniel Varney Thompson papers, 1848-1979, bulk 1923-1979. Archives of American Art, Smithsonian Institution.
Topic:
Food  Search this
Gardening  Search this
Engineers -- United States  Search this
Authors -- Massachusetts  Search this
Kermes (Insect)  Search this
Theme:
Sketches & Sketchbooks  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)9246
(DSI-AAA_SIRISBib)211441
AAA_collcode_thomdani
Theme:
Sketches & Sketchbooks
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211441
Online Media:

W.G. Constable papers, 1905-1983, bulk 1920-1976

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Subject:
Phillips, Duncan  Search this
Stout, George L. (George Leslie)  Search this
Canaletto  Search this
Perry, Ralph  Search this
Sachs, Paul J. (Paul Joseph)  Search this
Hencken, Hugh O'Neill  Search this
Vasalle, Rudolph  Search this
Brandt, Mortimer  Search this
Links, J. G.  Search this
Ivins, William Mills  Search this
Frick, Helen Clay  Search this
Gluck, Helen  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone). Office of Military Government  Search this
Art Gallery of Toronto  Search this
United States. Internal Revenue Service  Search this
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Place:
Germany (Territory under Allied occupation, 1945-1955)
Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Topic:
Art, European  Search this
Art -- Study and teaching  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art -- Collectors and collecting  Search this
Cultural property -- conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)9387
(DSI-AAA_SIRISBib)211584
AAA_collcode_conswmgp
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211584
Online Media:

W. G. Constable photograph and clipping, [undated]

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Subject:
Lenin, Vladimir Ilʹich  Search this
Citation:
W. G. Constable photograph and clipping, [undated]. Archives of American Art, Smithsonian Institution.
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)9388
(DSI-AAA_SIRISBib)211585
AAA_collcode_conswgpc
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211585

Elisabeth Commanday papers, 1949-1975

Creator:
Commanday, Elisabeth, 1890-1994  Search this
Subject:
Anrep, Alda  Search this
Berenson, Bernard  Search this
Mariano, Nicky  Search this
Berenson, Elizabeth  Search this
Citation:
Elisabeth Commanday papers, 1949-1975. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Theme:
Women  Search this
Patronage  Search this
Record number:
(DSI-AAA_CollID)6377
(DSI-AAA_SIRISBib)215333
AAA_collcode_commelis
Theme:
Women
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215333

Conflict of visions [videorecording] / producer, Tug Yourgrau; editor, Joel Olicker, c1987

Creator:
WGBH Educational Foundation  Search this
Subject:
Aldrich, Nelson W.  Search this
Allara, Pamela  Search this
Bloom, Hyman  Search this
Chaet, Bernard  Search this
Coburn, Ralph  Search this
Goodrich, Lloyd  Search this
Plaut, James S. (James Sachs)  Search this
Swan, Barbara  Search this
Yourgrau, Tug  Search this
Olicker, Joel  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Institute of Modern Art (Boston, Mass.)  Search this
Type:
Video recordings
Interviews
Citation:
Conflict of visions [videorecording] / producer, Tug Yourgrau; editor, Joel Olicker, c1987. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- Massachusetts -- Boston  Search this
Expressionism (Art)  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)21890
(DSI-AAA_SIRISBib)216531
AAA_collcode_wgbhedut
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216531

Susan Schwalb papers, 1961-2014

Creator:
Schwalb, Susan, 1944-  Search this
Subject:
Coyne, Petah  Search this
Turner, Kay  Search this
Type:
Sketchbooks
Citation:
Susan Schwalb papers, 1961-2014. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Silverpoint drawing  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22102
AAA_collcode_schwsusa
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22102

Joseph D. Ketner II papers, 1953-2017

Creator:
Ketner, II, Joseph D., 1955-2018  Search this
Subject:
Duncanson, Robert S.  Search this
Piene, Otto  Search this
Wimar, Carl  Search this
Warhol, Andy  Search this
Group Zero  Search this
Citation:
Joseph D. Ketner II papers, 1953-2017. Archives of American Art, Smithsonian Institution.
Topic:
Art museum curators--Massachusetts  Search this
African American artists  Search this
Landscape painting -- 19th century  Search this
Theme:
African American  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)22118
AAA_collcode_ketnejos
Theme:
African American
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22118

Judith Wechsler papers, circa 1940-2003, bulk 1971-1994

Creator:
Wechsler, Judith, 1940-  Search this
Subject:
Adams, Ansel  Search this
Albers, Josef  Search this
Cage, John  Search this
Callahan, Harry M.  Search this
Cohen, John  Search this
Falkenberg, Paul  Search this
Hockney, David  Search this
Hopps, Walter  Search this
Johns, Jasper  Search this
Menil, Dominique de  Search this
Meyerowitz, Joel  Search this
Namuth, Hans  Search this
Pearlstein, Philip  Search this
Siskind, Aaron  Search this
Stella, Frank  Search this
Stieglitz, Alfred  Search this
Steichen, Edward  Search this
De Kooning, Willem  Search this
Jaffe, Shirley  Search this
Biala, Janice  Search this
Zuka  Search this
Leacock, Richard  Search this
Kepes, Gyorgy  Search this
Moskowitz, Robert  Search this
Museum at Large Ltd.  Search this
Universal Limited Art Editions (Firm)  Search this
Type:
Interviews
Motion pictures (visual works)
Sound recordings
Citation:
Judith Wechsler papers, circa 1940-2003, bulk 1971-1994. Archives of American Art, Smithsonian Institution.
Topic:
Art patronage  Search this
Art museums  Search this
Filmmakers--Massachusetts--Boston  Search this
Women art historians  Search this
Women filmmakers  Search this
Women educators  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)15836
(DSI-AAA_SIRISBib)292401
AAA_collcode_wechjudi
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_292401

Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011

Creator:
De Ferrari, Gabriella, 1941-  Search this
New School University  Search this
Subject:
Katz, Ada  Search this
Katz, Alex  Search this
Gund, Agnes  Search this
Gray, Francine du Plessix  Search this
Cuno, James B.  Search this
Castelli, Leo  Search this
Brenson, Michael  Search this
Sischy, Ingrid  Search this
Segal, Martin  Search this
Seator, Glen  Search this
LeWitt, Carol  Search this
LeWitt, Sol  Search this
Pan-American Society of New England  Search this
Wadsworth Atheneum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Busch-Reisinger Museum  Search this
Type:
Photographs
Scrapbooks
Diaries
Illustrated letters
Video recordings
Sound recordings
Interviews
Citation:
Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011. Archives of American Art, Smithsonian Institution.
Topic:
Women art historians  Search this
Women museum curators  Search this
Women authors  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)16023
(DSI-AAA_SIRISBib)306634
AAA_collcode_defemari
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_306634
Online Media:

Paul Tucker papers, 1965-2010

Creator:
Tucker, Paul Hayes, 1950-  Search this
Citation:
Paul Tucker papers, 1965-2010. Archives of American Art, Smithsonian Institution.
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)16274
(DSI-AAA_SIRISBib)371352
AAA_collcode_tuckpaul
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_371352

Thomas Ridgeway Gould photographs, circa 1840-circa 1850

Creator:
Gould, Thomas Ridgeway, 1818-1881  Search this
Citation:
Thomas Ridgeway Gould photographs, circa 1840-circa 1850. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)17383
(DSI-AAA_SIRISBib)381944
AAA_collcode_goultho
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_381944

Jean Borgatti Collection

Photographer:
Borgatti, Jean  Search this
Extent:
3617 Slides (photographs) (color, 35 mm)
166 Contact sheets ((2 binders))
3555 Negatives (photographic) (black and white, 35 mm)
4 Notebooks ((1 box))
1 Cassette tape ((2 boxes))
25 Film reels (Super 8)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Contact sheets
Negatives (photographic)
Notebooks
Cassette tapes
Film reels
Place:
Nigeria
Date:
1971-2003
Summary:
Jean Borgatti's collection dates from 1971 to 2003 and was created in Nigeria and Ghana. Much of the collection documents masquerades, shrines, festivals, market scenes, and ceremonies, and includes images of Urhobo, Uzairue, Ishan (Esan), Etsako, and Otuo peoples.
Scope and Contents:
Jean Borgatti's collection dates from 1971 to 2003 and is comprised of 3,617 slides, 3,625 negatives, 4 negative books, contact prints, an audio cassette, 25 Super 8 film reels, and 23,425 digtial images. The materials primarily document the Urhobo, Uzairue, Ishan (Esan), Etsako, and Otuo peoples.

Much of the collection depicts masquerades, festivals, and ceremonies, including the Aimhi masquerade, Akpele masquerade, Egbemamu masquerade, Egede masquerade, Egu (Egungun) Akachi masquerade, Ekpenike masquerade, Ekuede masquerade, Erelue Masquerade, Gelede performance, Idu masquerade, Igbagu masquerade, Igo masquerade, Igugu Festival, Ihuen Festival, Iyabana night masquerade, Obanagbedor masquerade, Obonodike masquerade, Ogabadi masquerade, Ogumogu performances, Okwema masquerade, Olimi Festival, Omese masquerade, Opha procession, Otsa masquerade, Otuo masquerade, Ugwonor masquerade, Ukpokolo masquerade, and Wanyoke masquerade. There are also images of title-taking ceremonies and paraphernalia, and shrines, including the Aziza, Ikumuku, Ituke, Okailopokai, Oshun, Ugbe Ebo forest shrines.

Images were taken primarily in Nigeria, including in Lagos, Ibadan, Benin City, Auchi, Owan, Ibadan, Idah, Oshogbo, Otukpo, Gombe state, Bauchi State, Benue Plateau State, Ugboha, Akoko-Edo, Ouidah, Bida, and Kano. Borgatti also photographed the Kumase area and Capecoast in Ghana.
Arrangement:
Arranged into 4 series by format. Series 1, 2 and 4 are arranged chronologically and Series 3 is arranged alphabetically.

Series 1: Field Slides, 1971-2003

Series 2: Negatives, 1971-circa 1979

Series 3: Audio and Film Reels, circa 1970s-1982

Series 4: Digital Files, circa 1971-2015
Biographical / Historical:
Art historian and photographer Jean Borgatti's research focuses on cross cultural concepts of art and aesthetics, masquerades and festivals, portraiture, the Black Atlantic, and the continuities and discontinuities in African, African Diaspora, Oceanic and Native American art. An active photographer since at least 1971, she has worked primarily in Benin City, Nigeria and areas in northern Edo State, photographing the Okpella people and other Edo North groups.

Borgatti received her B.A. in Art History from Wellesley College (1966) and both her M.A. and Ph.D. degrees in Art History from UCLA. Since then, she has received fellowships, grants, and awards for research including a Mellon Fellowship in the Humanities (1979-1980), a Sainsbury Institute Fellowship at the University of East Anglia (2005), and two Fulbright fellowships (2002-2004, 2014-2016) for lecturing and conducting research in Nigeria. She was also presented with a Lifetime Achievement Award from the Arts Council of the African Studies Association (2014) for her contributions to the field. She taught African and Native American Art History at Clark University for twenty years and has continued her affiliation with Clark as a visiting scholar and research fellow. Additionally, Borgatti has been a visiting scholar of art history and African studies at Boston University (2010-2016).

Borgatti has curated a number of exhibitions, including From the Hands of Lawrence Ajanaku (Museum of Cultural History Gallery UCLA and the African American Institute New York, 1979); Likeness and Beyond: Portraits in Africa and the World (with Richard Brilliant and Alan Wardwell), Center for African Art, New York, and the Kimbell Museum, Fort Worth, 1990); Global Africa: Creativity, Continuity and Change in African Art, 2014-2017, and several museum shows in which African works were placed "in conversation" or "face to face" with works from Asia, Europe, and America throughout the Fitchburg Art Museum (2011-2012). Borgatti has published more than twenty articles on African art with such varied topics as masquerades in Edo North (Nigeria), portraiture in world art, the art market, and individual African artists.

Dr. Borgatti is a consulting curator on African and Oceanic Art at the Fitchburg Art Museum (Massachusetts, 2010-present) and a Professor of Art History, Department of Fine and Applied Arts, University of Benin (Nigeria, 2013-2017).
Provenance:
Donated by Jean Borgatti in 2016.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Collection contains images of art and museum objects and exhibitions with copyright restrictions.
Topic:
Ekperi (African people)  Search this
Urhobo (African people)  Search this
Ghana  Search this
Masquerades  Search this
Citation:
Jean Borgatti Collection, EEPA 2016-007, Eliot Elisofon Photographic Archives, National Museum of African, Smithsonian Institution.
Identifier:
EEPA.2016-007
See more items in:
Jean Borgatti Collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7cd1b395d-e452-4ecd-b5e2-b5c021e807c4
EDAN-URL:
ead_collection:sova-eepa-2016-007
Online Media:

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