Search Results

Creator:

Catlin, George, 1796-1872  Search this

Subject:

Sully, Thomas  Search this

Clay, Henry  Search this

Seward, William Henry  Search this

Type:

Photogravures

Citation:

George Catlin papers, undated. Archives of American Art, Smithsonian Institution.

Topic:

Miniature painters  Search this

Indians of North America -- Portraits  Search this

Ethnological illustrators  Search this

Art and race  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5435

(DSI-AAA_SIRISBib)209512

AAA_collcode_catlgeor

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209512

Creator:

Arnheim, Rudolf, 1904-2007  Search this

Subject:

Albers, Josef  Search this

Kepes, Gyorgy  Search this

Sheldon, Alice Bradley  Search this

Harvard University  Search this

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

New School for Social Research (New York, N.Y.)  Search this

Sarah Lawrence College  Search this

University of Michigan  Search this

Type:

Sound recordings

Interviews

Diaries

Citation:

Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching -- United States  Search this

Art--Study and teaching--Germany  Search this

Authors -- Massachusetts  Search this

Educators -- Massachusetts  Search this

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

Theme:

Diaries  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)8318

(DSI-AAA_SIRISBib)210490

AAA_collcode_arnhrudo

Theme:

Diaries

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210490

Creator:

Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this

Subject:

White, Stanford  Search this

Saarinen, Eero  Search this

Type:

Photographs

Motion pictures (visual works)

Sound recordings

Interviews

Citation:

Aline and Eero Saarinen papers, 1906-1977. Archives of American Art, Smithsonian Institution.

Topic:

Architecture -- United States  Search this

Architects -- Michigan -- Bloomfield Hills  Search this

Art -- Collectors and collecting -- United States  Search this

Women architectural critics  Search this

Women art critics  Search this

Women art historians  Search this

Theme:

Architecture & Design  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)5589

(DSI-AAA_SIRISBib)211237

AAA_collcode_saaralin

Theme:

Architecture & Design

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211237

Creator:

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Subject:

Sellers, Charles Coleman  Search this

Ryder, Albert Pinkham  Search this

Burchfield, Charles Ephraim  Search this

Rattner, Abraham  Search this

Richardson, Edgar Preston  Search this

Richardson, Constance  Search this

Pollack, Peter  Search this

Watkins, Franklin Chenault  Search this

Bailey, Grace  Search this

Arms, John Taylor  Search this

Allston, Washington  Search this

Evergood, Philip  Search this

Eakins, Thomas  Search this

Culver, Charles B. (Charles Beach)  Search this

Bohrod, Aaron  Search this

Bailey, Truman E.  Search this

Krentzin, Earl  Search this

Gentle, Esther  Search this

Fleischman, Barbara  Search this

Marin, John  Search this

University of Michigan. Museum of Art  Search this

United States Information Agency  Search this

Whitney Museum of American Art  Search this

Archives of American Art  Search this

Kraushaar Galleries  Search this

American Federation of Arts  Search this

National Gallery of Art (U.S.)  Search this

Detroit Institute of Arts  Search this

Corcoran Gallery of Art  Search this

M. Knoedler & Co.  Search this

Kennedy Galleries  Search this

Henry Francis du Pont Winterthur Museum  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

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

Midtown Galleries (New York, N.Y.)  Search this

Milwaukee Art Center  Search this

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

Type:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Art patrons Michigan Detroit  Search this

Artists' studios -- Photographs  Search this

Philanthropists  Search this

Art -- Collectors and collecting -- United States  Search this

Theme:

Patronage  Search this

Record number:

(DSI-AAA_CollID)10245

(DSI-AAA_SIRISBib)213339

AAA_collcode_fleilawr

Theme:

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213339

Interviewee:

Beckman, Ericka, 1951-  Search this

Interviewer:

Isgro, Marina  Search this

Type:

Interviews

Video recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Ericka Beckman, 2022 June 28-July 8. Archives of American Art, Smithsonian Institution.

Topic:

Women filmmakers  Search this

Pictures Generation (Group of artists)  Search this

Women artists  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)22197

AAA_collcode_beckma22

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_22197

Interviewee:

Beckman, Ericka, 1951-  Search this

Interviewer:

Isgro, Marina  Search this

Extent:

3 Items (video files (5 hrs., 49 min.), digital, mp4)

108 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Video recordings

Date:

2022 June 28-July 8

Scope and Contents:

An interview with Ericka Beckman conducted 2022 June 28-July 8, by Marina Isgro for the Archives of American Art, at Beckman's studio in New York, NY.­

Biographical / Historical:

Ericka Beckman (1951- ) is an artist known for her works in film and installations that hybridize and liquefy genre conventions. She was affiliated with the Pictures Generation and has worked across the Northeastern United States.

Marina Isgro (1986- ) is an art historian and curator; she is currently the Associate Curator of Media and Performance Art at the Hirshhorn Museum and Sculpture Garden.

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 interview is open for research. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Installation artists -- New York (State) -- New York  Search this

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

Topic:

Women filmmakers  Search this

Pictures Generation (Group of artists)  Search this

Women artists  Search this

Genre/Form:

Interviews

Video recordings

Sponsor:

Funding for this interview was provided by the Alice L. Walton Foundation.

Identifier:

AAA.beckma22

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c5c26b32-4707-4817-a405-94137d26aad2

EDAN-URL:

ead_collection:sova-aaa-beckma22

Creator:

Bridaham, Lester Burbank, 1899-1992  Search this

Subject:

Albright, Ivan  Search this

Barton, Macena  Search this

Biesel, Charles  Search this

De Diego, Julio  Search this

Eboli, Jules  Search this

Florsheim, Richard A.  Search this

Krans, Olof  Search this

Lee, Gypsy Rose  Search this

Nicolaïdes, Kimon  Search this

Bishop, Isabel  Search this

Rickey, George  Search this

Schnakenberg, H. E. (Henry Ernest)  Search this

Spears, Ethel  Search this

Art Institute of Chicago  Search this

Colonial Craft Survey for Massachusetts  Search this

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

Society for Contemporary American Art  Search this

Type:

Drawings

Scrapbooks

Sketchbooks

Citation:

Lester Burbank Bridaham papers, 1912-1986. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- United States  Search this

Mural painting and decoration  Search this

Latino and Latin American artists  Search this

Theme:

Sketches & Sketchbooks  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6825

(DSI-AAA_SIRISBib)208952

AAA_collcode_bridlest

Theme:

Sketches & Sketchbooks

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208952

Creator:

Blanc, Giulio V.  Search this

Names:

Cuban Museum of Arts and Culture (Miami, Fla.)  Search this

Brito, María (1947-)  Search this

Cano, Margarita, 1932-  Search this

Cano, Pablo  Search this

Carreño, Mario  Search this

Carulla, Ramón, 1938-  Search this

Demi, 1955-  Search this

Garcia, Hernan, 1935-  Search this

Gattorno, Antonio  Search this

Gaztelu, A. (Angel)  Search this

Goldman, Shifra M., 1926-2011  Search this

Gómez-Peña, Guillermo  Search this

Lam, Wifredo  Search this

Larraz, Julio  Search this

Libin, Victoria  Search this

Macia, Carlos A., 1951-1994  Search this

Martínez-Cañas, María  Search this

Riverón, Enrique  Search this

Rodríguez, Arturo, 1956-  Search this

Sánchez, Juan, 1954-  Search this

Sí, Juan  Search this

Trasobares, César  Search this

Vater, Regina  Search this

Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this

Interviewee:

Cabrera, Lydia  Search this

Gómez Sicre, José  Search this

Extent:

11 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Date:

1920-1995

Summary:

The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.

Scope and Content Note:

The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.

Arrangement:

The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)

Biographical Note:

Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.

Related Materials:

Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.

Provenance:

Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.

Restrictions:

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

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 historians -- Florida -- Miami  Search this

Topic:

Cuban American art  Search this

Art, Latin American  Search this

Artists -- Cuba  Search this

Cuban American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Sound recordings

Citation:

Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.

Identifier:

AAA.blangiul

See more items in:

Giulio V. Blanc papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d3c414b1-dc78-4f66-889d-963690fe0282

EDAN-URL:

ead_collection:sova-aaa-blangiul

Artist:

Alphonse Mucha, 24 Jul 1860 - 14 Jul 1939  Search this

Sitter:

Jirí Mucha, 1915 - 1991  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 182.9 × 165.1 cm (72 × 65")

Type:

Painting

Date:

c. 1922

Topic:

Printed Material\Book  Search this

Printed Material\Papers  Search this

Home Furnishings\Furniture\Seating\Stool  Search this

Art implements\Paintbrush  Search this

Jirí Mucha: Visual Arts  Search this

Jirí Mucha: Male  Search this

Jirí Mucha: Literature\Writer  Search this

Jirí Mucha: Education and Scholarship\Educator\Lecturer  Search this

Jirí Mucha: Society and Social Change\Philanthropist\Patron of the arts  Search this

Jirí Mucha: Performing Arts\Performing arts director  Search this

Jirí Mucha: Education and Scholarship\Scholar\Translator  Search this

Jirí Mucha: Literature\Writer\Screenwriter  Search this

Jirí Mucha: Visual Arts\Art historian  Search this

Jirí Mucha: Visual Arts\Artist's model  Search this

Jirí Mucha: Journalism and Media\Journalist\Correspondent  Search this

Jirí Mucha: Military and Intelligence\Air Force\Officer\World War II  Search this

Portrait  Search this

Credit Line:

Owner: Mucha Foundation/Trust

Object number:

CZ030012

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm41219531e-c376-465a-b9d9-b2bf86866c82

EDAN-URL:

edanmdm:npg_CZ030012

Creator:

Cuchiara, James A., 1925-2010  Search this

Subject:

James, Martin S.  Search this

Ippolito, Angelo  Search this

Singer, Arnold  Search this

Newell, Roy  Search this

Type:

Interviews

Video recordings

Citation:

Three Artists and Martin James video recording, 1990-2006. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)17503

(DSI-AAA_SIRISBib)390280

AAA_collcode_cuchjame

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_390280

Creator:

Meiss, Millard, 1904-1975  Search this

Subject:

Nordenfalk, Carl Adam Johan  Search this

Gombrich, E. H. (Ernst Hans)  Search this

Lavin, Irving  Search this

Panofsky, Erwin  Search this

Panofsky, Dora Mosse  Search this

Institute for Advanced Study (Princeton, N.J.)  Search this

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

Princeton University  Search this

American Committee for the Restoration of Italian Monuments  Search this

Committee to Rescue Italian Art  Search this

College Art Association (U.S.)  Search this

Citation:

Millard Meiss Papers, circa 1918-circa 1977, bulk 1950-1975. Archives of American Art, Smithsonian Institution.

Topic:

Painting -- Italy  Search this

Painting -- France  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)8178

(DSI-AAA_SIRISBib)210349

AAA_collcode_meismill

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210349

Interviewee:

Reinhardt, Adolph Friedrich, 1913-1967  Search this

Interviewer:

Phillips, Harlan B., 1920-1979,  Search this

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Ad Reinhardt, circa 1964. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA_CollID)12891

(DSI-AAA_SIRISBib)213746

AAA_collcode_reinha64

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213746

Artist:

Deborah Kass, born 1952  Search this

Sitter:

Linda Nochlin, 30 Jan 1931 - 29 Oct 2017  Search this

Medium:

Silkscreen and acrylic on canvas

Dimensions:

Two panels each measuring: 304.8 × 190.5 cm (120 × 75")

Overall: 304.8 × 381 cm (120 × 150")

Object dimensions: 120 1/8 x 75 x 1 in (1 1/8 w/ the folds (d))

Type:

Painting

Place:

United States\New York\Cattaraugus\Brooklyn

Date:

1997

Topic:

Costume\Dress Accessory\Scarf  Search this

Costume\Jewelry\Watch\Wrist watch  Search this

Linda Nochlin: Female  Search this

Linda Nochlin: Society and Social Change\Reformer\Feminist  Search this

Linda Nochlin: Visual Arts\Art historian  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2019.112

Restrictions & Rights:

Usage conditions apply

Copyright:

© 1997 Deborah Kass

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4b1d835f0-cc6b-48a9-ac17-06fdce683272

EDAN-URL:

edanmdm:npg_NPG.2019.112

Artist:

Helen Laughon, 25 Dec 1919 - 21 Jan 2018  Search this

Nel Laughon, 10 May 1946 - 28 Mar 2011  Search this

Sitter:

Andrew Oliver, 1906 - 1981  Search this

Medium:

Black paper and pencil on paper

Dimensions:

Image: 17.5 × 16 cm (6 7/8 × 6 5/16")

Sheet: 25.9 × 20.3 cm (10 3/16 × 8")

Type:

Silhouette

Place:

United States\Virginia\Richmond\Richmond

Date:

1980

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Printed Material\Newspaper  Search this

Andrew Oliver: Male  Search this

Andrew Oliver: Visual Arts\Art historian  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of the artists

Object number:

S/NPG.82.11

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm48ccc7cd9-cadc-4a62-b0e4-c17ad407cce8

EDAN-URL:

edanmdm:npg_S_NPG.82.11

Creator:

Archipenko, Alexander, 1887-1964  Search this

Names:

Archipenko Art School (Woodstock, N.Y.)  Search this

Archipenko, Angelica  Search this

Archipenko, Frances  Search this

Spies, Walter  Search this

Extent:

19.5 Linear feet

Type:

Collection descriptions

Archival materials

Transcripts

Sound recordings

Scrapbooks

Photographs

Date:

1904-1986

bulk 1930-1964

Summary:

The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.

Scope and Content Note:

The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.

Correspondence concerns both personal and professional matters. Among Archipenko's personal correspondents are relatives and friends in the Ukraine, his wife Angelica during her extended stays in Mexico and California, and other women. Professional correspondence is with dealers, curators, scholars, collectors, colleges and universities concerning exhibitions, sales and commissions, loans, and teaching and lecture engagements.

Archipenko wrote and lectured extensively about his philosophy of art, art in nature, and theories concerning creativity and the universe. His papers include manuscripts, drafts, notes and supporting materials for his book published in 1960, Archipenko: Fifty Creative Years, 1908-1958. Similar documentation of unpublished writings, as well as notes, outlines, and some transcripts of lectures and talks are also in the series.

Records concerning the Archipenko Art School are sparse, with only one photograph of students in Berlin, 1921. Surviving records include printed matter, a cashbook, student roster, and scrapbook containing photographs, printed matter, and a typescript copy of a statement by Archipenko, "How I Teach." Most of this material focuses on the New York and Woodstock schools, with only a few items concerning Chicago. In addition, files regarding Archipenko's teaching activities at schools other than his own include course descriptions, student rosters, grades, and printed matter.

Financial records consist of banking records, paid bills, and miscellaneous items. Paid bills include invoices and receipts for art supplies, shipping, and storage. Among the miscellaneous items are price lists, royalties paid by the Museum of Modern Art for Woman Combing Her Hair, and sales records.

Nine scrapbooks contain clippings, exhibition announcements and catalogs, lecture notices, advertisements and brochures of the Archipenko Art School, and a small number of photographs. Printed matter consists primarily of clippings about Archipenko and exhibition catalogs with related announcements and invitations. Miscellaneous items include books about Archipenko, catalogs of museum collections containing works by Archipenko, and reproductions. Of special interest is a brochure about the Multiplex Advertising Machine that bears a similarity to the Archipentura, an "apparatus for displaying Changeable Pictures" Archipenko invented circa 1924 and patented in 1927.

Photographs are of people, Archipenko's travels and miscellaneous places, exhibitions, works of art, events, and miscellaneous subjects. Five photograph albums mainly document travels. Slides and transparencies include black and white lantern slides probably used to illustrate lectures.

Arrangement:

The collection is arranged as 10 series. Lantern slides and glass plates are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Missing Title

Series 1: Biographical Material, 1908-1964 (0.5 linear feet; Box 1, OV 28)

Series 2: Correspondence, 1922-1970 (4.1 linear feet; Boxes 1-5)

Series 3: Subject Files, 1940-1958 (6 folders; Box 5)

Series 4: Writings, 1923-1971 (3.2 linear feet; Boxes 5-8, Film can FC 30)

Series 5: Teaching, 1921-1952 (0.8 linear feet; Box 9, Film cans FC 31-33)

Series 6: Financial Records, 1923-1971 (1.5 linear feet; Box 9-10)

Series 7: Scrapbooks, 1910-1961 (1.2 linear feet; Boxes 22-25)

Series 8: Printed Material, 1913-1987 (3.7 linear feet; Boxes 11-14, 26, OV 29)

Series 9: Miscellaneous, 1916-1966 (0.5 linear feet; Box 14, 16, Film can FC 34)

Series 10: Photographic Material, 1904-1964 (3.6 linear feet; Boxes 14-15, 17-21, 26-27)

Biographical Note:

Alexander Archipenko (1887-1964) was the son of an engineer/inventor and grandson of an icon painter. Among the first modern sculptors of the 20th century to be associated with the Cubist movement, Archipenko was known for his innovative use of concave space. His major contribution was the realization of negative form through use of a hole to create a contrast of solid and void. His sculpto-paintings united form and color; begun in 1912, these polychromed constructions are among the earliest mixed-media works known, and sometimes incorporated objects. Eventually, his Cubist-inspired work evolved into the simplified, abstract shapes for which he is best known. Although known primarily as a sculptor, Archipenko produced paintings, drawings, and prints as well.

At age 15, Archipenko began studying art at the University of Kiev in his native city; he was expelled three years later for criticizing the teachers. He then went to Moscow where he worked on his own and exhibited in several group shows; his first solo exhibition was held in the Ukraine in 1906.

Archipenko made Paris his home from 1908 until the outbreak of World War I. Soon after his arrival, he enrolled in the Ecole des Beaux-Arts; this association lasted but two weeks, and marked the end of Archipenko's formal training. He continued to study art by spending large amounts of time visiting art museums and painting on his own. During this period, he began exhibiting in the Salon des Independents with the Cubists, and as a member of the "Section d'Or" participated in that group's exhibitions. His first one-man exhibition in Germany was held at the Folkwant Museum (1912) and his work was featured in the Armory Show (1913).

In 1912, at the age of 25, Archipenko established his first art school in Paris. He spent the war years working quietly outside of Nice, and soon afterwards circulated an extensive exhibition of his works throughout Europe. In 1921, Archipenko settled in Berlin, opened an art school there, and married sculptor Angelica Bruno-Schmitz, who was known professionally as Gela Forster.

Archipenko's reputation was solidly established and the majority of his ground-breaking work - adaptation of Cubist ideas to sculpture, sculpto-paintings and incorporation of negative space in sculpture - was accomplished prior to his 1923 arrival in the United States. One of his most innovative works executed in America was the Archipentura, invented circa 1924 and patented in 1927, a machine with rolling cylinders that displayed "animated paintings" using motion and light. Other creations of note are carved Lucite sculptures, illuminated from within, that were executed in the mid-1940s.

Upon settling in the United States in 1923, Archipenko opened his art school in New York City; a summer school was established in Woodstock, New York the following year. Within a few years, Archipenko purchased land near Woodstock and began construction of a home, personal studio, and buildings for the school. At various times during the 1930s, Archipenko resided in Chicago and Los Angeles, and operated schools while living in those cities. For many years during the 1940s, Angelica served on the sculpture faculty at the Escuela de Belles Artes in San Miguel Allende, Mexico.

In addition to running his own schools, Archipenko taught at a number of colleges and universities, where he ran workshops, and served as a visiting professor. He wrote and lectured extensively about his philosophy of art and theories of creativity, publishing several articles and a book, Archipenko: Fifty Creative Years, 1908-1958 (1960).

Angelica Archipenko died in 1957. Three years later Archipenko married sculptor Frances Gray, a former student. During the early 1960s, the couple traveled extensively on a lecture tour that accompanied a solo exhibition to several German cities. Archipenko died in New York City, February 25, 1964.

The following chronology is excerpted from Alexander Archipenko: A Centennial Tribute by Katherine Janszky Michaelsen and Nehama Guralnik (National Gallery of Art, Washington, DC, 1986) and Archipenko: The Sculpture and Graphic art, Including a Print Catalogue Raisonne by Donald Karshan, Ernst Wasmuth Verlag (Tubingen, Germany, 1974).

Missing Title

1887 -- Born to Porfiry Antonovich and Poroskovia Wassilievna Machova Archipenko in Kiev, Ukraine, Russia. Father a mechanical engineer, professor of engineering, and inventor; grandfather an icon painter.

1900 -- Studied and copied Michelangelo drawings from a book given him by his grandfather during a long confinement following a leg injury.

1902-1905 -- Painting and sculpture student in Kiev art school; expelled for criticizing his teachers.

1906 -- First one-man show in the Ukraine. Worked in Moscow and exhibited in several group shows.

1908 -- Moved to Paris and enrolled in the Ecole des Beaux-Arts. Quit formal art instruction after two weeks, continued to study art on his own by visiting museums.

1910 -- Exhibited in the Salon des Independants with the cubists (also in 1911-1914 and 1919).

1912 -- Opened art school in Paris. "Section d'Or" formed in Paris with Archipenko among its members. The group exhibited until 1914, and briefly after World War I. First solo exhibition in Germany, Folkwant Museum, Hagen.

1913 -- Represented in the Armory Show. Executed first prints (lithographs).

1914 -- Began making sculpto-paintings.

1914-1918 -- Spent the war years working near Nice.

1919-1920 -- Began extensive tour exhibiting his works in various European cities (Geneva, Zurich, Paris, London, Brussels, Athens, Berlin, Munich, etc.).

1920 -- One-man exhibition in the Venice Biennale.

1921 -- First solo exhibition in the United States at the Societe Anonyme, Inc., New York; a symposium, Psychology of Modern Art and Archipenko, was held during the course of the show. Moved to Berlin and opened art school. Married sculptor Angelica Bruno-Schmitz [known professionally as Gela Forster]. First print commission.

1923 -- Moved to the United States and opened art school in New York City.

1924 -- Established a summer school at Woodstock, New York.

1927 -- "Archipentura" patented ("Apparatus for displaying Changeable Pictures and methods for Decorating Changeable Display Apparatus," nos. 1,626, 946 and 1,626,497).

1928 -- Became an American citizen.

1929 -- Bought land near Woodstock, New York, and began construction of school and studio buildings.

1932 -- Lectured on his theories of creativeness at colleges and universities throughout the United States.

1933 -- Taught summer session at Mills College, Oakland, California, and Chouinard School, Los Angeles.

1935 -- Moved to Los Angeles and opened art school.

1935-1936 -- Taught summer sessions at the University of Washington, Seattle.

1936 -- Moved to Chicago and opened art school. Associate instructor at New Bauhaus School, Chicago.

1938 -- Returned to New York; reopened art school and Woodstock summer school.

1944 -- Taught at the Dalton School, New York City.

1946-1947 -- Returned to Chicago; taught at the Institute of Design.

1947 -- Began making carved plastic sculptures with internal illumination.

1950 -- Taught at University of Kansas City, Missouri.

1950-1951 -- Lecture tour of the southern cities of the United States.

1951 -- Taught at Carmel Institute of Art, California, University of Oregon, and University of Washington, Seattle.

1952 -- Taught at University of Delaware, Newark.

1953 -- Elected Associate Member of International Institute of Arts and Letters.

1955-1956 -- One-man exhibition tours in Germany (Dusseldorf, Darmstadt, Mannheim, and Recklinghausen).

1956 -- Taught at University of British Columbia, Vancouver, Canada.

1957 -- Death of Angelica.

1959 -- Awarded gold medal, XIII Biennale de'Arte Triveneta, III Concorso Internationale del Bronzetto, Padua, Italy.

1960 -- Archipenko: Fifty Creative Years, 1908-1958 by Alexander Archipenko and Fifty Art Historians published by Tekhne (a company established by Archipenko for the purpose). Married Frances Gray, a sculptor and former student. Recovered plasters of early work stored by French friends since the end of World War I. Traveling exhibition in Germany (Hagen, Münster, and Dusseldorf).

1962 -- Elected to the Department of Art, National Institute of Arts and Letters.

1964 -- Dies in New York City.

Related Material:

Among the holdings of the Archives are the Donald H. Karshan papers relating to Alexander Archipenko, originally accessioned as part of the Alexander Archipenko papers, but later separated to form a distinct collection.

The Archives also has the National Collection of Fine Arts records relating to Alexander Archipenko.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels NA11-NA12, NA16-NA18, and NA 20-NA22) including biographical material, correspondence, exhibition records, writings, printed material and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

In 1967, the Alexander Archipenko papers, previously on deposit at Syracuse University, were loaned to the Archives of American Art for microfilming by his widow Frances Archipenko Gray. In 1982, Ms. Gray donated most of the material previously loaned and microfilmed to the Archives of American Art, along with additional items.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Lantern slides and glass plate negatives are housed separately and not served to researchers.

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.

Topic:

Art -- Philosophy  Search this

Sculpture, Modern -- 20th century  Search this

Sculpture -- Technique  Search this

Sculptors  Search this

Art -- Study and teaching  Search this

Cubism  Search this

Genre/Form:

Transcripts

Sound recordings

Scrapbooks

Photographs

Citation:

Alexander Archipenko papers, 1904-1986, bulk 1930-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.archalex

See more items in:

Alexander Archipenko papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ba8391f-301d-4090-8b1f-15163f1e4b8b

EDAN-URL:

ead_collection:sova-aaa-archalex

Creator:

Flack, Audrey  Search this

Names:

Arizona State University  Search this

Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this

Cooper Union for the Advancement of Science and Art  Search this

Guild Hall of East Hampton  Search this

Louis K. Meisel Gallery  Search this

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

Janson, Anthony F.  Search this

Extent:

34.6 Linear feet

0.897 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Date:

1950-2022

Summary:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Scope and Contents:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)

Biographical / Historical:

Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.

Provenance:

The collection was donated by Audrey Flack in 2009 and 2022.

Restrictions:

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

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

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

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

Topic:

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Citation:

Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.flacaudr

See more items in:

Audrey Flack papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c12179ce-d722-47e1-b806-32a27e29d8f3

EDAN-URL:

ead_collection:sova-aaa-flacaudr

Creator:

Taylor, John W., 1897-1983  Search this

Ruellan, Andre?e, 1905-2006  Search this

Citation:

John W. Taylor and Andrée Ruellan papers, circa 1920-2006. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)15636

(DSI-AAA_SIRISBib)281988

AAA_collcode_tayljohn

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_281988

Creator:

Archives of American Art  Search this

Subject:

Raymond, Jo  Search this

Archives of American Art Airlift tours  Search this

Physical description:

5 cu. ft. (5 record storage boxes)

Type:

Brochures

Collection descriptions

Clippings

Manuscripts

Picture postcards

Scrapbooks

Color photographs

Motion pictures (visual works)

Date:

1970

1970-1999

Topic:

Art, American  Search this

Tours  Search this

Advisory boards  Search this

Arts fund raising  Search this

Ambassadors  Search this

Lectures and lecturing  Search this

Art museums  Search this

Art--Private collections  Search this

Art galleries, Commercial  Search this

Local number:

SIA Acc. 22-100

See more items in:

Board of Trustees Records 1954-1962, 1970-2000 [Archives of American Art]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_404744

Creator:

Halstead, Whitney, 1926-1979  Search this

Subject:

Nutt, Jim  Search this

Yoakum, Joseph  Search this

Hyde Park Art Center (Chicago, Ill.)  Search this

Art Institute of Chicago. School  Search this

Type:

Sketchbooks

Photographs

Sketches

Sound recordings

Journals (accounts)

Drawings

Place:

Chicago (Ill.)

Citation:

Whitney Halstead papers, 1920-1982. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)9542

(DSI-AAA_SIRISBib)211742

AAA_collcode_halswhit

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211742

Creator:

Berman, Avis  Search this

Subject:

Lebrun, Rico  Search this

Neumann, J. B. (Jsrael Ber)  Search this

Rich, Daniel Catton  Search this

Tobey, Mark  Search this

Duchamp, Marcel  Search this

Harmon, Lily  Search this

Kaufmann, Edgar  Search this

Kuh, Katharine  Search this

Arensberg, Walter  Search this

Dale, Chester  Search this

Type:

Interviews

Citation:

Avis Berman research material on Katharine Kuh, 1939-2006. Archives of American Art, Smithsonian Institution.

Topic:

Women art historians  Search this

Women authors  Search this

Art, Modern  Search this

Theme:

Women  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)13638

(DSI-AAA_SIRISBib)272295

AAA_collcode_bermavis3

Theme:

Women

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_272295