Search Results

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance Coleman, 1905-2002  Search this

Subject:

Rutledge, Anna Wells  Search this

Simper, Fred  Search this

McDermott, John Francis  Search this

Speck, Walter  Search this

Stevens, William B.  Search this

Fredericks, Marshall M.  Search this

Castano, Giovanni  Search this

Soria, Regina  Search this

Lynes, Russell  Search this

Frankenstein, Alfred V. (Alfred Victor)  Search this

Hardy, Jeremiah Pearson  Search this

Pleasants, J. Hall (Jacob Hall)  Search this

Garrison, Eve Josephson  Search this

Bishop, Isabel  Search this

Allston, Washington  Search this

Woolfenden, William E. (William Edward)  Search this

Ripley, S. Dillon (Sidney Dillon)  Search this

Morse, John D.  Search this

Watkins, Franklin Chenault  Search this

Lewis, W. S. (Wilmarth Sheldon)  Search this

Marsh, Reginald  Search this

Sheeler, Charles  Search this

Kuniyoshi, Yasuo  Search this

Bostick, William A.  Search this

Jungwirth, Irene G. (Irene Gayas)  Search this

Oliver, Andrew  Search this

Simpson, Corelli C. W.  Search this

Andrews, Wayne  Search this

Valentiner, Wilhelm Reinhold  Search this

Middeldorf, Ulrich Alexander  Search this

Spark, Victor D. (Victor David)  Search this

Fleischman, Lawrence A. (Lawrence Arthur)  Search this

Sellers, Charles Coleman  Search this

Heil, Walter  Search this

Lee-Smith, Hughie  Search this

Bouché, Louis  Search this

Moser, Liselotte  Search this

Flexner, James Thomas  Search this

Vose, Robert C. (Robert Churchill)  Search this

Cohn, Harold  Search this

Aram, Siegfried F.  Search this

Mast, Gerald  Search this

Krentzin, Earl  Search this

Groce, George C.  Search this

Peale, Charles Willson  Search this

Culver, Charles B. (Charles Beach)  Search this

Wedda, John  Search this

Boyd, Julian P. (Julian Parks)  Search this

O'Keeffe, Georgia  Search this

Wyeth, Andrew  Search this

Hopper, Edward  Search this

Rockefeller, Nelson A. (Nelson Aldrich)  Search this

Rockefeller, John D.  Search this

Copeland, Lammot du Pont  Search this

Freeman, Michael W.  Search this

Allen, Joseph  Search this

Peale family  Search this

Castano Galleries (Boston, Mass.)  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

Archives of American Art  Search this

Philadelphia Museum of Art  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

White House (Washington, D.C.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Type:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Citation:

E.P. (Edgar Preston) and Constance Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism  Search this

Art -- History -- Study and teaching  Search this

Theme:

Diaries  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)10104

(DSI-AAA_SIRISBib)212990

AAA_collcode_richedga

Theme:

Diaries

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212990

Creator:

Park, Marlene, 1931-  Search this

Subject:

Palmer, William  Search this

Magafan, Ethel  Search this

Markowitz, Gerald E.  Search this

Reisman, Philip  Search this

Rothschild, Lincoln  Search this

Burchfield, Charles Ephraim  Search this

Refregier, Anton  Search this

Van Veen, Stuyvesant  Search this

Solman, Joseph  Search this

Sternberg, Harry  Search this

Walton, Marion  Search this

Alston, Charles Henry  Search this

Bolotowsky, Ilya  Search this

Barnet, Will  Search this

Brooks, James  Search this

Cadmus, Paul  Search this

Cronbach, Robt. (Robert M.)  Search this

Citron, Minna Wright  Search this

Gottlieb, Adolph  Search this

Gellert, Hugo  Search this

Bouché, Louis  Search this

King, Roy E.  Search this

Katz, Leo  Search this

Lanning, Edward P.  Search this

Kotin, Albert  Search this

National Personnel Records Center (U.S.)  Search this

United States. Work Projects Administration  Search this

Type:

Sound recordings

Interviews

Transcripts

Photographs

Citation:

Marlene Park and Gerald E. Markowitz research materials on New Deal Art, 1931-1999. Archives of American Art, Smithsonian Institution.

Topic:

Federal aid to the arts  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6277

(DSI-AAA_SIRISBib)216622

AAA_collcode_parkmarl

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216622

Interviewee:

Davis, Leroy, 1922-  Search this

Interviewer:

Berman, Avis, 1949-  Search this

Subject:

Langdale, Cecily  Search this

Shikler, Aaron  Search this

Barnes, Albert C. (Albert Coombs)  Search this

Bly, Boris  Search this

De Mazia, Violette  Search this

Davis, Terry Ritter  Search this

Bouché, Louis  Search this

Levine, David  Search this

Penn, Arthur  Search this

Hirschl & Adler Galleries  Search this

Tyler School of Art  Search this

Barnes Foundation  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Leroy Davis and Cecily Langdale, 2007 June 26-August 7. Archives of American Art, Smithsonian Institution.

Topic:

Art dealers -- New York (State) -- New York -- Interviews  Search this

Gallery owners -- New York (State) -- New York -- Interviews  Search this

Art dealers -- New York (State) -- New York -- Interviews  Search this

Gallery owners -- New York (State) -- New York -- Interviews  Search this

Record number:

(DSI-AAA_CollID)13624

(DSI-AAA_SIRISBib)271983

AAA_collcode_davis07

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_271983

Creator:

Berman, Avis, 1949-  Search this

Subject:

Force, Juliana  Search this

Whitney, Gertrude Vanderbilt  Search this

Whitney Museum of American Art  Search this

Type:

Video recordings

Sound recordings

Interviews

Video recordings

Citation:

Avis Berman research material on Juliana Force, circa 1930-2020. Archives of American Art, Smithsonian Institution.

Topic:

Women art dealers  Search this

Women art historians  Search this

Theme:

Women  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)22032

AAA_collcode_bermavis4

Theme:

Women

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22032

Interviewee:

Cramer, Douglas S.  Search this

Interviewer:

Berman, Avis, 1949-  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Douglas S. Cramer, 2013 October 23-December 13. Archives of American Art, Smithsonian Institution.

Topic:

Producers and directors  Search this

Art -- Collectors and collecting -- New York (State) -- New York -- Interviews  Search this

Record number:

(DSI-AAA_CollID)16142

(DSI-AAA_SIRISBib)363892

AAA_collcode_cramer13

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_363892

Interviewee:

Tacha, Athena, 1936-  Search this

Creator:

Berman, Avis  Search this

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Names:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Extent:

5 Items (sound files (6 hr., 47 min.), digital, wma)

127 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 December 4-6

Scope and Contents:

An interview of Athena Tacha conducted 2009 December 4-6, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Tacha's studio, in Washington, D.C.

Tacha speaks of her family and her childhood in rural Greece; of growing up during World War II and the Greek Civil War; her early interests in art; traveling to France on a Greek government sponsored scholarship; her education at the School of Fine Arts; obtaining a Master's at Oberlin College on a Fulbright scholarship; obtaining a Ph.D. in aesthetics and art history from the Sorbonne in Paris; her decision to move to the United States; her first job as a museum curator at Oberlin's Allen Memorial Art Museum; her early shows in Ohio museums and galleries; her marriage to art historian Richard Spear; her decision to teach sculpture courses at Oberlin; her fellowship at MIT's Center for Advanced Visual Studies, a turning point in her career; her use of sculpture, light, and the environment to develop site-specific public art pieces and installations, thoroughly discussing all recent projects; her retirement from Oberlin College and move to Washington, DC; her creative process; the influences of her travels around the world on her environmentally-conscious art works; her thoughts on the American aesthetics, change, and temporary versus permanent sculpture; recent shows at Marsha Mateyka Gallery and Katzen Art Center and her recent public art installations in the Washington, DC area. Tacha also recalls her close friendship with Oberlin professor Ellen Johnson, André Chastel, and various art dealers and former students from Oberlin College.

Biographical / Historical:

Athena Tacha (1936- ) is an conceptual artist and photographer in Washington, D.C.

General:

Originally recorded on 1 compact disc. Reformatted in 2010 as 5 digital wav files. Duration is 6 hr., 47 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.

Occupation:

Photographers -- Washington (D.C.)  Search this

Conceptual artists -- Washington, D.C  Search this

Topic:

Women artists  Search this

Women photographers  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the U.S. General Services Administration, Design Excellence and the Arts.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.tacha09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw999fe51f8-23eb-41f0-91ab-75fbc58e222c

EDAN-URL:

ead_collection:sova-aaa-tacha09

Creator:

Zilczer, Judith  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Whitney Museum of American Art  Search this

Benton, Thomas Hart, 1889-1975  Search this

Coady, Robert J., 1881-1921  Search this

Dasburg, Andrew, 1887-1979  Search this

Dawson, Manierre, 1887-1969  Search this

Hartley, Marsden, 1877-1943  Search this

Hartmann, Sadakichi, 1867-1944  Search this

Linder, Richard  Search this

Munson, Gorham Bert, 1896-1969  Search this

Quinn, John, 1870-1924  Search this

Stieglitz, Alfred, 1864-1946  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1910-1995

bulk 1973-1995

Summary:

The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

Scope and Contents:

The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

This collection documents the correspondence and research of Judith Zilczer pertaining to her doctoral dissertation, The Aftermath of the Armory Show, 1913-1918, where she examines the arguments of both artists and critics over the question of abstraction in art during the early period of the twentieth century. Research files include information on Sadakichi Hartmann, Thomas H. Benton, Manierre Dawson, Andrew Dasburg, John Quinn, Alfred Stieglitz, Michael Brenner, Robert J. Coady and Gorham Munson. Project files document Synchromism, the Forum Exhibit and the Hartley Symposium at the Whitney Museum of American Art and the Richard Lindner Exhibition at the Hirshhorn Museum. Written transcripts include "Robert J. Cody, Man of the Soil" and "Musical Analogy". Researchers should note that this collection does not include a copy of her doctoral thesis.

Arrangement:

The collection is arranged as 2 series.

Series 1: Project Files, 1910-1995 (Box 1; 21 folders)

Series 2: Writings, circa 1980s (Box 1; 3 folders)

Biographical / Historical:

Judith Zilczer (1948-) was an art historian, author, and Curator Emerita of the Hirshhorn Museum and Sculpture Garden in Washington D.C. She organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948-1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she wrote her thesis on The Aftermath of the Armory Show 1913-1918. She has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr. Zilczer has written and lectured widely on modern and contemporary art and is a leading authority on the art of Willem de Kooning.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Paul Allen Reed conducted by Judith Zilczer, April 29, 1994.

Additionally, Papers relating to art commissioned for the Ronald Reagan Building and International Trade Center, 1992-1998, donated by Judith Zilczer, can be found at Archives of American Art.

The Smithsonian Institution Archives in Washington, D.C. holds a large collection of Judith K. Zilczer Papers, 1975-2003.

Provenance:

Creator Judith Zilczer donated her papers to the Archives of American Art in 2014.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Art historians -- Washington (D.C.)  Search this

Authors -- Washington (D.C.)  Search this

Curators -- Washington (D.C.)  Search this

Topic:

Art, Abstract  Search this

Art, Modern -- 20th century  Search this

Synchromism (Art)  Search this

Genre/Form:

Photographs

Citation:

Judith Zilczer papers, 1910-1995, bulk 1973-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.zilcjudt

See more items in:

Judith Zilczer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91d3ed8fb-2459-49cf-9a13-836bd7628aa0

EDAN-URL:

ead_collection:sova-aaa-zilcjudt

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.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

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

Creator:

Baur, John I. H. (John Ireland Howe), 1909-1987  Search this

Names:

Whitney Museum of American Art  Search this

Extent:

3.4 Linear feet

13 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Date:

1946-1979

Scope and Contents:

Writings, talks, lectures, and contributions to publications, notably his work on the book, NEW ART IN AMERICA; correspondence, writings, memos, and clippings concerning museums (other than the Whitney Museum of American Art), galleries, colleges, the American Federation of Arts, and others; correspondence, printed material, and miscellany relating to committees and organizations, such as the American Studies Association and the International Association of Art Critics; correspondence and printed material concerning exhibition jury service; and miscellany.

ADDITION: Artists' files, photographs, correspondence, notes, writings, including an annotated draft for Baur's book, REVOLUTION & TRADITION IN MODERN AMERICAN ART.

Biographical / Historical:

Museum curator, museum director, and writer; New York, N.Y. Curator Brooklyn Museum of Art, 1936-1952; curator, director, and director emeritus, Whitney Museum of American Art, 1952-1987. Author of several books on American art.

Provenance:

Donated 1989 by Louise C. Bauer, the widow of the artist, John I. H. Baur.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Art historians  Search this

Museum directors  Search this

Museum curators  Search this

Identifier:

AAA.baurjohn

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98ced6b82-5961-4f06-937f-f1dfe483bdd7

EDAN-URL:

ead_collection:sova-aaa-baurjohn

Creator:

Sasowsky, Norman  Search this

Names:

Whitney Museum of American Art  Search this

Marsh, Reginald, 1898-1954  Search this

Extent:

3.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1921-1975

Scope and Contents:

Research material on Reginald Marsh measures 3.8 linear feet and dates from 1921-1975. Included are biographical statements; correspondence with Sylvan Cole, Jr., of Associated American Artists and others regarding Marsh's prints; letters to Marsh from Zayda Weller; photographs and slides of drawings and paintings by Marsh (including state proofs) and a photograph of Felicia Meyer Marsh; notes and typescripts of catalogs; drafts of writngs by Sasowsky; questionnaires; conservation reports for Marsh's paintings; and printed material concerning artist Reginald Marsh, primarily compiled for Sasowsky's catalog raisonnés: Reginald Marsh: Etchings, Engravings, Lithographs (1956), and The Prints of Reginald Marsh: an Essay and Definitive Catalog of his Linoleum Cuts, Etchings, Engravings, and Lithographs, done under the auspices of the Whitney Museum of American Art (1976).

Biographical / Historical:

Norman Sasowsky is an art historian in Newark, Delaware.

Other Title:

Whitney Museum of American Art, Reginal Marsh papers.

Provenance:

Sasowsky donated the photographs on reel 1195 in 1977. In 1979, he lent material on reels 1463-1464 for microfilming and arranged for his research material at the Whitney Museum of American Art to be sent to AAA. In 1998, he donated the material previously lent and additional material and donated a final addition in 2018.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.

Occupation:

Art historians -- Delaware -- Newark  Search this

Topic:

Social realism  Search this

Prints -- 20th century  Search this

Identifier:

AAA.sasonorm

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw944374e95-3d02-4746-88d4-c1fc3fdcf6d0

EDAN-URL:

ead_collection:sova-aaa-sasonorm

Creator:

Kainen, Jacob  Search this

Kainen, Ruth Cole.  Search this

Names:

Addison Gallery of American Art  Search this

Australian National Gallery  Search this

Baltimore Museum of Art  Search this

British Museum  Search this

Brooklyn Museum  Search this

Corcoran Gallery of Art  Search this

Corcoran School of Art (Washington, D.C.)  Search this

Middendorf Gallery  Search this

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

Smithsonian American Art Museum  Search this

Acton, David, 1953-  Search this

Agee, William C.  Search this

Berman, Avis  Search this

Broun, Elizabeth  Search this

Butler, Bryce  Search this

Cole, Phoebe  Search this

Fine, Ruth, 1941-  Search this

Fort Wayne Museum of Art  Search this

Frohlich, Newton, 1936-  Search this

Gilkey, Gordon  Search this

Gorky, Arshile, 1904-1948  Search this

Halasz, Piri  Search this

Harrison, Carol  Search this

Holden, Donald  Search this

Holladay, Wilhelmina Cole, 1922-  Search this

Hopps, Walter  Search this

Jackson, John Baptist, 1701-1780?  Search this

Jordon, Jim  Search this

Kalonyme, Louis  Search this

Lunn, Harry, 1933-1998  Search this

Morse, Peter  Search this

Nordland, Gerald  Search this

O'Connor, Francis V.  Search this

Pollack, Jerome  Search this

Powell, Richard J., 1953-  Search this

Purcell, Ann  Search this

Rand, Harry  Search this

Reynolds, Jock  Search this

Ries, Martin, 1926-  Search this

Solman, Joseph, 1909-2008  Search this

Steinberg, Leo  Search this

Taylor, Joshua Charles, 1917-  Search this

Taylor, Prentiss, 1907-1991  Search this

Tejera, V. ((Victorino))  Search this

Thornton, Valerie  Search this

Weber, Joanne  Search this

Extent:

33.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Diaries

Transcripts

Videotapes

Visitors' books

Lectures

Prints

Greeting cards

Interviews

Scrapbooks

Date:

1905-2009

bulk 1940-2001

Summary:

The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diaries, calendars, inventories, interview transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.

Scope and Content Note:

The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diary and journal entries, calendars, inventories, interview and "dialog" transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.

Biographical materials include items concerning Kainen's career as a curator and artist, in addition to a useful bibliography, detailed biographical outline, and a copy of an FBI report compiled on him. Also included are five videocassette recordings of Kainen.

Alphabetical correspondence/subject files comprise the bulk of the collection and include both Jacob's and Ruth's correspondence with family, friends, colleagues, artists, art critics, curators, museums, arts organizations, galleries, and many others. There is a significant amount of correspondence with David Acton, the Addison Gallery of Art and Jock Reynolds, William Agee, Australian National Gallery, Baltimore Museum of Art, Avis Berman, the British Museum, Brooklyn Museum, Elizabeth Broun and the Smithsonian American Art Museum, Bryce Butler, Pheobe Cole, the Corcoran Gallery and School of Art, Richard Field, Ruth Fine, Fort Wayne Museum of Art, Newton Frohlich, Gordon Gilkey and the Pacific Northwest College of Art, Arshile Gorky, Piri Halesz, Carol Harrison, Donald Holden, Wilhelmina Holladay, John Baptist Jackson, Jim Jordon, Lou Kantor, Harry Lunn Jr., Middendorf Gallery, National Gallery of Art, Peter Morse, Gerald Nordland, Francis O'Connor, Jerome Pollack, Richard Powell, Ann Purcell, Harry Rand, Martin Ries, Joseph Solman, Leo Steinberg, Prentiss Taylor, Victorino Tejera, Valerie Thornton, Joanne Weber, and numerous family members.

Writings are by and about Jacob Kainen. Kainen's writings include articles, lectures, exhibition catalog essays, notes, travel notebooks, short stories, poems, and written statements about his artistic motivations and justifications. There are writings about Kainen by Avis Berman, Ruth Cole Kainen, and others. The bulk of the numerous diary entries are from Ruth Cole Kainen's diaries, many of which concern Jacob and their family. There are also annotated and revised diary entries. There is one folder of diary entries and one folder of journal entries by Jacob Kainen and two dismantled journal-like notebooks. The papers include daily calendars and travel itineraries from 1972 through 2001.

The papers include transcripts of formal interviews and informal conversations with Jacob Kainen. Transcripts are of informal dinner, telephone, and general conversations between friends, colleagues, artists, and Ruth Cole Kainen. Included are conversations with Avis Berman, Walter Hopps, Harry Rand, Joshua Taylor, and several others. Many of these transcripts were also annnotated by Jacob and Ruth Kainen. Also found are numerous transcripts of more formal interviews with Kainen by art historians, art critics, and students.

There are inventories, appraisals, and lists of sold and not sold paintings, as well as color photographs of some of Kainen's works of art. Also found are inventories of the Kainens' art collection. Printed materials include Kainen's exhibition catalogs and announcements, clippings of articles by and about Jacob Kainen, and an exhibition guestbook.

Photographs are of Kainen with his family and friends, at exhibition openings, and working in his studios. Works of art by others includes handmade greeting cards, limited edition prints, and portfolios given to Jacob Kainen. Nine scrapbooks containing news clippings and exhibition publications document the entirety of Kainen's career as an artist.

Arrangement:

The Jacob Kainen papers are arranged into 11 series.

Missing Title

Series 1: Biographical Material, 1938-2001 (Boxes 1, 32; 0.8 linear feet)

Series 2: Correspondence/Subject Files, 1936-2003 (Boxes 1-12, 32-33; 11.8 linear feet)

Series 3: Writings, circa 1920s-2002 (Boxes 12-13, 33; 1.6 linear feet)

Series 4: Diaries, circa 1952-2002 (Boxes 13-18, 33-38; 10.0 linear feet)

Series 5: Calendars, 1953-2008 (Boxes 18-20, 38; 1.7 linear feet)

Series 6: Transcripts, circa 1975-1994 (Boxes 20-21, 38; 1.4 linear feet)

Series 7: Inventories, 1927-2001 (Boxes 21-22; 1.0 linear feet)

Series 8: Printed Material, 1938-2003 (Box 22, 38, OV 31; 0.6 linear feet)

Series 9: Photographs, 1905-2000 (Boxes 22-25, 38, OV 31; 3.3 linear feet)

Series 10: Works of Art by Others, 1942-2000 (Boxes 25-26, OV 31; 1.2 linear foot)

Series 11: Scrapbooks, 1936-1998 (Boxes 27-30, 38; 1.3 linear feet)

Biographical Note:

Jacob Kainen (1909-2001) was a painter, printmaker, and curator who worked primarily in Washington, D.C.

Born on December 7, 1909 in Waterbury, Connecticut, Jacob Kainen moved with his family to New York City in 1918. Kainen studied at the Pratt Institute in Brooklyn from 1927 until 1930, and at the Art Student's League. In the early 1930s, Kainen became involved in social causes and formed close friendships with the early abstractionists, including John Graham, Arshile Gorky, and Stuart Davis. He joined the Artists' Union and a contributor to its journal, Art Front, along with Stuart Davis and Harold Rosenberg. Jacob's participation in the Artists' Union was later investigated by the FBI.

From 1935 until 1942, Kainen worked for the Graphic Arts Division of the Works Progress Administration in New York City and began exhibiting with the New York School. It was during this period that he married Bertha Friedman. Jacob and Bertha had two sons together, Dan and Paul, and divorced in 1968.

In 1942, Kainen made a life-changing decision to leave New York City and move to Washington, D.C. to accept what he thought would be a temporary position as a scientific aide in the Division of Graphic Arts at the Smithsonian Institution. Kainen quickly became Assistant Curator and Curator in 1946. He served as Curator for twenty years, completely reshaping the department and building the graphic arts collection. His print exhibitions brought the work of S.W. Hayter, Josef Albers, Adja Yunkers, Louis Lozowick, Karl Schrag, José Guerrero, Louis Schanker, Werner Drewes, and Boris Margo to Washington audiences - graphic work that might not have been shown that early in the area.

1947 marked the opening of the Washington Workshop Center for the Arts, where Kainen served as a teacher and guide to several important artists, helping to make the workshop a magnet for new talent and instrumental in furthering the careers of several artists. Although Kainen taught Gene Davis and Alma Thomas and introduced Morris Louis to Leon Berkowitz, he never considered himself a member of the "Washington Color School."

In 1949, the Corcoran Gallery of Art held a retrospective of Kainen's prints and three years later Kenneth Noland organized Kainen's first painting retrospective at Catholic University. Kainen's paintings from the 1940s illustrated a shift away from social realism toward abstract expressionism. In 1956, Jacob Kainen received a grant from the American Philosophical society to conduct research in Europe for his monograph on the English woodcut artist, John Baptist Jackson. He traveled to Europe again in 1962 to study paintings and prints from the Mannerist Period.

From 1966 until 1970, Kainen worked as the Curator of prints and drawings at the National Collection of Fine Arts (now the Smithsonian American Art Museum). He married Ruth Cole in February of 1969. Kainen retired from the Smithsonian a year later to devote himself full-time to his art, but continued to serve as a special consultant to the Smithsonian American Art Museum for nineteen years. In 1971 and 1972, Kainen taught painting and the history of printmaking at the University of Maryland. A retrospective of Kainen's paintings was held in 1993 at the National Museum of American Art (SAAM).

Throughout his artistic career, Kainen experimented with different mediums and explored different styles, yet he identified himself as a painter. Jacob Kainen participated in at least twenty-five one man shows and several group exhibitions. His works are in collections across the United States and abroad, including the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the British Museum. He worked in his studio up until the time of his death on March 19, 2001 at his home in Chevy Chase, Maryland.

Related Material:

Found among the holdings of the Archives of American Art is an oral history interview of Jacob Kainen conducted by Avis Berman in 1982 for the Archives' "Mark Rothko and His Times" oral history project. Also found are microfilm copies of Bertha Kainen's correspondence with Avis Berman regarding Berman's essay about Jacob Kainen.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 565, 2147-2149, and 2200) including correspondence, writings by Kainen, and papers relating to the Smithsonian Institution Loyalty Board's investigation of Jacob Kainen from 1942-1954. Most, but not all, of the loaned materials were included in later gifts. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.

Provenance:

Jacob and Ruth Kainen first lent the Archives of American Art material for microfilming from 1973-1981, the bulk of which was included in the later gifts. Papers were then donated in multiple accretions between 1981-2007 by Jacob and Ruth Kainen, and in 2009 from the estate of Ruth Kainen via executor Teresa Covacevich Grana. Also in 2003, eight photographs of Jacob and Ruth Kainen were transferred from the National Portrait Gallery to the Archives of American Art.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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 -- Washington (D.C.)  Search this

Curators -- Washington (D.C.)  Search this

Art teachers -- Washington (D.C.)  Search this

Topic:

Painting, Modern -- Washington (D.C.)  Search this

Painting, Abstract -- Washington (D.C.)  Search this

Artists' studios -- Photographs  Search this

Art -- Collectors and collecting -- Washington (D.C.)  Search this

Printmakers -- Washington (D.C.)  Search this

Genre/Form:

Photographs

Diaries

Transcripts

Videotapes

Visitors' books

Lectures

Prints

Greeting cards

Interviews

Scrapbooks

Citation:

Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kainjaco

See more items in:

Jacob Kainen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974ec158d-d417-4d06-931d-44a4af17ab27

EDAN-URL:

ead_collection:sova-aaa-kainjaco

Creator:

Landgren, Marchal E.  Search this

Names:

American Abstract Artists  Search this

Art Students League (New York, N.Y.)  Search this

Artists Equity Association  Search this

Contemporary Arts (Gallery)  Search this

Joseph Mitchell Gallery  Search this

Municipal Art Committee (New York, N.Y.)  Search this

Old Print Shop (New York, N.Y.)  Search this

University of Maryland at College Park  Search this

Washington, D.C.. Public Library  Search this

Abbott, Berenice, 1898-1991  Search this

Albers, Josef  Search this

Avery, Milton, 1885-1965  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Constant, George  Search this

Cox, George Collins, 1851-1902  Search this

De Laittre, Eleanor, 1911-1998  Search this

Fitch, Clyde, 1865-1909  Search this

Force, Juliana, 1876-1948  Search this

Fruhauf, Aline, 1909-1978  Search this

Gallatin, A. E. (Albert Eugene), 1881-1952  Search this

Geist, Sidney  Search this

Gershwin, George, 1898-1937  Search this

Glackens, Ira, 1907-1990  Search this

Greene, Balcomb, 1904-1990  Search this

Harari, Hananiah, 1912-2000  Search this

Higgins, Eugene, 1874-1958  Search this

Holtzman, Harry  Search this

Hunt, William Morris, 1824-1879  Search this

Janauschek, Francesca Romana Magdalena, 1830-1904  Search this

Kane, John, 1860-1934  Search this

Kipling, Rudyard, 1865-1936  Search this

Laufman, Sidney, 1891-  Search this

Logasa, Charles, 1883-1936  Search this

Mitchell, Donald Grant, 1822-1908  Search this

Newman, Robert Loftin, 1827-1912  Search this

Orr, Elliot, 1904-1997  Search this

Portinari, Cândido, 1903-1962  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Sprinchorn, Carl, 1887-1971  Search this

Extent:

15.3 Linear feet

Type:

Collection descriptions

Archival materials

Christmas cards

Photographs

Scrapbooks

Sketches

Drawings

Date:

1881-circa 1982

bulk 1930-1975

Summary:

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Scope and Contents:

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Biographical material includes address cards, an appointment book, curriculum vitaes, genealogical materials, and military records. Correspondence is with artists, clients, colleagues, museums, and universities, and is predominantly professional in nature. Correspondents include Albert E. Gallatin, George Gershwin, Ira Glackens, Sidney Laufman, Elliot Orr, Candido Portinari, and Carl Sprinchorn, among others.

Writings include miscellaneous published and unpublished writings and drafts by Marchal Landgren primarily those not associated with his major research projects. These include various articles written for magazines and journals, manuscript drafts, research notes, and notebooks. There is also a file of writings by others that includes the John Mitchell Gallery Notes.

Professional and organizational files document Landgren's positions and work for educational institutions and arts organizations, including the American Abstract Artists Group, Art Students League of New York, Association of Artists Equity of Washington D. C., Contemporary Arts, D. C. Public Library, Library Journal, New York City Municipal Art Committee, Old Print Shop, Inc., and the University of Maryland, among others. These files also contain correspondence, perhaps the most notable found in the file on the American Abstract Artists Group which includes letters from Josef Albers, Eleanor de Laittre, Sidney Geist, Balcomb Greene, Hananiah Harari, and Harry Holtzman.

Well over one-half of the collection consists of files for Landgren's ongoing research projects on numerous artists and photographers, Latin American art, as well as his bibliographic reference projects. The bulk of the files cover his research, writing, and curatorial work on Robert Loftin Newman. Files are also found for Berenice Abbott, Milton Avery, George Constant, George Collins Cox, Aline Fruhauf, Eugene Higgins, William Morris Hunt, John Kane, Charles Logasa, Elliot Orr, and Albert Pinkham Ryder, among many others.

Personal business records include personal and general expense documentation and scattered exhibition price lists. Printed materials include clippings, exhibition catalogs, and miscellaneous published articles and essays. There are two scrapbooks of clippings.

There are photographs, slides, and negatives of images of Landgren, other artists and notable figures in the art world, and of artwork. Of note is a portrait photograph of Juliana Force by Cecil Beaton, one photograph by Berenice Abbott, "Barclay Street Ferry", and 14 taken by George C. Cox of Rudyard Kipling, Clyde Fitch, Augustus Saint-Gaudens, Madame Fanny Janauschek, Donald G. Mitchell, and others.

The papers also include scattered artwork, including holiday cards illustrated by artists, and sketches and drawings by other artists.

Arrangement:

This collection is arranged as 10 series.

Missing Title

Series 1: Biographical Materials, circa 1890-circa 1981 (0.2 linear feet; Box 1)

Series 2: Correspondence, circa 1930-circa 1982 (0.6 linear feet; Box 1)

Series 3: Writings and Notes, circa 1932-circa 1982 (1.2 linear feet; Boxes 1-3)

Series 4: Professional and Organizational Files, circa 1910-circa 1977 (3.4 linear feet; Boxes 3-6)

Series 5: Research Projects' Files, 1881-circa 1982 (6.9 linear feet; Boxes 6-13, 15)

Series 6: Personal Business Records, circa 1934-circa 1982 (0.4 linear feet; Box 13)

Series 7: Printed Material, circa 1927-circa 1981 (1.0 linear feet; Boxes 13-14)

Series 8: Scrapbooks, circa 1931-circa 1979 (0.2 linear feet; Boxes 14-15)

Series 9: Photographic Materials, circa 1930s-circa 1978 (0.2 linear feet; Boxes 14-15)

Series 10: Artwork, circa 1930s-circa 1940s (0.2 linear feet; Boxes 14-15)

Biographical / Historical:

Marchal E. Landgren (1907-1983) was an art historian, librarian, educator, author, and art consultant, active in New York and Washington, D. C.

As associate director and board member of Contemporary Arts, Inc. in New York, Landgren established a program for providing artists with their first solo exhibition in New York, including those of John Kane and Mark Tobey. In 1932, he directed the exhibition schedule at the New School for Social Research; and in 1935, Landgren served as the director of art activities for the New York City Municipal Art Committee where he facilitated many exhibitions over the course of five years, including Recent Paintings by Boris Aronson at Babcock Galleries in 1938.

Working as a freelance art consultant, researcher, and author, Landgren organized numerous exhibitions between 1932 and 1950 of the work of Milton Avery, George C. Cox, Elliot Orr, Robert Loftin Newman, and Albert Pinkham Ryder. He also edited several arts publications, including the Old Print Shop Portfolio, John Mitchell Gallery Notes, and arts manuscripts for Oxford University Press.

In 1939, Landgren was selected by the New York World's Fair Commision to prepare historical notes on Latin American art for the exhibition catalogs of the Latin American art exhibition. After the Fair, he continued his research on this topic and wrote several articles, as well as lecturing on Latin American painting at the Art Students League of New York, the Newark Art Club, and the National Education Association at the Boston Museum.

After serving in the U. S. Army Air Force during World War II, Landgren moved to Washington, D. C. in 1950 and began work as the arts division readers' advisor for the D. C. Public Library. For seventeen years, he built up the library's general collection of art books and created extensive files of art exhibition catalogs.

In 1967, he took a position as a bibliographic consultant for the fine arts department at the University of Maryland. He became director of the University's art gallery and of the art department museum training program. During his tenure at the University of Maryland, Landgren conducted graduate seminars in art history, edited and published exhibition catalogs, and organized exhibitions, including The Late Landscapes of William Morris Hunt in 1976.

Landgren was a visiting scholar at the Smithsonian Institution's National Collection of Fine Arts and curated an exhibition of paintings by Robert Loftin Newman held there from 1973 to 1974 and at the Tennessee Fine Arts Center in 1974.

Marchal Landgren authored two books: Years of Art: The Story of the Art Students League of New York (Robert M. McBride and Company, 1940), and Robert Loftin Newman (Smithsonian Institution Press, 1974). He was a regular reviewer of art books for the Library Journal from 1958 to 1972, and contributed reviews to Trend, Magazine of Art, and other journals. He was awarded a research grant by the American Council of Learned Societies in 1963 for his study of George C. Cox and did a great deal of research in American art and American art institutions for an unfinished manuscript. He also worked on a bibliography of art literature which he never completed.

Provenance:

The Marchal Landgren papers were donated by Landgren in 1974, and by the Landgren estate via David Huddle in 1983.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

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:

Librarians -- Washington (D.C.)  Search this

Educators -- Washington (D.C.)  Search this

Authors -- Washington (D.C.)  Search this

Art historians -- Washington (D.C.)  Search this

Art consultants -- Washington (D.C.)  Search this

Topic:

Art, American  Search this

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

Genre/Form:

Christmas cards

Photographs

Scrapbooks

Sketches

Drawings

Citation:

Marchal Landgren papers, 1881-circa 1982, bulk 1930-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.landmarc

See more items in:

Marchal Landgren Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw946a644a0-83cc-46a7-8c56-e9c63db0e1b4

EDAN-URL:

ead_collection:sova-aaa-landmarc

Creator:

Jeffers, Wendy  Search this

Names:

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

Whitney Museum of American Art  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Spencer, Niles, 1893-1952  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1930-2015

Summary:

The Wendy Jeffers research material on Niles Spencer measures 3.0 linear feet and dates from circa 1930-2015. The material was compiled by Jeffers for an exhibition and catalog she produced of Spencer's work for the Whitney Museum in 1990 and for research toward an updated catalogue raisonné. The bulk of the collection is comprised of correspondence, provenance research on individual artworks, writing, and photographic material. Jeffers' material expands on Dorothy C. Miller's research completed while organizing a Spencer exhibition at the Museum of Modern Art in 1954.

Scope and Contents:

The Wendy Jeffers research material on Niles Spencer measures 3.0 linear feet and dates from circa 1930-2015. The material was compiled by Jeffers for Niles Spencer (1990), an exhibition and catalog she produced for the Whitney Museum and for research toward an updated catalogue raisonné. The bulk of the collection is comprised of correspondence, provenance research on individual artworks, writing, and photographic material. Jeffers' material expands on Dorothy C. Miller's research completed while organizing a Spencer exhibition at the Museum of Modern Art in 1954.

Arrangement:

Due to the singular focus of the material, the collection is arranged as one series

Series 1: Wendy Jeffers research material on Niles Spencer, circa 1930-2015 (3 linear feet; Box 1-3)

Biographical / Historical:

Wendy Jeffers is a curator and independent scholar. In 1990, she organized a Niles Spencer exhibition at the Whitney Museum at Equitable Center, and coauthored the exhibition catalog with Karl Anne Marling. Jeffers also curated a Spencer exhibition at the Archives of American Art, New York Research Center in 1990 using his recently acquired papers. In addition, Jeffers has been engaged in research toward an updated catalogue raisonné for Spencer.

Related Materials:

Also found in the Archives of American Art are the Niles Spencer papers, 1826-1972, bulk 1900-1961.

Provenance:

Donated in 2015 by Wendy Jeffers.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

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

Topic:

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

Citation:

Wendy Jeffers research material on Niles Spencer, circa 1930-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jeffwen

See more items in:

Wendy Jeffers research material on Niles Spencer

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94738c767-05bc-41e0-b3f0-25ab7096f912

EDAN-URL:

ead_collection:sova-aaa-jeffwen

Creator:

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

Names:

American Federation of Arts  Search this

Corcoran Gallery of Art  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Kennedy Galleries  Search this

Kraushaar Galleries  Search this

M. Knoedler & Co.  Search this

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

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

Milwaukee Art Center  Search this

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

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

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

United States Information Agency  Search this

University of Michigan. Museum of Art  Search this

Whitney Museum of American Art  Search this

Allston, Washington, 1779-1843  Search this

Arms, John Taylor, 1887-1953  Search this

Bailey, Grace  Search this

Bailey, Truman E., 1902?-1959  Search this

Bohrod, Aaron  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Eakins, Thomas, 1844-1916  Search this

Evergood, Philip, 1901-1973  Search this

Fleischman, Barbara  Search this

Gentle, Esther, 1900-  Search this

Krentzin, Earl, 1929-  Search this

Marin, John, 1870-1953  Search this

Pollack, Peter, 1909-1978  Search this

Rattner, Abraham  Search this

Richardson, Constance, 1905-  Search this

Richardson, Edgar Preston, 1902-1985  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Sellers, Charles Coleman, 1903-  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Typescripts

Photographs

Date:

1837-1984

bulk 1935-1979

Summary:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

Scope and Contents:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

One folder of biographical material includes a biographical account and a certificate of appreciation from the Common Council for the City of Detroit.

The bulk of the collection is comprised of correspondence documenting the Fleischman's art related activities and interests primarily during the 1950s and 1960s. Individual correspondents include Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentle, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.

Arts organizations and galleries represented in the correspondence include the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.

Autograph letters purchased by the Fleischmans include letters written by artists Washington Allston (addressed to Thomas Sully), Albert Pinkham Ryder, and John Taylor Arms.

Exhibition files document the various exhibitions of art work from the Lawrence and Barbara Fleischman Collection at the University of Michigan Museum of Art; the Detroit Institute of Art; in Central and South America; in Greece, Israel and Russia; and at the Milwaukee Art Center. The files contain letters, notes, printed material, and photographs.

Three folders of notes and writings include "Introduction to Earl Krentzin Catalog" by Lawrence Fleischman and "Selection of Excerpts from the Soviet Press and Radio Attacking U. S. Culture" by unidentified authors.

Scattered printed material includes miscellaneous clippings and catalogs not connected with the Exhibition Files series. There is also a book John Marin: The Man and his Work by E. M. Benson that was autographed by Marin to the Fleischmans in 1953.

Photographs include portrait photographs of Lawrence Fleischman, photographs of Lawrence and Barbara Fleischman with colleagues, of art work from the Fleischman Collection, of Truman and Grace Bailey in their studio, and a copy photograph of Thomas Eakins as a boy.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1958 (Box 1; 1 folder)

Series 2: Correspondence, 1949-1984 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Autograph Letters, 1837-1942 (Box 4; 4 folders)

Series 4: Exhibition Files, 1953-1960 (Boxes 4-5, 7; 0.5 linear feet)

Series 5: Notes and Writings, 1957-1962 (Box 5; 3 folders)

Series 6: Printed Material, 1935-1969 (Box 5-6; 6 folders)

Series 7: Photographs, 1953-1965 (Box 6; 13 folders)

Biographical / Historical:

Lawrence Fleischman (1925-1997) of New York City was an American art collector, patron, philanthropist, and benefactor. He and his wife, Barbara Greenberg Fleischman, assembled an impressive collection of art and artifacts that they shared with the public as part of their philanthropic activities aimed at fostering a wider appreciation of the arts around the world.

Lawrence Fleischman was born on February 14, 1925 in Detroit, Michigan, the son of Stella and Arthur Fleischman, the owner of a large carpet business. He attended the Western Military Academy in Alton, Illinois, and studied engineering at Purdue University. In 1942, he interrupted his studies to volunteer for service in the U.S. Army during World War II. While serving in France, he met a doctor who further fostered Fleischman's ever growing interest in American art. Following the war, he graduated with a degree in physics from the University of Detroit. Fleischman met Barbara Greenberg in Detroit and they were married in 1948.

Beginning in the late 1940s, Fleischman established a fledgling television station, developed holdings in real estate, and began purchasing art work. Initially the Fleischmans collected undervalued 20th century American art and were friends with several artists, including John Marin, Charles Burchfield, Stuart Davis, and Ben Shahn. They also expanded the scope of their collection to include 19th century American works.

During the 1950s, Lawrence Fleischman realized how there were few American art historians and college departments, as well as a lack of primary source material. Fleischman worked with Edgar P. Richardson, then director of the Detroit Institute of Art, to raise funds and they founded the Archives of American Art at the Detroit Institute of Art in 1954. The Archives of American Art was, and still is, dedicated to the collection, preservation, and study of primary source records that document the history of the visual arts in the United States. Lawrence A. Fleischman is a founding Trustee of the AAA and served as the Chairman of the Board from 1958 to 1966. His wife, Barbara joined the Board of Trustees in 1997 and served as Chair from 2003 to 2007. She is a Trustee Emerita.

Lawrence Fleischman's business and philanthropic interests included the Arthur Fleischman Carpet Company, the Lee Plaza Hotel-Motel in Detroit, Art Adventurers, the Art School of the Society of Arts and Crafts in Detroit, the Friends of the Whitney Museum of American Art in New York, the Cultural Committee of the United States Information Agency, and the Art Commission of Detroit, which governed the Detroit Institute of Art. He also served as an officer of the Board for many of the arts-related organizations.

In 1996, the Fleischmans moved their family from Detroit to New York City, where Lawrence Fleischman became a partner in the Kennedy Galleries.

The Fleischmans philanthropic activities include generous support of the Metropolitan Museum of Art, the Detroit Institute of Art, the Cleveland Museum, the British Museum, the Vatican Museum, and lifelong support of the Archives of American Art.

Lawrence Fleischman died on January 31, 1997 in London, England. Barbara Fleischman lives in New York City and continues to be an active supporter of the visual arts.

Related Materials:

Among the Archives holdings are two oral history interviews with Lawrence A. Fleischman. The first was conducted by Paul Cummings in 1970 and the second conducted by Gail Stavitsky in 1994 . Both interviews have transcripts available.

Separated Materials:

The Archives of Art also holds microfilm of material lent for microfilming, the majority of which was later donated, except for five letters on reel D197. These include one postcard from Constance Richardson, 1956; one letter from Constance Richardson, 1957; one letter from Franklin Watkins, 1955; one letter from Lawrence Fleischman to Wilbur H. Hunter, 1960; and one letter from Richard D. Tucker, 1960. This material remains with lender and is not described in the collection container inventory.

Provenance:

The Lawrence and Barbara Fleischman papers were donated in several accretions by Lawrence and Barbara Fleischman from 1954 to 2007. Letters were also loaned for microfilming in 1965, but nearly all of them were subsequently donated.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

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 -- United States  Search this

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

Genre/Form:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.fleilawr

See more items in:

Lawrence and Barbara Fleischman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92905ad60-9c85-493f-90b7-272f1486ef69

EDAN-URL:

ead_collection:sova-aaa-fleilawr

Creator:

Artschwager, Richard, 1923-  Search this

Names:

Adair Margo Gallery  Search this

Carpenter Center for the Visual Arts  Search this

Cornell University  Search this

Gagosian Gallery  Search this

Galerie Franck + Schulte  Search this

Harvard University  Search this

Herbert F. Johnson Museum of Art  Search this

Leo Castelli Gallery  Search this

Lorence-Monk Gallery (New York, N.Y.)  Search this

Museum Ludwig  Search this

Museum of Contemporary Art (Los Angeles, Calif.)  Search this

Museum of Fine Arts, Boston  Search this

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

Skowhegan School of Painting and Sculpture  Search this

University of Wisconsin  Search this

Whitney Museum of American Art  Search this

Alloway, Lawrence, 1926-1990  Search this

Castelli, Leo  Search this

Copley, William Nelson, 1919-1996  Search this

Fischl, Eric, 1948-  Search this

Johnson, Ray, 1927-  Search this

Karp, Ivan C., 1926-2012  Search this

Katz, Alex, 1927-  Search this

Kimmelman, Michael  Search this

Lawler, Louise  Search this

LeWitt, Sol, 1928-2007  Search this

Murray, Elizabeth, 1940-  Search this

Namuth, Hans  Search this

Neuendorf, Hans  Search this

Ruscha, Edward  Search this

Schaffner, Ingrid  Search this

Schjeldahl, Peter  Search this

Waters, John, 1946-  Search this

Woodman, Betty, 1930-  Search this

Extent:

5.6 Linear feet

9.33 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Illustrated letters

Transcripts

Sketches

Photographs

Sound recordings

Video recordings

Date:

1959-2013

Summary:

The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.

Scope and Contents:

The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.

Artschwager's correspondence is with museums, galleries, artists, art historians, academic institutions, and publishers and concerns exhibitions, speaking engagements, and teaching. Frequent correspondents include Lawrence Alloway, Leo Castelli Gallery, Gagosian Gallery, Galerie Franck + Schulte, Herbert F. Johnson Museum, Ivan Karp, Museum Ludwig, Museum of Contemporary Art, Los Angeles, Ingrid Schaffner, and the Whitney Museum of American Art. Also found are letters from fellow artists, including William Copley, Eric Fischl, Ray Johnson, Louise Lawler, Sol Lewitt, Ed Ruscha, John Waters, and Betty Woodman. Some letters are annotated or illustrated with sketches by Artschwager.

The collection includes a lecture and recorded talks by Richard Artschwager held at the University of Wisconsin, Madison, Skowhegan School of Painting & Sculpture, and the Carpenter Center of the Visual Arts, Harvard University, and other venues. One of the recordings is from the "Conversations with Contemporary Artists" series of the Museum of Modern Art. Also included in this series is a recorded discussion with artists Alex Katz and Elizabeth Murray and art critics Michael Kimmelman and Peter Schjeldahl.

Exhibition files are found for exhibitions held at Adair Margo Gallery, Lorence Monk Gallery, Museum of Fine Arts, Boston, Cornell University, and numerous others, including many in Europe. Files typically contain correspondence, price lists, announcements, printed material, photographs, and a few sound and video recordings.

Printed material includes invitations and announcements as well as posters, reproductions, and brochures, mostly related to Richard Artschwager's exhibitions. Newspaper and magazine clippings document exhibition openings and the critical reception of his work.

There are also a few photographs including images of Leo Castelli by Hans Namuth used by Artschwager in preparing for his portrait of Castelli.

Arrangement:

The collection is arranged as 5 series.

Missing Title

Series 1: Correspondence, circa 1970-2013 (Boxes 1-3; 3.0 linear feet, ER01-ER02; 0.555 GB)

Series 2: Talks and Lecture, 1985-2009 (Box 4; 0.8 linear feet, ER03-ER10; 8.77 GB)

Series 3: Exhibition Files, 1973-2007 (Boxes 4-5; 1.0 linear feet)

Series 4: Printed Material, 1959-2012 (Boxes 5-6, OV 7; 0.6 linear feet)

Series 5: Photographs, circa 1973, 2007 (Box 6, OV 8; 0.1 linear feet)

Biographical / Historical:

Richard Artschwager (1923-2013) lived and worked in New York City and Hudson, New York and was known primarily for his paintings and sculptures. Artschwager was born in Washington, D.C. and grew up in New Mexico. As a youth, Artschwager showed a talent for drawing. He studied chemistry and mathematics at Cornell University. In 1944, Artschwager interrupted his studies to enlist in the U.S. Army. After the war, he returned to Cornell to complete his Bachelor of Arts degree in 1948. Encouraged by his first wife, Elfriede Wejmelka to develop his interest in art, Artschwager moved to New York to study at the Studio School of Amédée Ozenfant. His paintings and drawings from this period were featured in two group shows at the Terrain Gallery in 1957 and at the Art Directions Gallery on Madison Avenue in 1959, where they were recognized by Donald Judd.

In the 1950s, in order to support his family, Artschwager turned to designing and manufacturing modern furniture. His woodworking skills inspired him to create sculptures from utilitarian objects such as tables, chairs, and mirrors. He is best known for the use of building materials Celotex and Formica in his work and for inventing an abstract form he called "blps" reliefs, stencils or decals that were installed randomly in museum, gallery and public spaces. From the mid-1980s to late 1990s, Artschwager designed large scale projects, though he continued to incorporate everyday domestic objects in his sculptures and paintings.

In 1965, Artschwager was given his first one-man exhibition at the Castelli Gallery and he remained with the Gallery for thirty years. He was also represented by Mary Boone, David Nolan, and the Gagosian Gallery. In the 1980s, Artschwager served on the Visual Arts Policy Committee at the National Endowment of the Arts. He was elected to the American Academy of Arts in 1992. He was a visiting artist at New Mexico State University, Soka University, Skowhegan School of Painting and Sculpture, and the University of Arizona. Artschwager's work was the subject of a major surveys, including the Kunstmuseum Winterthur, Neues Museum, and Serpentine Gallery. He participated in numerous international group shows including the Venice Biennale and Documenta in Kassel, Germany. The Whitney Museum of American Art honored Artschwager with two travelling retrospective exhibitions in 1988 and 2012. In late 2012, Artschwager had one-man shows at the Gagosian Gallery and David Nolan Gallery.

Richard Artschwager died at the age of 89 years in 2013. He is survived by his wife, Ann Sebring Artschwager and three children from previous marriages.

Related Materials:

Also found among the resources at the Archives of American Art is an oral history interview with Artschwager, March 3-28, 1972, conducted by Paul Cummings.

Provenance:

The collection was donated by Richard Artschwager and his wife Ann Artschwager in 2013.

Restrictions:

Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

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

Occupation:

Art critics  Search this

Topic:

Art -- Study and teaching  Search this

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

Art, Modern -- 20th century  Search this

Genre/Form:

Illustrated letters

Transcripts

Sketches

Photographs

Sound recordings

Video recordings

Citation:

Richard Artschwager papers, 1959-2013. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.

Identifier:

AAA.artsrich

See more items in:

Richard Artschwager papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b1669278-fbd8-48b5-832c-ad4b93ec08bd

EDAN-URL:

ead_collection:sova-aaa-artsrich

Creator:

Kainen, Bertha  Search this

Names:

Berman, Avis  Search this

Broun, Elizabeth  Search this

Kainen, Jacob  Search this

Extent:

9 Items

Type:

Collection descriptions

Archival materials

Date:

1993-1994

Scope and Contents:

Bertha Kainen's correspondence with art historian Avis Berman, first husband, artist Jacob Kainen, and National Museum of American Art Director, Elizabeth Broun, regarding Berman's essay, "Images from a Life," in JACOB KAINEN (Washington, D.C.: National Museum of American Art, Smithsonian Institution, 1993). Kainen discusses what she believes to be errors in Berman's essay. The book was published on the occassion of a Jacob Kainen retrospective exhibition at the National Museum of American Art, 1993.

Biographical / Historical:

Bertha Kainen was the first wife of artist Jacob Kainen.

Provenance:

Donated 1994 by Bertha Kainen.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Identifier:

AAA.kainbert

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99ae11c71-10a1-492c-8c25-43c313da595a

EDAN-URL:

ead_collection:sova-aaa-kainbert

Interviewee:

Kaskey, Raymond J., 1943-  Search this

Interviewer:

Berman, Avis  Search this

Creator:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Names:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Extent:

1 Item (Sound recording, master: 1 data cd, 4 WMA files (6 hr.,13 min.), secure digital)

122 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 June 15-18

Scope and Contents:

An interview of Raymond J. Kaskey conducted 2009 June 15-18, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Kaskey's studio, in Brentwood, Md.

Biographical / Historical:

Raymond J. Kaskey (1943- ) is a sculptor in Washington, D.C. Avis Berman (1949- ) is an independent writer and art historian in New York, N.Y.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.

Topic:

Sculptors -- Washington (D.C.) -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the U.S. General Services Administration, Design Excellence and the Arts.

Identifier:

AAA.kaskey09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e775a70a-1f01-40e2-89b9-f7dcbf67c7d8

EDAN-URL:

ead_collection:sova-aaa-kaskey09

Creator:

Berman, Avis  Search this

Names:

Nadelman, Elie, 1882-1946  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Date:

circa 1998-2002

Summary:

Avis Berman research material on Elie Nadelman measures one linear feet and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).

Scope and Contents:

Avis Berman research material on Elie Nadelman measures one linear foot and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).

Arrangement:

Due to its small size the collection is arranged in a single series.

Biographical / Historical:

Avis Berman (1949- ) is a writer, curator, and historian of American art, architecture and culture based in New York, N.Y.. She holds a bachelor's degree from Bucknell University and an master's degree from Rutgers University, both in English literature. She is the author of numerous books including Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; and Edward Hopper's New York. She was also co-author and editor of Katharine Kuh's memoir, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. Berman has written numerous articles on subjects including painting, sculpture, photography, illustration, design, architecture, and the social history of the visual arts for a broad range of publications including The New York Times, The New York Review of Books, The Washington Post, Smithsonian, Saturday Review, The Boston Book Review, American Art, ARTnews, The San Francisco Examiner, The Boston Globe, The Philadelphia Inquirer, The Baltimore Sun, Art in America, Art & Antiques, House & Garden, and Architectural Digest. Throughout the 1980s 1990s and 2000s Avis served as a consultant for the Archives of American Art, Washington, D.C., in her capacity as interviewer for the oral history project for which she has researched and interviewed countless artists, collectors, and other figures in the art world in Europe and the United States. Since 2001, Avis Berman has overseen the Roy Lichtenstein Foundation's oral history project.

Related Materials:

Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006, research material on Juliana Force, circa 1930-2020, research material on art and artists, 1976-1994, and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.

Provenance:

Donated in 2021 by Avis Berman.

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.

The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.

Occupation:

Art critics -- New York (State) -- New York  Search this

Art historians -- New York (State) -- New York  Search this

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

Topic:

Women art historians  Search this

Folk art  Search this

Citation:

Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bermavis5

See more items in:

Avis Berman research material on Elie Nadelman

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b6baa174-578f-490b-b9d3-8fe306c67e31

EDAN-URL:

ead_collection:sova-aaa-bermavis5

Creator:

Humphries, Jacqueline  Search this

Kazanjian, Dodie, 1952-  Search this

Subject:

Rosenblum, Robert  Search this

Sillman, Amy  Search this

Smith, Kiki  Search this

Williams, Sue  Search this

Type:

Sound Recording

Date:

2003 August 13-October 5

Citation:

Jacqueline Humphries and Dodie Kazanjian. Interviews about self-portraits with Jacqueline Humphries, Amy Sillman, Robert Rosenblum, Kiki Smith and Sue Williams, 2003 August 13-October 5. Dodie Kazanjian papers, 1949-2017. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)23990

See more items in:

Dodie Kazanjian papers, 1949-2017, bulk 1980-2017

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_23990

Creator:

Saff, Donald, 1937-  Search this

Saff Tech Arts  Search this

Citation:

Donald Saff papers and Saff Tech Arts records, circa 1980-2015. Archives of American Art, Smithsonian Institution.

Theme:

Art instruction and services  Search this

Record number:

(DSI-AAA_CollID)22169

AAA_collcode_saffdona

Theme:

Art instruction and services

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22169