An interview with Evangeline J. Montgomery conducted 2021 June 15-December 7, by Claude L. Elliott for the Archives of American Art, at Montgomery's home at the Hebrew Home of Greater Washington in Rockville, MD.
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C. Montgomery has advocated for racial justice and public equity across media. She is especially known for her metallurgical works and abstract lithographs as well as her work with the US State Department to foster arts education domestically and abroad.
Related Materials:
The Archives also holds the papers of Evangeline J. Montgomery.
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:
Art museum curators -- Washington (D.C.) Search this
Waddy, Ruth G. (Ruth Gilliam), 1909-2003 Search this
Extent:
26.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Date:
1928-2018
Summary:
The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Scope and Contents:
The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)
Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)
Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)
Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)
Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)
Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34
Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)
Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)
Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.
Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.
Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.
As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.
Provenance:
The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Washington (D.C.) Search this
Quotes and excerpts must be cited as follows: Oral history interview with Barbara Bloom, 2012 October 18-2013 January 31. Archives of American Art, Smithsonian Institution.
An interview of Barbara Bloom conducted 2012 October-2013 January 31, by James McElhinney, for the Archives of American Art, at Bloom's home and studio, in New York, New York.
Bloom speaks of growing up in Brentwood, California; her first experience with art; her childhood and exposure to creativity; the influence of art and philosophy; going to museums as a kid; living in Monte Factor and then Los Angeles; her creative process, influences, and life as an artist; art mentors and art lessons with Cathy Herman; traveling with her family; her mom being an actress; attending Bennington College in Vermont, the 1960s, the and collage aesthetic; attending CalArt; the changes in art education at the university level; drugs use; Fluxus; John Cage and attending 4'33; living in Europe and specifically Netherlands, Germany, and Holland; books and love of reading; her daughter; the post-studio era; film and meta-movies; making "The Diamond Lane;" images and objects' connection to meanings; The Gaze; undressing the wall; Homage to Jean Seberg, Godard, Berlin; East Germany; being agnostic and Jewish; Venice Biennale; collectors; cycle of shows; MFA programs; The Tip of the Iceberg; surgeries; hospital visit, personal training, and recovery; The Seven Deadly Sins; her father; Tellus Magazine; Judaism; fabrications and drawings; archives; relationship between the artist and the viewer; her husband; 010011.net; recent show; and As It Were, So To Speak. Bloom also recalls Monte and Betty Factor, Ed Kienholz, Ron Kappe, Robbie Robe, Ray Kappe, Matt Mullican, Eric Orr, Robert Irwin, Doug Wheeler, Total: digital recordings; Claire Steinman, Rosemarie Trockel, Ash Grove, James Lee Byars, Frances Rey, Sidney Tillim, Norman O. Brown, Paul Cotton, Paul Brock, Buckminster Fuller, John Baldessari, Nam June Paik, Dick Higgins, Alison Knowles, Serge Tcherepnin, Simone Forte, Charlemagne Palestine, La Monte Young, David Salle, Eric Fischl, Marcel Broodthaers, Susan Sontag, Tim Maul, Caroline Tisdale, Marcel Duchamp, Laura Mulvey, John Berger, Oscar Wilde, Ed Ruscha, Isabella Kacprzak, Octavio Paz, Leo Castelli, Allen Ruppersberg, Jay Gorney, Claudia Gould, Susan Bronstein, Donald Judd, Robert DuGrenier, Pistoletto, Anthony Coleman, Mel Bochner, and Ken Saylor.
Biographical / Historical:
Barbara Bloom (1951- ) is a photographer, designer, and installation artist in New York, New York. James McElhinney (1952- ) is an artist and professor in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Designers -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Installation artists -- New York (State) -- New York Search this
Papers related to Tuchman's co-authoring with Emile de Antonio the book Painters Painting: A History of American Modernism in the Words of Those Who Created It (Abbeville Press, 1984). The book was based on uncut transcripts and the film script from de Antonio's 1972 film Painters Painting, inspired by the Museum of Modern Art's exhibition, New York Painting and Sculpture: 1940-1970, curated by Henry Geldzahler. Included are correspondence; transcripts of interviews conducted by de Antonio of painters, critics, curators, and collectors; notes; drafts of the book; and a subject card file.
Interviewees include: Josef Albers, Leo Castelli, Willem de Kooning, Helen Frankenthaler, Henry Geldzahler, Clement Greenberg, Thomas Hess, Jasper Johns, Philip Johnson, Hilton Kramer, Philip Leider, Robert Motherwell, Louise Nevelson, Barnett Newman, Kenneth Noland, Jules Olitski, Philip Pavia, Larry Poons, Robert Rauschenberg, Larry Rivers, William Rubin, Ethel and Robert Scull, Frank Stella, and Andy Warhol.
Biographical / Historical:
Tuchman is an author and editor; Los Angeles, Calif.
Provenance:
Donated 1994 by Mitch Tuchman.
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 critics -- United States -- Interviews Search this
Material gathered by Berkson in preparation for exhibitions on sculptors Ronald Bladen and Les Levine.
The Bladen material, compiled for a retrospective at the San Francisco Museum of Modern Art, 1991, includes: biographical material; an unpublished artists' statement, 1946; interviews of Bladen; material from the California School of Fine Art's archives, and the Whitney Museum of American Art; Bladen correspondence, 1931-1956; Berkson correspondence, 1990-1991; a painting checklist; writings by and about Bladen; photographs of Bladen's paintings and sculptures; exhibition announcements 1941-1983; and clippings and reviews, 1941-1987.
Files on Les Levine include photographs, slides, correspondence, articles, announcements, and clippings. Included are information on his media projects Subway Project (1989) and Diamond Mind.
Biographical / Historical:
Berkson is an art historian, curator; San Francisco, Calif. Bladen, a painter and sculptor, worked in San Francisco in the mid-1950s, and later moved to New York. Levine, a conceptual and video artist, and a curator, works in New York.
Related Materials:
Papers of Bill Berkson, 1960-1988, are also located at the University of Connecticut's Archives & Special Collections.
Provenance:
Donated 1991 and 1995 by Bill Berkson.
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:
Sculptors -- California -- San Francisco Search this
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.
Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.
Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.
Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.
Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.
University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.
Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.
Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.
Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.
Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.
Missing Title
Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)
Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)
Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)
Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)
Series 5: Diaries, 1977-1989 (6 folders; Box 6)
Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)
Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)
Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)
Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)
Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.
After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.
Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.
Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.
In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.
Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.
Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California -- Los Angeles Search this
Restricted for 15 years, until Jan-01-2037. Records may contain personally identifiable information (PII) that is permanently restricted; Transferring office; 12/18/2006 memorandum, Toda to Earle; Contact reference staff for details
Quotes and excerpts must be cited as follows: Oral history interview with Rita González, 2020 August 21. Archives of American Art, Smithsonian Institution.
The papers of curator and art critic David S. Rubin measure 23 linear feet and 57.68 gigabytes and date from 1960 to 2017. The papers are comprised of biographical materials, interviews, correspondence, writing projects and notes, artists' files, exhibition files, professional files, subject and research files, printed materials, and photographic materials documenting Rubin's work in California, Arizona, and other locations throughout the United States.
Scope and Contents:
The papers of curator and art critic David S. Rubin measure 23 linear feet and 57.68 gigabytes and date from 1960 to 2017. The papers are comprised of biographical materials, interviews, correspondence, writing projects and notes, artists' files, exhibition files, professional files, subject and research files, printed materials, and photographic materials documenting Rubin's work in California, Arizona, and other locations throughout the United States.
Biographical materials include 16 appointment books, 2 guest books, identification cards, curriculum vitae, and student records from UCLA. Interviews are with Rubin regarding William Baziotes, Rubin with Gary Lloyd and Wayne Thiebaud, and an interview about the exhibition Chelsea Rising. Mixed personal and professional correspondence is with curators, colleagues, and friends regarding exhibitions, symposiums and panels, and Rubin's job searches.
Writing projects and notes consist of student work including Rubin's unfinished Ph.D. dissertation, class notes, and student papers; articles and essays; a book project; lists; and lectures. Artist files contain printed materials relating to the artists' careers, and notes regarding exhibitions and artist biographical information. Files for exhibitions contain records for It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art (1995) and other major exhibitions curated by Rubin. Professional files consist of records for employment, committees, consulting, and other professional activities. Subject and research files contain research material and notes on topics of interest and exhibition themes.
Printed materials include clippings, flyers, exhibition announcements and catalogs, and other material relating to Rubin and exhibitions. Photographic materials consist of photographs and slides of Rubin by Martha Alf, Arnold Mesches, and Bruce Houston; photographs by Rubin of Alf and other artists; events; friends; and works of art.
Arrangement:
The collection is arranged as 10 series.
Series 1: Biographical Materials, 1969-2011 (Box 1; 0.7 linear feet)
Series 2: Interviews, 1982-circa 2001 (Boxes 1-2; 0.4 linear feet)
Series 3: Correspondence, 1971-2017 (Boxes 2-5, OV 28; 3.0 linear feet)
Series 4: Writing Projects and Notes, 1970-2010 (Boxes 5-6, 27; 1.0 linear feet)
Series 5: Artist Files, 1960-2015 (Boxes 6-20, 27, OV 28; 15.0 linear feet)
Series 6: Exhibition Files, 1980-2008 (Boxes 21-23, 27; 2.5 linear feet)
Series 7: Professional Files, 1976-2009 (Boxes 23-24; 1.0 linear feet)
Series 8: Subject and Research Files, 1980-2002 (Boxes 24-25; 0.8 linear feet)
Series 9: Printed Materials, circa 1975-circa 2008 (Boxes 25, 27; 0.4 linear feet)
Series 10: Photographic Materials, 1979-2010 (Boxes 25-26; 1.0 linear feet)
Biographical / Historical:
David S. Rubin (1949- ) is a curator and art critic in Los Angeles, California. Rubin has curated exhibitions throughout the United States, primarily in Southern California, New Orleans, Louisiana, Cleveland, Ohio, and San Antonio, Texas.
Rubin received his Bachelor of Arts degree in philosophy in 1972 from the University of California in Los Angeles. He went on to earn a Master of Arts in art history from Harvard University. He began researching automatism in New York for a doctorate degree at Harvard but did not complete his dissertation. Rubin also attended the Museum Management Institute in 1989. He has been a curator at the San Francisco Art Institute, Albright College's Freedman Gallery, Museum of Contemporary Art in Cleveland, Phoenix Art Museum, Contemporary Arts Center in New Orleans, and the San Antonio Museum of Art. He has curated exhibitions, including It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art (1995) and the controversial Old Glory: The American Flag in Contemporary Art (1994), throughout the United States, primarily in California. Rubin is also a prolific essayist on contemporary art.
Provenance:
The papers were donated by David S. Rubin in 2016 and 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of curator Ninfa Valvo regarding the M. H. de Young Memorial Museum measure 2 linear feet and date from 1930 to 1973. The papers mostly consist of material related to the de Young Museum in the form of administration records, photographs of exhibition installations and artwork, and museum programs and calendars.
Scope and Contents:
The papers of curator Ninfa Valvo regarding the M. H. de Young Memorial Museum measure 2 linear feet and date from 1930 to 1973. The papers mostly consist of material related to the de Young Museum in the form of administration records, photographs of exhibition installations and artwork, and museum programs and calendars.
Arrangement:
The collection is arranged as 3 series.
Series 1: Administration Records, 1934-circa 1965 (0.2 linear feet; Box 1)
Series 2: Printed Material, 1930-1973 (1 linear feet; Boxes 1-2)
Series 3: Photographs, circa 1931-circa 1965 (0.8 linear feet; Box 2)
Biographical / Historical:
Ninfa Valvo (1900-1993) was the curator of painting and sculpture at the M. H. de Young Memorial Museum in San Francisco, California, from 1931 to 1965. The de Young Museum is one of the Fine Arts Museums of San Francisco.
Provenance:
The papers regarding the M. H. de Young Memorial Museum were donated by Ninfa Valvo in 1975.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- California -- San Francisco Search this
Citation:
Ninfa Valvo papers regarding the M. H. de Young Memorial Museum, circa 1930 to 1973. Archives of American Art, Smithsonian Institution.
The papers of curator Riva Castleman measure 10.6 linear feet and 7.83 GB, and date from 1930-2013 with one printed item dating from 1871. The collection contains biographical material, correspondence including mail art, writing project files, notebooks, interviews, project files, printed material, photographic material, and artwork. The collection richly documents Castleman's writing and research process and contains dozens of manuscripts for books, catalogs, and essays, as well as related correspondence and research including audio interviews and sound recordings. Several of Castleman's books about contemporary printmaking, such as Prints of the 20th Century (1976) and American Impressions (1985), are extensively documented, as are many of the catalogs she produced to accompany Museum of Modern Art exhibitions, including Jasper Johns: A Print Retrospective (1987) and The Prints of Andy Warhol (1990). Some records are in born-digital form including correspondence, manuscript drafts, and audio conversations with Tatyana Grosman. Other interviews are on sound cassettes.
Scope and Contents:
The papers of curator Riva Castleman measure 10.6 linear feet and 7.83 GB, and date from 1930-2013 with one printed item dating from 1871. The collection contains biographical material, correspondence including mail art, writing project files, notebooks, interviews, project files, printed material, photographic material, and artwork. The collection richly documents Castleman's writing and research process and contains dozens of manuscripts for books, catalogs, and essays, as well as related correspondence and research including audio interviews and sound recordings. Several of Castleman's books about contemporary printmaking, such as Prints of the 20th Century (1976) and American Impressions (1985), are extensively documented, as are many of the catalogs she produced to accompany Museum of Modern Art exhibitions, including Jasper Johns: A Print Retrospective (1987) and The Prints of Andy Warhol (1990). Some records are in born-digital form including correspondence, manuscript drafts, and audio conversations with Tatyana Grosman. Other interviews are on sound cassettes.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, 1930-2011 (Boxes 1-3; 3 linear feet)
Series 2: Correspondence, circa 1950-2012 (Boxes 4-5, OV 12, 1.5 linear feet; ER01, 0.001 GB)
Series 3: Writing Project Files, circa 1950-2013 (Boxes 5-8, 3.1 linear feet; ER02-ER04, 0.007 GB)
Series 4: Notebooks, 1950-2005 (Box 8; 0.3 linear feet)
Series 5: Interviews, 1980s-1990s (Box 8, 0.2 linear feet; ER05, 7.82 GB)
Series 6: Project Files, 1871, 1977-2003 (Box 9; 0.2 linear feet)
Series 7: Printed Material, 1950-2012 (Boxes 9-10; 1.4 linear feet)
Series 8: Photographic Material, 1960-2011 (Box 10, OV 13; 0.5 linear feet)
Series 9: Artwork, circa 1970-2010 (Box 11, OV 14-15; 0.4 linear feet)
Biographical / Historical:
Riva Castleman (1930-2014) was the Director of Prints and Illustrated Books at the Museum of Modern Art in New York City from 1976-1995. Born in Chicago, Castleman received her B.A. from the University of Iowa in 1951. After graduating, she worked at the Art Institute of Chicago and the California Historical Society. She was hired as a print cataloger at MoMA in 1963 before becoming department head in 1976. Her tenure coincided with the renaissance in American printmaking propelled by Andy Warhol, Robert Rauschenberg, and Jasper Johns, and her exhibitions and publications celebrated these artists along with master printmakers, including Tatyana Grosman of Universal Limited Art Editions.
Provenance:
Donated to the Archives of American Art in 2018 by Kristen Skedgell, Riva Castleman's niece.
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.
Use of archival audiovisual recordings and born-digital records 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:
Art museum curators -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
The Hal Glicksman papers relating to California artists measures 2.3 linear feet and date from 1936-2010, with the bulk of the records dating from 1960-1974. The collection is composed of artist files documenting Glicksman's relationship with various California artists as well as some of his personal papers.
Scope and Contents:
The Hal Glicksman papers relating to California artists measures 2.3 linear feet and date from 1936-2010, with the bulk of the records dating from 1960-1974. The collection includes artist files documenting Glicksman's relationships with various California artists as well as some of his personal papers. Glicksman's personal papers include correspondence, printed material, audiovisual recordings, a photograph, and some exhibition material. Artist files concern Ben Talbert, Phillip Hefferton, George Herms, Wallace Berman, and Marjorie Cameron, and include correspondence, artwork, photographs, writings, and printed material.
Arrangement:
The collection is arranged as two series.
Series 1: Hal Glicksman Personal Papers, 1940s-1996 (Box 1, 3; 12 folders)
Series 2: Artist Files, 1936-2010, bulk 1960-1974 (Box 1-3; 1.8 linear feet)
Biographical / Historical:
Hal Glicksman (1937-) was a curator in Southern California during the rise of minimalism and conceptual art. Glicksman was hired as gallery director and assistant professor at Pomona College in 1969, and a year later took up the position of associate director of the Corcoran Gallery of Art in Washington, D.C. He then returned to California in 1972 as director of the art gallery at the University of California, Irvine, and then a few years later became art gallery director at Otis Art Institute. Glicksman curated key exhibitions at the Pasadena Museum of California Art and the Los Angeles Institute of Contemporary Art, and was a founding board member of The Temple of Man, Venice, California.
Provenance:
The collection was donated by Hal Glicksman in 2017.
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.
Hal Glicksman papers relating to California artists, 1936-2010. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The interviews conducted by curator Maurice Tuchman measure 0.4 linear feet and date from 1976. The collection is a series of interviews with thirteen persons associated with the painter Richard Diebenkorn, including Diebenkorn's wife, his friends, as well as collectors, art historians, and others. The interviews were conducted in conjunction with the 1977 exhibition, "Richard Diebenkorn: Paintings and Drawings, 1943-1976" at the Los Angeles County Museum of Art.
Scope and Contents:
The interviews conducted by curator Maurice Tuchman measure 0.4 linear feet and date from 1976. The collection is a series of interviews with thirteen persons associated with the painter Richard Diebenkorn, including Diebenkorn's wife, his friends, as well as collectors, art historians, and others. The interviews were conducted in conjunction with the 1977 exhibition, "Richard Diebenkorn: Paintings and Drawings, 1943-1976" at the Los Angeles County Museum of Art.
Arrangement:
The collection is arranged as one series.
Series 1: Interviews, 1976 (0.4 linear feet; Box 1)
Biographical / Historical:
Maurice Tuchman (1936- ) was the curator of 20th Century art at the Los Angeles County Museum of Art. Tuchman was born in Jacksonville, Florida. He attended City University of New York for his undergraduate studies and completed a PhD in art history at Columbia University. In 1964, he became the curator of 20th century art at LACMA, where he has established the Art and Technology program and showcased Southern California artists.
Provenance:
The interviews were donated to the Archives of American Art by Maurice Tuchman in 1988.
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:
Art museum curators -- California -- Los Angeles Search this
Genre/Form:
Interviews
Sound recordings
Citation:
Maurice Tuchman interviews, 1976. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
California State University, Long Beach Search this
Extent:
17.1 Linear feet
6.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Video recordings
Date:
1960s-2014
Summary:
The papers of writer, art historian, and curator Constance Glenn measure 17.1 linear feet and 6.88 GB and date from the 1960s to 2014. The material documents Glenn's career through correspondence, writings, book project files, exhibition documentation, professional records, research files, printed and digital material, and some photographs. Also well documented is Glenn's tenure as Museum Director and educator at California State University, Long Beach.
Scope and Contents:
The papers of writer, art historian, curator and museum director Constance Glenn measure 17.1 linear feet and 6.88 GB and date from the 1960s to 2014. The papers consist of material related to Glenn's writings and book projects, curated exhibitions, professional associations, research, involvement with California State University, Long Beach, and printed and digital material. Exhibition openings, panel discussions, and interviews are present in the format of sound and video recordings. Also included are correspondence, photographs, and a small series related to Glenn's interest and experience in art collecting, including price lists, inventories, and provenance records.
Series 2: Correspondence, 1972-2014 (Box 1-2, 0.8 linear feet)
Series 3: Writings, 1981-2011 (Box 2-4, 2 linear feet)
Series 4: Book Projects, 1984-1999 (Box 4-6, 2.5 linear feet)
Series 5: Artist Files, 1976-2005 (Box 6-7, 1 linear feet, ER02-ER05; 2.54 GB)
Series 6: Exhibition Files, 1979-2003 (Box 7-10, 2.1 linear feet, ER06-ER07; 3.53 GB)
Series 7: Professional Files, 1979-2007 (Box 11-12, 1.3 linear feet)
Series 8: California State University, Long Beach, Files, 1975-2001 (Box 12-13, 1.8 linear feet, ER08; 0.051 GB)
Series 9: Art Inventory and Sales Records, circa 1960s-1980s (Box 13-14, 1 linear feet)
Series 10: Printed Material, 1960s-2014 (Box 14-15, 1.8 linear feet)
Series 11: Photographs, circa 1960s-2000s (Box 16-17, 2 linear feet)
Biographical / Historical:
Constance Glenn (1933-) is an art historian, writer, and curator in California. Glenn was the founding director of the University Art Museum at California State University, Long Beach. She received her Bachelor of Fine Art from the University of Kansas in 1955, and completed her Masters of Arts in Fine Art from California State University as she simultaneously founded the University Art Museum at CSULB in 1973. During her career at CSULB, the University Art Museum grew from a small gallery-sized exhibition space to a nationally-celebrated contemporary art museum. Glenn also founded the Graduate Certificate Program in Museum Studies at CSULB, and taught art history and museum studies courses at the university.
Exhibitions curated by Glenn include Frances Benjamin Johnson: Women of Status and Station (1979); Eric Fischl: Scenes Before the Eye (1986-1987); James Rosenquist: Time Dust/The Complete Graphics (1962-1992); The Great America Pop Art Store: Multiples of the Sixties (1997); and Candida Hofer: Architecture of Absence (2004). In addition, Glenn served as a consulting curator for A Happening Place (2003), curated by Cheryl Harper for the Gershman Y in Philadelphia, Pennsylvania.
As an art historian and writer, Glenn participated in lectures and panel discussions as well as published essays, articles, and books. Glenn was an editor and feature writer for Antiques & Fine Art, Angeles Magazine, and Architectural Digest; contributed biographical articles to the Dictionary of Art and Encyclopedia Americana; and was involved with professional associations such as the J. Paul Getty Trust Fund for the Visual Arts, Art/LA, Association of Art Museum Directors, and the Archives of American Art.
Glenn was married to art dealer Jack Glenn (1933-2014).
Provenance:
The collection was donated by Constance Glenn in 2016.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Constance Glenn papers, 1960s-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of painter, educator, and curator Jan Wurm measure 2.7 linear feet and date from 1966 to 2013. The collection provides a range of documentation of Wurm's career, highlighting her many exhibitions and instructional courses in the Berkeley, California area. Also found are thirty self-published books of Wurm's artwork, fifteen sketchbooks, and several photographs.
Scope and Contents:
The papers of painter, educator, and curator Jan Wurm measure 2.7 linear feet and date from 1966 to 2013. The collection provides a range of documentation of Wurm's career, highlighting her many exhibitions and instructional courses in the Berkeley, California area. Also found are thirty self-published books of Wurm's artwork, fifteen sketchbooks, and several photographs.
Arrangement:
This collection is arranged as four series.
Series 1: Printed Material, 1966-2013 (19 folders; Box 1, 4)
Series 2: Photographs, circa 2007-2013 (1 folder; Box 1)
Series 3: Self-Published Books of Artwork, 1980, 2008-2013 (30 folders; Box 1-2)
Series 4: Sketchbooks, 1967-2006 (15 folders; Box 2-4)
Biographical / Historical:
Jan Wurm (1951-) is a painter, educator, and curator based in Berkeley, California. She has been an instructor at University of California Berkeley Extension, the Berkeley Art Studio, and Osher Lifelong Learning Institute, as well as the Sommerakadamie in Neumarkt, Austria. Her work has been exhibited internationally, including at the Fine Arts Museums of San Francisco, the New York Public Library Print Collection, and the Universität für angewandte Kunst in Vienna, Austria.
Provenance:
The papers were donated in 2018 by Jan Wurm.
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.
