The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by artist Thiago Rocha Pitta, 2008.
Scope and Contents:
The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by Thiago Rocha Pitta, 2008.
Professional material consists of some identification cards and copies of passports, correspondence, notes and a notebook, and files related to exhibitions he curated. Some of the exhibitions include: "Light/Art: Mythic Crystal Revelation," "Where Do We Go From Here? Selections from La Coleccion Jumex," and "Now: Works From La Jumex Collection." Business records include some expense sheets for Jumex Foundation, price lists, receipts, and invoices. Printed material consists of articles, clippings, exhibition announcements and catalogs, and a series of spiral booklets for exhibitions done in collaboration with the Jumex Foundation. The booklets contain images of artwork, some exhibition text, and articles. Photographic material consists of photographs of Zamudio-Taylor and colleagues, photographs of artwork and exhibitions featuring the Jumex Foundation, and photographs and slides of artwork by other artists that Zamudio curated exhibitions for.
Arrangement:
The collection is arranged into four series.
Series 1: Professional Activity Files, 2001-2012 (0.6 linear feet: Box 1, OV 2)
Series 2: Personal Business Records, 2009-2013 (0.1 linear feet; Box 1)
Series 3: Printed Material, 2004-2012 (0.3 linear feet; Box 1)
Series 4: Photographic Material, circa 2000-2009 (0.1 linear feet; Box 1)
Biographical / Historical:
Victor Zamudio-Taylor (1956-2013) was an art historian and curator in San Francisco, California and Mexico City. Zamudio-Taylor worked as an advisor to the Jumex Foundation's president, Eugenio López-Alonso. He was also a Rockefeller Foundation senior associate researcher at the National Museum of American Art in Washington, D.C. He was responsible for shows including "Ultra Baroque: Aspects of Post Latin American Art," exhibited at the Museum of Contemporary Art in San Diego in 2001, and "Cities Scape" staged at ARCO in 2006.
Provenance:
Donated 2016 by Sophia Zamudio-Haas, Zamudio-Taylor's daughter.
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 -- California -- San Francisco Search this
Art historians -- 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
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
Exhibition announcements and brochures from the Ben Maltz Gallery at Otis College of Art and Design; photographs; greeting cards; notes; magazine reviews and articles about exhibitions Ayres' curated; correspondence; and manuscripts for lectures. Also included are four volumes of L.A. Artists' Publication, 1972-1973.
Biographical / Historical:
Curator; Los Angeles, Calif. Director of the Ben Maltz gallery at the Otis College of Art and Design.
Provenance:
Donated 2003 by Anne Ayres.
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 museum curators -- California -- Los Angeles 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
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.
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
The papers of curator Philip Brookman measure 3.5 linear feet and date from 1977 to 1993. The collection documents Brookman's exhibition, writing, and filmmaking projects in the form of artist files, exhibition files, professional files, and subject and research files. Much of the material concerns the production and distribution of Brookman's 1988 video documentary about Chicano art in California, Mi Otro Yo (My Other Self), that grew out of the exhibition and conference "Califas: An Exhibition of Chicano Art and Culture in California," held at University of California, Santa Cruz in 1981 and 1982.
Scope and Contents:
The papers of curator Philip Brookman measure 3.5 linear feet and date from 1977 to 1993. The collection documents Brookman's exhibition, writing, and filmmaking projects in the form of artist files, exhibition files, professional files, and subject and research files. Much of the material concerns the production and distribution of Brookman's 1988 video documentary about Chicano art in California, Mi Otro Yo (My Other Self), that grew out of the exhibition and conference "Califas: An Exhibition of Chicano Art and Culture in California," held at University of California, Santa Cruz in 1981 and 1982.
Artist files are for David Avalos, Guillermo Gómez-Peña, Louis Hock, Elizabeth Sisco, and others. Exhibition files include correspondence, notes, loan agreements, and printed material concerning Made in Aztlán, Photographing Ourselves: Contemporary Native American Photography, Chicano Art: Resistance and Affirmation/CARA among others. Professional files provide documentation on "El Centro Cultural de la Raza - Fifteen Years," Culture Wars: Documents from the Recent Controversies in the Arts, and various projects at Washington Project for the Arts.
Arrangement:
The collection is arranged as five series.
Series 1: Artist Files, 1981-1991 (Box 1; 0.5 linear feet)
Series 2: Exhibition Files, 1982-1992 (Boxes 1-2; 1.0 linear feet)
Series 3: Professional Files, 1982-1991 (Boxes 2-3, OV 5; 0.8 linear feet)
Series 4: Subject and Research Files, 1977-1993 (Box 3; 0.4 linear feet)
Series 5: Califas Documentation, 1981-1993 (Boxes 3-4, OV 5; 0.8 linear feet)
Biographical / Historical:
Philip Brookman is a curator in California and Washington, D.C. He was director of the Mary Porter Sesnon Art Gallery at the University of California at Santa Cruz from 1974 to 1983, a curator at El Centro Cultural de la Raza in San Diego from 1985 to 1986, and a curator at the Washington Project for the Arts from 1987 to 1997. Brookman was also Curator of Photography and Media Arts at the Corcoran Gallery of Art and is a consulting curator at the National Gallery of Art in Washington, D.C. He and his wife, Amy Brookman, co-directed the documentary Mi Otro Yo (My Other Self) about Chicano art in California which grew out of the Califas conference held at the University of California at Santa Cruz (UCSC) in 1982.
Provenance:
The papers were donated by Philip Brookman in 1999.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art museum curators -- Washington (D.C.) Search this
6 Items (microcassettes and 9 sound cassettes;(partially transcribed and microfilmed on 3 partial reels))
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1981 June 18- Nov. 20
Scope and Contents:
Interviews of California photographers conducted by curator Louise Katzman or Irene Borger in connection with the 1984 exhibition and catalog "California Photography: 1945 to the Present," organized by the San Francisco Museum of Modern Art. Interviewees include John Brumfield, David Fahey, Hal Fischer, Robbert Flick, Jack Fulton, John Gutmann, Mike Mandel and Larry Sultan, Leland Rice, Todd Walker, and Don Worth. Also included is an interview with Focus Gallery owner Helen Johnston.
REELS 3197-3199: Transcripts of interviews, including: David Fahey (19 p.), Hal Fischer (30 p.), Robbert Flick (32 p.), John Gutmann (26 p.), Mike Mandel and collaborator Larry Sultan (28 p.), Todd Walker (61 p.), and Don Worth (30 p.). The photographers discuss their early involvement with photography, influences on their work; studying and teaching; working in California; the photography market; and future directions of their work.
UNMICROFILMED: An interview of Leland Rice (83 p.).
UNTRANSCRIBED: Interviews of John Brumfield, Jack Fulton, and gallery owner Helen Johnston.
Provenance:
Donated 1982 by the San Francisco Museum of Modern Art.
Restrictions:
Leland Rice interview is: ACCESS RESTRICTED; written permission required.
Fahey, Fischer, Flick, Guttman, Mandel and Sultan, Walker and Worth interviews are: transcribed and microfilmed; patrons must use microfilm copy.
Brumfield, Fulton and Johnston are: untranscribed microcassettes; use requires an appt. and is limited to AAA's Washington, D.C. office.
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 Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Scope and Contents:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Arrangement:
The collection is arranged as four series:
Series 1: Biographical Material, 1938-1986 (0.6 linear feet; Box 1, OVs 4-6)
Series 2: Correspondence, 1940-1970 (0.5 linear feet; Box 1)
Series 3: Writings and Lectures, circa 1934-1981 (1 linear foot; Boxes 1-2)
Series 4: Professional Files, 1945-1984 (0.4 linear feet; Boxes 2-3)
Biographical / Historical:
Adelyn Dohme Breeskin (1896-1986) was an art historian and museum curator in Baltimore, Maryland, and Washington, D.C. She was the first woman to be named director of a major American museum, the Baltimore Museum of Art.
Adelyn Dohme took her first museum job in the print department of the Metropolitan Museum of Art, where she worked with Kathryn B. Child under the supervision of William Mills Ivins. She left the museum in 1920 to marry violinist Elias Breeskin, and the couple had three children before divorcing in 1930.
Following her divorce, Breeskin returned to her native Baltimore and took a position as a curator with the Baltimore Museum of Art. In 1942 she was appointed director of the museum and remained in that position until 1962. As director she gave Milton Avery and Mary Cassatt's graphics their first museum shows.
Breeskin served as commissioner for the American contingent of the Venice Biennale in 1960 and was director of the Washington Gallery of Modern Art from 1962-1964. She then became a special consultant in twentieth-century art for the Smithsonian's National Collection of Fine Art and served as the museum's curator of contemporary painting and sculpture from 1968 to 1974.
Breeskin authored two catalogue raisonnés of Mary Cassatt's work, and conducted extensive research for a monograph on Loren MacIver, although the monograph was ultimately not published. In 1985 Breeskin received the Smithsonian Institutions highest award, the Gold Medal for Exceptional Service, and at the time of her death in 1986, was senior curatorial adviser.
Related Materials:
The Archives of American Art also holds oral history interviews with Adelyn Breeskin conducted by Paul Cummings in 1974, and Julie Haifley in 1979.
Provenance:
Portions of the collection were donated to the Archives of American Art in a series of gifts from Adelyn Breeskin, 1979-1985. Material relating to Loren MacIver was donated 1979-1987 by Breeskin and Robert Frash, who had possession of Breeskin's research materials on MacIver for an exhibition on MacIver he curated in California. Letters from Georgia O'Keeffe, Stanton Macdonald-Wright, and Lawrence Calcagno, an exhibition catalog for Calcagno, and the file on Milton Avery, were donated by the National Museum of American Art on January 28, 1981. The birthday book was a gift from Breeskin's daughter, Gloria Breeskin Peck, in 2015. The sound recordings were transferred from the National Museum of American Art, circa 1984.
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 -- Maryland -- Baltimore Search this
Art historians -- Maryland -- Baltimore Search this
Art museum directors -- Maryland -- Baltimore Search this
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.
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
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.
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
