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David Ireland Papers

Artist:
Ireland, David, 1930-2009  Search this
Names:
American Academy in Rome  Search this
Arts Club of Chicago  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Center for the Arts at Yerba Buena Gardens  Search this
Gallery Paule Anglim  Search this
Helmhaus Zürich  Search this
Mattress Factory  Search this
New Museum of Contemporary Art (New York, N.Y.)  Search this
Perth Institute of Contemporary Arts  Search this
San Francisco Art Institute  Search this
San Francisco Museum of Modern Art  Search this
Skowhegan School of Painting and Sculpture  Search this
Stanford University  Search this
Walker Art Center  Search this
Washington State Arts Commission  Search this
Western Washington University  Search this
Coppola, Eleanor  Search this
Grobart, Jeffrey  Search this
Lee, Margie  Search this
Lienhard, Marie-Louise  Search this
Marion, Paul  Search this
Tingle, Alta  Search this
Extent:
24.8 Linear feet
8.39 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Date:
circa 1910s-circa 2009
bulk 1960-2005
Summary:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
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 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:
Sculptors -- California -- San Francisco  Search this
Conceptual artists -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Installations (Art)  Search this
Public art  Search this
Genre/Form:
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ireldavi
See more items in:
David Ireland Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ireldavi

Hassel Smith papers

Creator:
Smith, Hassel, 1915-2007  Search this
Names:
Gimpel Fils  Search this
New Arts (Art gallery)  Search this
San Francisco Art Institute -- Faculty  Search this
Anglim, Paule  Search this
Bischoff, Elmer, 1916-1991  Search this
Butterfield, Jan  Search this
Emmerich, André  Search this
Fitz Gibbon, John  Search this
Gimpel, Charles  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Swanson, Kathryn  Search this
Thiebaud, Wayne  Search this
Wollard, Robert  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Sketches
Transcripts
Christmas cards
Photographs
Date:
circa 1900-2004
bulk 1930-1995
Summary:
The papers of Southern California painter and instructor Hassel Smith measure 4 linear feet and date from circa 1900 to 2004 with the bulk of the materials dating from 1930-1995. Found within the papers are correspondence, a transcript of an interview conducted by Jan Butterfield in the 1980s, personal business files, teaching files, writings by Smith and others, sketches, printed materials, and photographs of Smith, his family and friends, and his artwork. There are audio recordings of a lecture series organized by Smith and of reviews of Smith's work. Correspondents include Paule Anglim, Elmer Bischoff, Andre Emmerich, Clyfford Still, Wayne Thiebaud, and many others.
Scope and Content Note:
The papers of Southern California painter and instructor Hassel Smith measure 4 linear feet and date from circa 1900 to 2004 with the bulk of the materials dating from 1930-1995. Found within the papers are correspondence, a transcript of an interview conducted by Jan Butterfield in the 1980s, personal business files, teaching files, writings by Smith and others, sketches, printed materials, and photographs of Smith, his family and friends, and his artwork. There are audio recordings of a lecture series organized by Smith and of reviews of Smith's work. Correspondents include Paule Anglim, Elmer Bischoff, Andre Emmerich, Clyfford Still, Wayne Thiebaud, and many others.

Biographical materials include biographical sketches, curriculum vitae, genealogical materials, ephemera, and personal appointment books from the mid to late 1970s. Also found here is a transcript of an in-depth interview of Smith conducted by Jan Butterfield in the 1980s.

There is personal and professional correspondence with Paule Anglim, Elmer Bischoff, Andre Emmerich, Charles Gimpel of Gimpel Fils, Clyfford and Patricia Still, Kathryn Swanson of the New Arts Gallery, Wayne Thiebaud, family members, and many others.

Personal business records include art sales records, exhibition checklists, conservation and condition reports, and personal finance records. Teaching materials include class schedules, student lists, and syllabi. Also found are notes on topics such as American art and literature, artistic traits and forms, illusion, and women artists.

Writings by Smith include artist statements, creative writings, his thoughts on the art market and art institutions, the San Francisco art community, and social criticism. Writings by others consist primarily of essays about Smith and his work. There are also writings by Smith's friend Robert Wollard. Artwork includes sketches, doodles, and Christmas cards done by Smith, and a handful of artwork by others.

Printed materials include clippings, exhibition announcements and catalogs, and posters. Also found here are printed materials about other artists, schools where Smith enrolled or taught, Smith's general interests, and collages and flyers by Robert Wollard. There is a printed copy of the pictorial edition of the Communist Manifesto edited by Smith and other artists.

Photographic materials are of Smith, family members, artwork, his studio, exhibition openings and other art events, and friends and colleagues. A family photograph dates from circa 1900 and negatives date from 1920. Most of the photographs date from the 1940s through the 1990s.

Sound recordings include 1 sound tape reel of the radio show, Art Review, with host John Fitz Gibbon reviewing Smith's artwork, and nine sound cassettes of student critiques overseen by Smith at the San Francisco Art Institute.
Arrangement:
The collection is arranged into 9 series.

Series 1: Biographical Materials, 1930-2004 (0.25 linear feet; Box 1)

Series 2: Correspondence, 1930s-2003 (1.0 linear foot; Boxes 1-2)

Series 3: Personal Business Materials, 1953-2003 (0.25 linear feet; Box 2)

Series 4: Teaching Materials, 1960s-1980s (18 folders; Box 2)

Series 5: Writings, 1940s-1994 (0.25 linear feet; Box 2)

Series 6: Artwork, 1928-1995 (8 folders; Box 2)

Series 7: Printed Materials, 1928-2003 (1.25 linear feet; Boxes 3-4)

Series 8: Photographic Materials, 1900s-2004 (0.5 linear feet; Box 4)

Series 9: Sound Recordings, 1965-1980 (10 items; Box 4)
Biographical Note:
Hassel Smith (1915-2007) was a California Bay area abstract expressionist painter, painting instructor at the California School of Fine Arts, and a lecturer at the University of California. His students included Roy De Forest, Sonia Gechtoff, and Frank Lobdell. Smith was also associated with the famed Los Angeles Ferus Gallery.

Hassel Smith was born on April 27, 1915, in Sturgis, Michigan, settling later with his family in San Mateo, California. He attended Northwestern University with the intention of becoming a chemist, but switched his majors to English and Art History and graduated in 1936. Returning to California, Smith enrolled at the California School of Fine Arts (CSFA), and studied with the painter Maurice Sterne.

In 1937, he left school and shared housing with his adopted brother Lewis in the Haight-Ashbury district, where he maintained a studio on Steiner Street. At the same time, as a social worker for the California Relief State Administration, he worked with men on "skid row" in San Francisco. Declared 4F by the draft board, Smith served various government agencies during World War II, including the Farm Security Administration and the U.S. Forest Service. During this period, he met and married June Meyers. He later described his government service and social work as having a strong influence on his art and politics.

In 1941, Smith was awarded the Abraham Rosenberg Fellowship from the University of California, Berkeley, which allowed him to travel and paint outdoors at Angel's Camp in the Mother Lode of the Sierra foothills, along with Richard Hackett.

At the end of the war, Smith began teaching at the CSFA, joining faculty members Richard Diebenkorn, David Park, and Clyfford Still. Smith taught there until 1952. His students included Roy De Forest, Sonia Gechtoff, and Frank Lobdell. Smith continued to paint and exhibit work throughout the 1950s, and in 1958 became affiliated with the Ferus Gallery founded by Walter Hopps and Ed Kienholz. His wife June passed away in 1958. One year later, Smith remarried Donna Rafferty Harrington, and they had their son Bruce in 1960.

After an exhibition at the New Arts Gallery in Houston, London-based dealer Charles Gimpel invited Smith to exhibit his work in England. As a result of this, Smith moved to England in 1962, and spent a year living in Mousehole, a fishing village in Cornwall. He moved back to California and between 1963 to 1966 was a visiting lecturer at the University of California, Berkeley and the University of California, Los Angeles. In 1966, Smith accepted a position as Senior Lecturer at the West England College of Art in Bristol, England where he stayed until 1978. He finished his teaching career as a Principal Lecturer at the Cardiff College of Arts in Wales from 1978 to 1979.

Smith spent most of the next two decades painting and exhibiting, which included exhibitions at the Oakland Museum and the San Jose Museum of Art. In 1991, he was awarded an honorary doctorate by the San Francisco Art Institute (formerly the California School of Fine Arts). Due to failing health, Smith was forced to stop painting in 1997. Smith died in 2007 in Warminster, England, at the age of 91.
Related Material:
Also found in the Archives of American Art is an oral history interview with Hassel Smith conducted by Paul Karlstrom, September 5, 1978 and a video interview with Hassel Smith conducted by Paul Karlstrom, January 15, 1986.
Provenance:
Hassel Smith donated most of his papers in several increments between 1980 and 1998. His son Joseph donated audio recordings in 1980, and Hassel Smith's widow Donna donated additional materials in 2004.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California  Search this
Topic:
Art -- Study and teaching  Search this
Educators -- California -- Berkeley  Search this
Artists' studios -- Photographs  Search this
Abstract expressionism  Search this
Women artists  Search this
Art -- California -- San Francisco Bay Area  Search this
Art, American  Search this
Genre/Form:
Interviews
Sound recordings
Sketches
Transcripts
Christmas cards
Photographs
Citation:
Hassel Smith papers, circa 1900-2004, bulk 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smithass
See more items in:
Hassel Smith papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smithass
Online Media:

David Hockney

Photographer:
Emmerich, Andre, 1924-2007  Search this
Emmerich, Andre, 1924-2007  Search this
Subject:
Hockney, David  Search this
Type:
Photographs
Date:
1982 April
Topic:
Artists' studios  Search this
Record number:
(DSI-AAA)9354
See more items in:
André Emmerich Gallery records, circa 1929-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9354
Online Media:

Oral history interview with Andrea Zittel, 2018 January 8-9

Interviewee:
Zittel, Andrea, 1965-  Search this
Zittel, Andrea, 1965-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Type:
Sound recordings
Interviews
Topic:
Multimedia (Art)  Search this
Women artists -- California -- Interviews  Search this
Women artists -- New York (State) -- New York -- Interviews  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)17534
(DSI-AAA_SIRISBib)392051
AAA_collcode_zittel17
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_392051

Oral history interview with Doug Aitken, 2017 July 22-24

Interviewee:
Aitken, Doug, 1968-  Search this
Aitken, Doug, 1968-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Type:
Interviews
Sound recordings
Topic:
Artists -- California -- Interviews  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Multimedia (Art)  Search this
Record number:
(DSI-AAA_CollID)17493
(DSI-AAA_SIRISBib)389579
AAA_collcode_aitken17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_389579
Online Media:

Hassel Smith papers, circa 1900-2004, bulk 1930-1995

Creator:
Smith, Hassel Wendell, 1915-2007  Search this
Smith, Hassel Wendell, 1915-2007  Search this
Subject:
Fitz Gibbon, John  Search this
Emmerich, André  Search this
Gimpel, Charles  Search this
Still, Patricia  Search this
Thiebaud, Wayne  Search this
Swanson, Kathryn  Search this
Wollard, Robert  Search this
Butterfield, Jan  Search this
Still, Clyfford  Search this
Bischoff, Elmer  Search this
Anglim, Paule  Search this
Gimpel Fils  Search this
New Arts (Art gallery)  Search this
San Francisco Art Institute  Search this
Type:
Interviews
Sound recordings
Sketches
Transcripts
Christmas cards
Photographs
Topic:
Art -- Study and teaching  Search this
Educators -- California -- Berkeley  Search this
Artists' studios -- Photographs  Search this
Abstract expressionism  Search this
Women artists  Search this
Art -- California -- San Francisco Bay Area  Search this
Art, American  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)5714
(DSI-AAA_SIRISBib)208552
AAA_collcode_smithass
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208552
Online Media:

J. Bond Francisco papers, 1880-1957

Creator:
Francisco, J. Bond (John Bond), 1863-1931  Search this
Francisco, J. Bond (John Bond), 1863-1931  Search this
Subject:
Patti, Adelina  Search this
Wright, Harold Bell  Search this
Place:
Arizona -- Pictorial works.
Topic:
Artists' studios -- Photographs  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6354
(DSI-AAA_SIRISBib)215102
AAA_collcode_franj
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215102

John Outterbridge papers, 1953-1997

Creator:
Outterbridge, John Wilfred, 1933-2020  Search this
Outterbridge, John Wilfred, 1933-2020  Search this
Subject:
Simone, Nina  Search this
Otis, Johnny  Search this
Marley, Bob  Search this
Hines, Gregory  Search this
White, Charles  Search this
Bradley, Tom  Search this
Angelou, Maya  Search this
Watts Towers Art Center  Search this
Type:
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Place:
Watts (Los Angeles, Calif.) -- Buildings, structures, etc
Topic:
Sculptors -- California -- Los Angeles  Search this
Artists' studios -- Photographs  Search this
Towers -- California -- Los Angeles  Search this
African American artists  Search this
Theme:
African American  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6097
(DSI-AAA_SIRISBib)216289
AAA_collcode_outtjohn
Theme:
African American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216289
Online Media:

Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990

Creator:
Falkenstein, Claire, 1908-1997  Search this
Falkenstein, Claire, 1908-1997  Search this
Subject:
O'Donnell, May  Search this
Still, Patricia  Search this
Still, Clyfford  Search this
Sawyer, Kenneth B.  Search this
Guggenheim, Peggy  Search this
Green, Ray  Search this
Kuh, Katharine  Search this
Wildenhain, Frans  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Pond Farm Workshop  Search this
Merging One Gallery  Search this
San Francisco Museum of Art  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
Martha Jackson Gallery  Search this
Malvina Miller  Search this
Los Angeles Museum of Art  Search this
Coos Art Museum  Search this
Galerie Anderson-Mayer  Search this
Gallery Stadler  Search this
Fresno Art Museum  Search this
Mills College  Search this
University of California, San Francisco. School of Fine Arts  Search this
Type:
Drawings
Motion pictures (visual works)
Scrapbooks
Sketchbooks
Diaries
Photographs
Sketches
Topic:
Women artists -- California  Search this
Women artists -- France -- Paris  Search this
Sculptors -- California  Search this
Interviews  Search this
Awards  Search this
Transcripts  Search this
Articles  Search this
Designers -- California  Search this
Drafts (documents)  Search this
Art -- Study and teaching  Search this
Poetry  Search this
Scripts  Search this
Notebooks  Search this
Artists' studios  Search this
Art -- Economic aspects  Search this
Art patronage  Search this
Educators -- California  Search this
Jewelry -- Design  Search this
Sculptors -- France -- Paris  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6135
(DSI-AAA_SIRISBib)216351
AAA_collcode_falkclai
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216351
Online Media:

Tony DeLap papers, circa 1950-2015

Creator:
DeLap, Tony, 1927-2019  Search this
DeLap, Tony, 1927-2019  Search this
Subject:
Conner, Bruce  Search this
Darrow, Paul  Search this
Hafif, Marcia  Search this
Kauffman, Craig  Search this
Landau, Felix  Search this
McCracken, John  Search this
McLaughlin, John  Search this
Nauman, Bruce  Search this
Rhinelander, Clare H.  Search this
Solomon, Alan R.  Search this
Stinton,, Nell  Search this
Thiebaud, Wayne  Search this
Wortz, Melinda  Search this
Janus Gallery (Venice, Los Angeles, Calif.)  Search this
University of California, Irvine  Search this
Type:
Greeting cards
Photographs
Postcards
Scrapbooks
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Record number:
(DSI-AAA_CollID)17425
(DSI-AAA_SIRISBib)384999
AAA_collcode_delatony
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_384999
Online Media:

Advertising

Collection Creator:
Woman's Building (Los Angeles, Calif.)  Search this
Container:
Box 7, Folder 1
Type:
Archival materials
Date:
1985-1986
Collection Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Woman's Building records
Woman's Building records / Series 1: Administrative Files / 1.4: Publicity and Outreach
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-womabuil-ref290
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Tamarind Lithography Workshop records

Creator:
Tamarind Lithography Workshop  Search this
Names:
Tamarind Institute  Search this
Adams, Clinton, 1918-2002  Search this
Antreasian, Garo Z., 1922-2018  Search this
Brice, William, 1921-2008  Search this
Francis, Sam, 1923-1994  Search this
Hultberg, John, 1922-  Search this
McLaughlin, John, 1898-1976  Search this
Schwartz, Aubrey, 1928-  Search this
Wayne, June, 1918-2011  Search this
Woelffer, Emerson, 1914-2003  Search this
Extent:
1 Linear foot (Gift: (partially microfilmed on 2 reels))
37 Reels (Loan)
Type:
Collection descriptions
Archival materials
Reels
Date:
1954-1984
Scope and Contents:
Artists' files; institutional files; printed material and photographs.
REELS 2866-2878: Artists' files, 1960-1981, containing biographical data, correspondence, project proposals, contract agreements, invoices, receipts, newspaper and magazine clippings, exhibition catalogs and announcements, and press releases.
REELS 2952-2975: Organizational files, 1958-1972, containing Board member's and Board of Directors correspondence, 1958-1972, Executive Committee minutes and panel of selection correspondence and recommendations; correspondence of Garo Antreasian, Clinton Adams, John Sommers and June Wayne, 1954-1973; grant applications from Manolis Piladakis, Noemi Smilansky and other artists; data on staff, including biographical data, employment contracts and printed material; and material on printer training programs, artists, writers, printers and curators.
REEL 3051: Files, 1960-1978, containing correspondence with artists, Board of Directors, Panel of Selections, Clinton Adams, Garo Antreasian, June Wayne and others; and printer evaluation reports and general correspondence.
REELS 3052-3055: Organizational files, 1959-1981, containing correspondence, information on fellowships and printer and curatorial training, biographical data, printed material, photographs of artists and printers, progress reports and proposals, financial material and printed material; 4 scrapbooks of printed material, 1960-1972; and photographs of artists, printers, the studio, staff parties, workshops, special projects and lithographs. [261 duplicate prints of some of the above photos were given to the Archives April 2, 1984 for study purposes only].
UNMICROFILMED: Printed material, 1958-1984, including catalogs, brochures, exhibition catalogs and publications by the workshop and institute; price lists of Tamarind lithography editions, 1983-1984; publications concerning the art and technique of lithography and the marketing of prints; and photographs of William Brice, Sam Francis, John Hultberg, John D. McLaughlin, Aubrey E. Schwartz and Emerson Woelffer with June Wayne working in the studio.
REEL 439-440 AND SCANNED Seventeen photos of artists, previously microfilmed under Photos of Artists I, and subsequently scanned and returned to the Tamarind records. Artists include: Annie Albers, Josef Albers, William Brice, Richard Diebendorn, Sam Francis, John Hultberg, John McLaughlin, Nathan Loiveria, Henry C. Pearson, Miriam Schapiro, Aubrey Schwartz, Esteban Vicente, Romas Viesulas, Emerson Woelffer, and Adja Yunkers.
Biographical / Historical:
Lithography workshop; Los Angeles, Calif. Founded in 1960 by Garo Antreasian, Clinton Adams and June Wayne. Relocated to Albuquerque, N.M., 1970, by Adams and Antreasian and re-established as the Tamarind Institute.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project, 1983-1984. Unmicrofilmed material and 261 duplicate prints of some photos on reels 3052-3055 donated 1984 by the Tamarind Institute via Clinton Adams, director.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Reel 3051 is ACCESS RESTRICTED written permission is required.
Occupation:
Lithographers -- California -- Los Angeles  Search this
Printmakers -- California -- Los Angeles  Search this
Topic:
Lithography -- 20th century -- California -- Los Angeles -- Study and teaching  Search this
Function:
Artists' studios -- California
Identifier:
AAA.tamalitw
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tamalitw

Roman A. Clef (aka Henry E. Guerriero) and Michael Leopold papers

Creator:
Clef, Roman A., 1929-  Search this
Leopold, Michael, 1929-  Search this
Names:
Clef, Roman A., 1929-  Search this
Dole, William, 1917-  Search this
Schaffner, Ruth S.  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1968-1980
Scope and Contents:
Photographs of Leopold and Clef in their studio and of William Dole and Ruth S. Schaffner at an exhibition opening; manuscripts by Leopold and Clef entitled "Roman A. Clef on the Works of Henry Guerriero," "X-Art," "Polarity,"and "Refinement and Re-Evaluation," and drafts for catalog texts; exhibition catalogs and announcements; and a draft for a Henry Guerriero exhibition catalog by art critic Richard Ames.
Biographical / Historical:
Sculptor, writer; California. In 1978 Henry Guerriero changed his name to Roman A. Clef. Michael Leopold is his "collaborator-in-print," critic and writer.
Provenance:
Donated by Clef and Leopold, 1979-1980.
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 -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Topic:
Artists' writings  Search this
Sculpture, Modern -- 20th century -- California -- Los Angeles  Search this
Function:
Artists' studios -- California
Identifier:
AAA.guerhenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-guerhenr

Takis Efstathiou papers regarding Ynez Johnston

Creator:
Efstathiou, Takis, 1944-  Search this
Names:
Ericson Gallery  Search this
Johnston, Ynez, 1920-  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1954-2004
Summary:
This small collection of papers of New York City art dealer Takis Efstathiou papers regarding Los Angeles artist Ynez Johnston measure 0.8 linear feet and date from 1954-2004. The papers include correspondence with Johnston and with institutions regarding Johnston's work and career, a few business records from the Ericson Gallery (owned by Efstathiou), printed material about Johnston, and photographic material of Johnston's artwork and of the artist at home, in her studio, and of the exhibition opening organized by Efstathiou at Ericson Gallery in 1979.
Scope and Contents:
This small collection of papers of New York City art dealer Takis Efstathiou papers regarding Los Angeles artist Ynez Johnston measure 0.8 linear feet and date from 1954-2004. The papers include correspondence with Johnston and with institutions regarding Johnston's work and career, a few business records from the Ericson Gallery (owned by Efstathiou), printed material about Johnston, and photographic material of Johnston's artwork and of the artist at home, in her studio, and of the exhibition opening organized by Efstathiou at Ericson Gallery in 1979.
Arrangement:
The collection is arranged as four series

Series 1: Correspondence, 1974-1999 (0.2 linear feet; Box 1)

Series 2: Business Records, circa 1975-1979 (2 folders; Box 1)

Series 3: Printed Material, 1954-2004 (0.3 linear feet; Box 1-2)

Series 4: Photographic Material, circa 1977-1999 (0.2 linear feet; Box 2)
Biographical / Historical:
Takis Efstathiou (1944- ) is a New York City art dealer for the work of Ynez Johnston. He was director of Tchernov Gallery in 1973, and, in 1977, opened the Ericson gallery on 74th Street and Madison Avenue, before becoming a private dealer in 1986 working under the name PTE Fine Arts. Ynez Johnston is a printmaker, painter, sculptor, and instructor who lives and works in Southern California.
Related Materials:
Also found in the Archives of American Art are the scattered records of Efstathiou's private art dealing business PTE Fine Arts.
Provenance:
Donated to the Archives of American Art by Takis Efstathiou in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- Los Angeles  Search this
Topic:
Art dealers -- New York (State) -- New York  Search this
Printmakers -- California -- Los Angeles  Search this
Women artists -- California -- Los Angeles  Search this
Function:
Artists' studios -- California
Genre/Form:
Photographs
Citation:
Takis Efstathiou papers regarding Ynez Johnston, 1954-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.efsttaki
See more items in:
Takis Efstathiou papers regarding Ynez Johnston
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-efsttaki

Thomas Carr Howe papers

Creator:
Howe, Thomas Carr, 1904-1994  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Bohemian Club (San Francisco, Calif.)  Search this
California Palace of the Legion of Honor  Search this
M.H. de Young Memorial Museum  Search this
United States. Army. Monuments, Fine Arts and Archives Section  Search this
Berenson, Bernard, 1865-1959  Search this
Cronyn, Hume  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Göring, Hermann, 1893-1946  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Kelleher, Patrick J. (Patrick Joseph), 1917-  Search this
Mallory, Margaret, 1911-1998  Search this
Mills, Paul Chadbourne, 1924-  Search this
Moore, Lamont  Search this
Ritchie, Andrew Carnduff  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Standen, Edith Appleton  Search this
Stout, George L. (George Leslie)  Search this
Valland, Rose  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Photographs
Date:
1932-1984
Summary:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Scope and Content Note:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.

Biographical materials include articles and memorial tributes for Howe's father and grandfather, a short autobiography and resume, and the certificate for the copyright to his book.

The bulk of the collection consists of correspondence, the most voluminous of which are letters from Monuments Men S. Lane Faison, Patrick J. Kelleher, Andrew C. Ritchie, Edith Standen, George Stout, Marcelle Minet, Rose Valland, James Rorimer, and others. Additional correspondents include friends and colleagues such as Bernard Berenson, Hume Cronyn, Paul Mills, Christopher Forbes, Margaret Mallory, William A. McGonagle, and Otto Wittman, among many others

Writings include a brief summary of Howe's book Salt Mines and Castles and a sound cassette of his lecture about the book. Project, membership and travel files are primarily associated with his professional work at the California Palace of the Legion of Honor and include documentation of member art trips, a feasibility study for merging the California Palace of the Legion of Honor with the M. H. de Young Memorial Museum, and a membership list of the Bohemian Club.

The Monuments, Fine Arts and Archives (MFAA) Records and Looted Inventories series contain many records relating to Howe's military service as a Monuments Man. There are several inventory records which contain lists of the contents of Hermann Göring's collection of looted artwork, artwork destroyed in the Flak towers fire in Berlin, and artwork held at several of the central collecting points, though mostly at Weisbaden. There is also a small fold out map of the Altausse salt mines; a U.S. government issued manual of maps marking important cultural monuments and artwork in Germany; a book of U.S. government regulations pertaining to the MFAA section; a government information bulletin; and several official status reports and published U.S. government reports about art looting investigations and safeguarding cultural property.

Professional files consist of papers relating to Howe's job as the director of the California Palace of the Legion of Honor and art trips he organized. Documents include a survey of Los Angeles museum curator salaries, a questionnaire about Howe's work as a museum director, and a membership list of Bohemian Club artists. The bulk of the travel papers are itineraries.

The photographs are divided into two subseries: MFAA Section images and personal photographs. The Monuments Men subseries includes photographs documenting bomb damage to cultural monuments in various countries, though mainly Germany; U.S. soldiers transporting recovered artwork such as Michelangelo's Madonna and Child from the Altaussee salt mines in Austria, and other looted art repositories such as Neuschwanstein Castle and Berchtesgaden in Germany; Weisbaden and Munich collecting points; and art recovery of The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There are many photographs of the Monuments Men including Thomas Carr Howe, George Stout, Stephen Kovalyak, Lamont Moore, Patrick J. Kelleher, Edith Standen, and Rose Valland. Personal photographs consists of portraits of Howe and photographs of events, mostly formal dinners and parties.

Printed materials are clippings, postcards, fundraising pamphlets, essays, and memorial tributes for colleagues.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Materials, 1934-1955, 1974 (Box 1; 6 folders)

Series 2: Correspondence, 1932-1984 (Box 1-3; 2.1 linear feet)

Series 3: Writings, circa 1946 (Box 3; 2 folders)

Series 4: Professional Files, circa 1945-1975 (Box 3, 5; 0.3 linear feet folders)

Series 5: Monuments, Fine Arts and Archives Records and Looted Inventories, circa 1942-1950 (Box 3, 5, OV 6; 0.3 linear feet)

Series 6: Photographs, 1938-1970 (Box 3-5; 1.2 linear feet)

Series 7: Scrapbook, 1936-1948 (Box 4; 0.1 linear feet)

Series 8: Printed Materials, 1934-1980 (Box 4; 0.4 linear feet)
Biographical Note:
Thomas Carr Howe, Jr. (1904-1994) served as the director of the California Palace of the Legion of Honor in San Francisco for nearly four decades and, during World War II, as an officer in the U.S. Army's Monuments, Fine Arts and Archives unit assisting with locating, recovering, and restituting cultural objects and artwork stolen by the Nazis.

Howe was born in Kokomo, Indiana in 1904. He studied at Harvard University where he received his bachelor's and master's degrees. Howe was the assistant director of the California Palace of the Legion of Honor in San Francisco from 1931-1939 and director from 1939-1968. Howe was also the art commissioner for the San Francisco Golden Gate International Exposition (1939-1940) for which he organized an exhibition showcasing Mexican muralists.

During World War II, Howe joined the U.S. army and served from 1945 to 1946 in Germany and Austria. He began as a naval lieutenant but was soon assigned to serve in the Monuments, Fine Arts and Archives (MFAA) section. Howe reported to Lieutenant Commander George Stout at Wiesbaden, and was later promoted to Lieutenant Commander and Deputy Chief of the MFAA at Frankfurt. During his service as one of the "Monuments Men" Howe located hidden and recovered large repositories of cultural objects and works of art stolen by the Nazis. He also helped with the restitution effort. At the Altaussee salt mines in Austria, Howe helped salvage a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck, Vermeer's The Artists Studio, and the Rothschild family jewels. Howe later described his wartime work in his book Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).

Howe resumed his position as the director of the California Palace of the Legion on Honor after the war, a position he held until his retirement in 1968. Through his career as a prominent art director, Howe was close with many American and international museum professionals, collectors and socialites. Friends and colleagues include Agnes Mongan and Paul Sachs (both former directors of Harvard's Fogg Museum), Whitney Warren, and Gerda and Hans-Erich Von Schmidt auf Altenstadt.

For his wartime service as a Monuments Men, Howe was honored with the Chevalier of the French Legion of Honor and the Officier of the Dutch Order of Orange-Nassau in 1946. At the request of the federal government, Howe also later served as the Cultural Affairs Advisor to the High Commissioner of Germany from 1950-1951, during which time he returned to Germany with S. Lane Faison, another MFAA official, to assist with closing the central collecting points where the recovered artworks has been held for restitution. From 1960-1968, Howe was a member of the Fine Arts Committee for The White House and he continued to serve on numerous panels and commissions as an art advisor.

Howe married Francesca Deering. Together they had one daughter Francesca.
Related Material:
Among the holdings of the Archives of American are the papers of several additional members of the U. S. Army MFAA section. There is an oral history interview with Thomas Carr Howe and Robert Neuhaus conducted by Paul Karlstrom and Peter Fairbanks on September 26, 1987 and another with Howe conducted by Paul Karlstrom on June 2-3, 1976.
Provenance:
Thomas Carr Howe donated his papers to the Archives of American Art in multiple installments from 1979 to 1982.
Restrictions:
Use of original papers requires an appointment.
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:
Arts administrators -- California -- San Francisco  Search this
Topic:
World War, 1939-1945 -- Destruction and pillage -- Europe  Search this
World War, 1939-1945 -- Confiscations and contributions -- Germany  Search this
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Museum directors -- California -- San Francisco  Search this
Art treasures in war -- Germany  Search this
World War, 1939-1945 -- Art and the war  Search this
Art treasures in war -- France  Search this
Genre/Form:
Scrapbooks
Sound recordings
Photographs
Citation:
Thomas Carr Howe papers, 1932-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howethom
See more items in:
Thomas Carr Howe papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-howethom
Online Media:

Claire Falkenstein papers

Creator:
Falkenstein, Claire, 1908-1997  Search this
Names:
Coos Art Museum  Search this
Fresno Art Museum  Search this
Galerie Anderson-Mayer  Search this
Gallery Stadler  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Los Angeles Museum of Art  Search this
Malvina Miller  Search this
Martha Jackson Gallery  Search this
Merging One Gallery  Search this
Mills College -- Faculty  Search this
Pond Farm Workshop  Search this
San Francisco Museum of Art  Search this
University of California, San Francisco. School of Fine Arts -- Faculty  Search this
Green, Ray, 1908-1997  Search this
Guggenheim, Peggy, 1898-  Search this
Kuh, Katharine  Search this
O'Donnell, May, 1906-2004  Search this
Sawyer, Kenneth B.  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
42.8 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Motion pictures (visual works)
Scrapbooks
Sketchbooks
Diaries
Photographs
Sketches
Date:
circa 1914-1997
bulk 1940-1990
Summary:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.

Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.

Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.

Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.

Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.

Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.

Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.

There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.

Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.

Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)

Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)

Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)

Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)

Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)

Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)

Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)

Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)

Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)

Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.

Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.

During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.

In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.

In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.

During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.

Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.

Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.

Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.

Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.

Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California  Search this
Topic:
Women artists -- California  Search this
Women artists -- France -- Paris  Search this
Sculptors -- California  Search this
Interviews  Search this
Awards  Search this
Transcripts  Search this
Articles  Search this
Designers -- California  Search this
Drafts (documents)  Search this
Art -- Study and teaching  Search this
Poetry  Search this
Scripts  Search this
Notebooks  Search this
Artists' studios  Search this
Art -- Economic aspects  Search this
Art patronage  Search this
Educators -- California  Search this
Jewelry -- Design  Search this
Sculptors -- France -- Paris  Search this
Genre/Form:
Drawings
Motion pictures (visual works)
Scrapbooks
Sketchbooks
Diaries
Photographs
Sketches
Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-falkclai
Online Media:

Oral history interview with Andrea Zittel

Interviewee:
Zittel, Andrea, 1965-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Extent:
21 Items (sound files (5 hr., 24 min.) Audio, digital, wav)
126 Pages
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2018 January 8-9
Scope and Contents:
An interview with Andrea Zittel conducted 2018 January 8 and 9, by Hunter Drohojowska-Philp, for the Archives of American Art, at the artist's studio in Joshua Tree, California.
Zittel discusses life as an artist and designer at her studio and production company A-Z West in Joshua Tree; growing up in Escondido, California and visiting her grandparents' ranch in El Centro, California as a child and the attraction she felt to the desert; her year in Germany as a schoolchild; her rebellious years as a teenager; her undergraduate work at San Diego State University, her studies of photography and art there and the influence of the photographer Walter Cotten; her subsequent graduate work at the Rhode Island School of Design; her work on the staff at Pat Hearn Gallery; her purchase of a building in Brooklyn and the establishment of A-Z East; her work with breeding animals and insects in her apartment and her living spaces and the first Breeding Unit; the creation of her first self-contained Living Unit; her work with custom-designed uniforms meant for long-term wear; and her early success with significant mid-'90s shows at galleries and museums in the United States and Europe.

Zittel also describes her relocation from New York to Joshua Tree in the Mojave Desert; her relationship with the artist Allan McCollum; her expanding series of sculptural furniture and living pieces including Fleds, Ottoman Furniture, Travel Trailers and the Management and Maintenance Unit; life in the Mojave Desert and the historical impact of the post-war Homestead Act on her part of San Bernardino County; her son Emmett and his father David Dodge; her partner, the musician Katy Davidson; the integration of textiles and handcraft in her work; her work with the arts organization High Desert Test Sites; her clothing production effort Smockshop; and her thoughts about having A-Z West be self-sustaining and creating a legacy.

Zittel also recalls Gillian Theobald; Janet Cooling; Rob Storr; Peter Watson; Andrea Rosen; Dan Wineman; Rainer Ganahl; Craig Kalpakjian; Mike Ballou as well as Klaus Biesenbach; Sebastian Clough; Shaun Regen; Kip Fjeld; Judith Solodkyne; and Brooke Hodge, among others.
Biographical / Historical:
Andrea Zittel (1965- ) is a multimedia artist based in Joshua Tree, California and New York, New York. Hunter Drohojowska-Philp is a writer in Los Angeles, California.
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:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Topic:
Multimedia (Art)  Search this
Women artists -- California -- Interviews  Search this
Women artists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.zittel17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zittel17
Online Media:

Tony DeLap papers

Creator:
DeLap, Tony, 1927-  Search this
Names:
Janus Gallery (Venice, Los Angeles, Calif.)  Search this
University of California, Irvine -- Faculty  Search this
Conner, Bruce  Search this
Darrow, Paul, 1921-  Search this
Hafif, Marcia, 1929-  Search this
Kauffman, Craig, 1932-2010  Search this
Landau, Felix, 1924-2003  Search this
McCracken, John, 1934-2011  Search this
McLaughlin, John, 1898-  Search this
Nauman, Bruce, 1941-  Search this
Rhinelander, Clare H.  Search this
Solomon, Alan R., 1920-1970  Search this
Stinton,, Nell  Search this
Thiebaud, Wayne  Search this
Wortz, Melinda  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Greeting cards
Photographs
Postcards
Scrapbooks
Date:
circa 1950-2015
Summary:
The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.
Scope and Contents:
The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.

Correspondence includes greeting and holiday cards, postcards, and letters with family, friends, other artists, and museums and other arts institutions. Notable correspondents include Alan Solomon, Melinda Wortz, Marcia Hafif, Bruce Conner, John McCracken, Paul Darrow, Bruce Nauman, Craig Kauffman, Nell Stinton, Felix Landau, Wayne Thiebaud, and John McLaughlin.

Writings include autobiographical notes, DeLap's notes on art and magic, and notes and writings on John McLaughlin. Also included is a paper on DeLap's 1983 exhibition at Janus Gallery by Clare H. Rhinelander.

The professional activities series contains DeLap's resume and bibliography, as well as materials related to his teaching appointments and promotion, including letters of recommendation, course lists, and a graduate trip itinerary.

Printed Material includes exhibition materials including announcements, calendars, and catalogs; newsletters, newspapers, journals, and newspaper clippings. This series makes up the bulk of the collection.

One scrapbook in the collection contains clippings, exhibition announcements, posters, and catalogs, and award ribbons.

Photographic material includes slides of DeLap's work, as well as photographs of DeLap, his studio, exhibitions and installations, snapshots of family, friends, and travel.
Arrangement:
The collection is arranged in six series.

Series 1: Correspondence, circa 1967-2015 (Box 1; 2 folders)

Series 2: Writings, circa 1960-2013 (Box 1; 4 folders)

Series 3: Professional Activities, circa 1964-1983, circa 2015 (Box 1; 2 folders)

Series 4: Printed Material, 1955-2015 (Boxes 1 and 2, OV 3, 0.6 linear feet)

Series 5: Scrapbook, 1955-1967 (Box 2, 0.3 linear feet)

Series 6: Photographic Material, circa 1950-2012 (Box 1, 0.2 linear feet)
Biographical / Historical:
Tony DeLap is an artist and professor emeritus of art in Orange County, California. He is a pioneer of West Coast minimalism with a special interest in visual illusion including performed magic.

DeLap was born in 1927 in Oakland, California and grew up in the Bay Area. He studied art, illustration, and graphic design at colleges in the Bay Area and taught at institutions including the California College of Arts and at the University of California, Davis. In 1965 he was offered a position at the newly founded University of California, Irvine, where he taught until 1991.

DeLap has exhibited widely and his work is held in collections at the Museum of Modern Art, the Whitney Museum of Art, the Solomon R. Guggenheim Museum, the Albright-Knox Gallery in Buffalo, the Los Angeles County Museum of Art, the Tate Gallery in London, and le Musée Cantonal des Beaux-Arts in Lausanne, Switzerland.
Provenance:
The papers were donated by Tony DeLap in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Greeting cards
Photographs
Postcards
Scrapbooks
Citation:
Tony DeLap papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.delatony
See more items in:
Tony DeLap papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-delatony

Ethel Fisher papers

Creator:
Fisher, Ethel, 1923-  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brentwood Art Center  Search this
Barnet, Will, 1911-2012  Search this
Boxer, Stanley  Search this
Coleborn, Keith  Search this
Ehrenkranz, Elaine  Search this
Fernandez, Rafael  Search this
Fine, Irving, 1914-1962  Search this
Getz, Ilse, 1917-  Search this
Jones, Keri  Search this
Kitaj, Sandra Fisher  Search this
Kott, Seymour  Search this
Lassaw, Ibram, 1913-2003  Search this
Pearson, Henry, 1914-2006  Search this
Thek, Paul  Search this
Extent:
12.5 Linear feet
0.558 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketchbooks
Video recordings
Photographs
Travel diaries
Transcripts
Sound recordings
Sketches
Interviews
Drawings
Watercolors
Date:
1930-2017
Summary:
The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.
Scope and Contents:
The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.

Biographical material includes Art Students League records, address books and business cards, artist statements and resumes, an interview transcript and sound cassette, and other miscellaneous documents.

Correspondence is with family, friends, colleagues, artists, galleries, and museums. The bulk of the correspondence is with daughter Sandra Fisher and husband Seymour Kott. Notable correspondents include Will Barnet, Keith Coleborn, Elaine Ehrenkranz, Rafael Fernandez, Henry Pearson, and others. There are also greeting cards and postcards, inluding numerous illustrated cards from Fisher to her husband Seymour.

Writings mostly consist of annotated appointment calendars and travel diaries along with some writings by others, such as a travel diary by Keith Coleborn and a graduate thesis by Keri Jones.

Project files include correspondence, grant applications, printed and digital material, and publication agreements for art projects, commissions, studio tours, auctions, and speaking engagements. Notable projects include material on the NBC-TV film Family Ties, art loans for the Showtime movie Town of the Eighties, and teaching material from Brentwood Art Center.

Exhibition files contain exhibition announcements, catalogs, publicity, reviews, correspondence, exhibition lists, price lists of artwork, and other material for Ethel Fisher's group and solo shows.

Artists' files include printed material about and limited correspondence with various artists in which Fisher was interested or with whom she was friends, including Stanley Boxer, Irving Fine, Ilse Getz, Ibram Lassaw, and Paul Thek.

Personal business records include consignments, price lists, loan agreements, receipts, donations, and sales documentation.

Printed material includes exhibition catalogs, announcements, magazines, and clippings about Ethel Fisher and other artists. There are also books inscribed to Fisher.

The artwork series includes sketchbooks, drawings, watercolors, and loose sketches.

Photographic material consists of photographs, digital photographs, slides, and negatives of Ethel Fisher, her artwork, exhibitions, events, family, friends, artists, studios, and travel. There are also "reference photos" of people, places, and objects which Fisher used for her portraits and paintings.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, 1939-2014 (0.3 linear feet; Boxes 1, 13)

Series 2: Correspondence, 1930-2017 (5.4 linear feet; Boxes 1-6, 13, 15)

Series 3: Writings, 1965-2014 (0.8 linear feet; Boxes 6-7, 13)

Series 4: Project Files, 1954-2011 (0.5 linear feet; Boxes 7, 12, 0.128 GB; ER01)

Series 5: Exhibition Files, 1945-2006 (0.6 linear feet; Boxes 7-8)

Series 6: Artists' Files, 1952-2010 (0.4 linear feet; Boxes 8, 12)

Series 7: Personal Business Records, 1959-2017 (0.3 linear feet; Boxes 8, 13)

Series 8: Printed Material, 1940-2016 (1.0 linear feet; Boxes 8-9, 12-13)

Series 9: Artwork and Sketchbooks, 1944-2014 (1.0 linear feet; Boxes 9, 12-15, OV16)

Series 10: Photographic Materials, 1942-2014 (2.2 linear feet;Boxes 9-11, 14, 0.430 GB; ER02)
Biographical / Historical:
Ethel Fisher (1923-2017) was a painter who lived in Pacific Palisades, California.

Ethel Fisher was born in Galveston, Texas in 1923. She studied art at the University of Houston, University of Texas, and Washington University in St. Louis, Missouri. After college, she moved to New York City and attended The Art Students League on scholarship from 1943-1946. In New York, she studied with painter Will Barnet, Morris Kantor, and Robert Beverly Hale, and befriended many people in the art world. She married Gene Fisher and their first daughter Sandra was born. Sandra also became a painter and later married artist R. B. Kitaj.

Fisher and her family moved to Miami in 1948 where her daughter Margaret was born. Upon her divorce, Fisher travelled in Europe for about a year before returning to New York City in the early 1960s, where she continued to paint and maintained 2 studios for her artwork. She married art historian Seymour Kott in 1963.

In 1970, Fisher and her husband moved to Pacific Palisades in Los Angeles, California. Throughout her career as a painter, Ethel Fisher has had solo and group exhibitions at galleries in Havana, Cuba; West Palm Beach, Florida; Atlanta, Georgia; New York City, New York; and San Francisco and Los Angeles, California. She has been the recipient of numerous awards and continues to paint. In 2003, Fisher had solo exhibit of portraits at Platt Gallery in Los Angeles.
Provenance:
The Ethel Fisher papers were donated by Ethel Fisher in two installments in 1997 and 2015.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate 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.
Topic:
Art -- Study and teaching  Search this
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketchbooks
Video recordings
Photographs
Travel diaries
Transcripts
Sound recordings
Sketches
Interviews
Drawings
Watercolors
Citation:
Ethel Fisher papers, 1930-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fishethe
See more items in:
Ethel Fisher papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fishethe

John Outterbridge papers

Creator:
Outterbridge, John, 1933-2020  Search this
Names:
Watts Towers Art Center  Search this
Angelou, Maya  Search this
Bradley, Tom, 1917-  Search this
Hines, Gregory  Search this
Marley, Bob  Search this
Otis, Johnny, 1921-  Search this
Simone, Nina, 1933-2003  Search this
White, Charles, 1918-1979  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Place:
Watts (Los Angeles, Calif.) -- Buildings, structures, etc
Date:
1953-1997
Summary:
The papers of Los Angeles African American painter, sculptor, and arts administrator John Outterbridge measure 4.8 linear feet and date from 1953 to 1997. The papers include biographical material, correspondence, writings, professional and project files, Watts Towers Arts Center files, exhibition files, printed material, photographs, a scrapbook, and one motion picture film reel.
Scope and Contents:
The papers of Los Angeles African American painter, sculptor, and arts administrator John Outterbridge measure 4.8 linear feet and date from 1953 to 1997. The papers include biographical material, correspondence, writings, professional and project files, Watts Towers Arts Center files, exhibition files, printed material, photographs, a scrapbook, and one motion picture film reel.

Biographical material includes life documents, awards, interview transcripts, a few sketches, teaching certificates, and a motion picture film reel entitled John Outterbridge: Black Artist.

The bulk of the correspondence consists of letters to John Outterbridge from family, artists, colleagues, museums, and universities. Notable correspondents include Maya Angelou, Johnny Otis, and Charles White.

Writings include teaching notes, an artist statement, nine typescript essays by Outterbridge, as well as papers written by students, and poems by various artists.

Professional and project files document Outterbridge's involvement in conferences, symposiums, membership records, and fellowships. There are grant and job applications, contracts, correspondence, project plans, and administrative records. There is documentation of the Metro Art for Rail Transit project and of his work as director of the Communicative Arts Academy. Outterbridge's directorship of the Watts Towers Arts Center (WTAC) are arranged in a separate series; files document administration, annual programs and events, and special projects.

Exhibition files are found for several exhibitions in which Outterbridge participated in the mid-1990s. Printed material includes clippings about John Outterbridge and the Watts Towers Arts Center, exhibition catalogs, announcements, books, and magazines.

There is one scrapbook that contains clippings, award certificates, and photographs of the Watts Towers Arts Center events. There are photographs of Johnny Otis, Nina Simone, and L.A. Mayor Tom Bradley.

Photographs are of John Outterbridge and his artwork, studio, family, friends, and events. Among those depicted in the photographs are Bob Marley and Gregory Hines.
Arrangement:
This collection is arranged as 9 series.

Series 1: Biographical Material, 1953-1997 (0.7 linear feet; Box 1, OV 6, FC 9)

Series 2: Correspondence, 1970-1997 (1.1 linear feet; Boxes 1-2, OV 7)

Series 3: Writings, circa 1980-1996 (0.2 linear feet; Box 2)

Series 4: Professional and Project Files, circa 1970-1997 (0.5 linear feet; Boxes 2-3, OV 8)

Series 5: Watts Towers Arts Center, 1976-1997 (0.4 linear feet; Box 3)

Series 6: Exhibition Files, 1992-1996 (0.2 linear feet; Box 3)

Series 7: Printed Materials, 1968-1997 (1.1 linear feet; Boxes 3-4)

Series 8: Scrapbook, 1968-1997 (0.5 linear feet; Box 5)

Series 9: Photographs, 1953-1995 (0.2 linear feet; Box 4-5)
Biographical / Historical:
John Outterbridge is an African American painter, sculptor and arts administrator in Los Angeles, California.

John Wilfred Outterbridge was born in Greenville, North Carolina in 1933. He attended Agricultural and Technical University in Greensboro, North Carolina and studied engineering for one year before joining the U.S. Army in 1953. He served two years in Europe where he started painting street scenes in his spare time. His paintings were liked and his Captain found a studio space for him, where he painted murals and artwork in offices, clubs, and American schools.

Outterbridge decided that he needed a formal education in art and after his discharge from the Army in 1955, he relocated to Chicago and enrolled first in the Chicago Academy of Art, and later in the American Academy of Art. He became active in the Chicago art scene and opened a gallery with artists John Pinkney, Elliot Hunter, and Jose Williams. While attending school, he also worked for a graphic arts firm running errands and as a Chicago Transit Authority bus driver.

Outterbridge married his wife Beverly in 1960 and they moved to Los Angeles in 1963. He worked at a production studio for a while and got an offer from another studio to become its art director. After a few years, Outterbridge took two years off and began experimenting with with other medium, such as found objects and sculpture.

Outterbridge then took a job in the art installation department of the Pasadena Art Museum where he met artists such as Peter Alexander, Richard Serra, Robert Rauschenberg, and Andy Warhol while helping with their exhibits. In addition to working on installations, Outterbridge taught sculpture classes at the museum and at several colleges such as Pasadena City College, Claremont College, Cal State Dominguez Hills, and University of California at Irvine.

From 1969-1975, Outterbridge was the director of the Compton Communicative Arts Academy. From 1975-1993, Outterbridge was the director of the Watts Towers Arts Center, a focal point in Los Angesle for African American visual and theatrical arts and the sponsor of the Watts Towers Jazz Festival and Day of the Drum Festival. He retired in 1993 to dedicate more time to his art.

Outterbridge's art can be found at the California African American Museum and the Los Angeles County Museum of Art. He has received awards throughout his career including fellowships from the Fulbright Foundation, Getty Foundation, and the National Endowment for the Arts. He received an honorary doctorate from Otis College of Art and Design in 1994.
Related Materials:
The Archives of American Art also has an oral history interview with John Outterbridge conducted by Allen Bassing in 1973.

A copy of the film John Outterbridge: Black Artist is available in the Samella Lewis papers, in the Rose Library at Emory University.
Provenance:
The John Outterbridge papers were donated to the Archives of American Art by John Outterbridge in 1997.
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 with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California  Search this
Arts administrators -- California -- Los Angeles  Search this
Topic:
Sculptors -- California -- Los Angeles  Search this
Artists' studios -- Photographs  Search this
Towers -- California -- Los Angeles  Search this
African American artists  Search this
Genre/Form:
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.outtjohn
See more items in:
John Outterbridge papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-outtjohn
Online Media:

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