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Oral history interview with Margret Craver Withers, 1983-1985

Interviewee:
Withers, Margret Craver, 1907-2010  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Fleming, Erik, Baron  Search this
Heinrich, Leonard  Search this
Kirk, Arthur Neville  Search this
Stone, Arthur J.  Search this
Weir, Wilson  Search this
Withers, Charles C.  Search this
Handy & Harman (Firm)  Search this
Type:
Sound recordings
Interviews
Topic:
Silversmiths -- Interviews  Search this
Jewelers -- Interviews  Search this
Metal-workers -- Interviews  Search this
Silverwork  Search this
Enamel and enameling  Search this
Women artists  Search this
Decorative arts  Search this
Record number:
(DSI-AAA_CollID)12686
(DSI-AAA_SIRISBib)216021
AAA_collcode_wither83
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216021
Online Media:

Adele S. Brown papers

Creator:
Brown, Adele Smith, 1910-  Search this
Names:
Museum of Modern Art (New York, N.Y.)  Search this
Museum of Modern Art Gallery of Washington  Search this
Phillips Memorial Gallery  Search this
Studio House (Phillips Memorial Gallery)  Search this
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1934-1942
Scope and Contents:
Letters, writings, clippings, photographs and miscellany relating to Brown's work at the Phillips Studio House, the Museum of Modern Art Gallery of Washington, and the Treasury Dept. Section of Fine Arts.
Phillips Studio House related material includes letters from colleagues Margaret Casey Gates and Robert Franklin Gates; photocopies of two letters from C. Law Watkins, Associate Director of the Phillips Memorial Gallery and Director of the Art School, about the Studio House Gallery, ca. 1934; a letter from John Marin to C. Law Watkins, 1937; a letter from Walt Kuhn, in which he notes, "It has become a sort of habit to drop by at your place [Studio House at the Phillips] and chat a bit"; and letters, 1934-1936, regarding exhibitions at the Phillips Studio House from Reginald Marsh, Doris Lee, Augustus Vincent Tack, Boardman Robinson, Eugene Savage, Rockwell Kent, and Karl Knaths.
Included in the Museum of Modern Art Gallery of Washington series are letters from William Zorach, Henry Kreis, Saul Baizerman, Helene Sardeau, Susan M. Eakins, Heinz Warneke, and others, as well as clippings, a proposal for an exhibition of sculpture and drawings by contemporary Americans and Europeans, catalogs, and photographs of the museum of Modern Art Gallery of Washington.
The Section of Fine Arts series consists of letters, clippings, and catalogs about exhibitions sponsored by the Section.
Biographical / Historical:
Art administrator and instructor; Washington, D.C.; Full name Adele Smith Brown; Maiden name Adele K. Smith. Brown worked as manager of the Phillips Studio House of the Phillips Memorial Gallery, 1933-1937; manager of the Museum of Modern Art Gallery of Washington, affiliated with the Museum of Modern Art in New York, 1937-1939, followed by an exhibition assistant, 1940-1942 for the Section of Fine Arts; b. 1910; d. 2001
Provenance:
Donated 1996 by Adele S. Brown.
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.
Identifier:
AAA.browadel
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-browadel

Charles M. Kurtz papers

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Names:
Albright Art Gallery (Buffalo, N.Y.)  Search this
American Art Association  Search this
Buffalo Fine Arts Academy  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Saint Louis Exposition and Music Hall Association (1883-1902 : Saint Louis, Mo.)  Search this
Southern Exposition (1885 : Louisville, Ky.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Starkweather family  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Avery, Samuel Putnam, 1822-1904  Search this
Cesnola, Luigi Palma di, 1832-1904  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Hallowell, Sara  Search this
Hambidge, Jay, 1867-1924  Search this
Hasbrouck, Du Bois Fenelon, b.1860  Search this
Irwin, Benoni, 1840-1896  Search this
Ives, Halsey Cooley, 1847-1911  Search this
Kurtz, Davis Brook Kurtz, 1826-1906  Search this
Kurtz, Julia Stephenson  Search this
Reid, Alexander  Search this
Rhodes, Charles Ward, d. 1905  Search this
Richardson, Mary Curtis, 1848-1931  Search this
Sedelmeyer, Charles  Search this
Thum, Patty P., 1853-1926  Search this
Wanamaker, John, 1838-1922  Search this
Wickenden, Robert J.  Search this
Photographer:
Pluschow, Guglielmo  Search this
Extent:
27.74 Linear feet
Type:
Collection descriptions
Archival materials
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Date:
1843-1990
bulk 1884-1909
Summary:
The papers of arts administrator, museum director, collector, dealer, and editor Charles M. Kurtz (1855-1909), measure 27.74 linear feet and date from 1843-1990 (bulk dates 1884-1909). The bulk of the collection consists of detailed chronological correspondence between Kurtz and his wife and family, friends, colleagues, and business associates that documents many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Scope and Content Note:
The Charles M. Kurtz papers measure 27.74 linear feet and date from 1843 to 1990 with the bulk of the material dating from 1884 to 1909. The bulk of the collection consists of chronological correspondence between Kurtz and his family, most notably his wife, friends, colleagues, and business associates. Kurtz's letters are amazingly detailed and document many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. The letters between Kurtz and his wife are most interesting for their descriptive commentary on late 19th century life and offer a complete picture of Kurtz's activities. Many of Kurtz's letters to Halsey C. Ives can be found in the Halsey C. Ives Papers. Some of the letters in the collection are illustrated. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Arrangement:
The collection is organized into twelve series.

Series 1: Biographical Information, 1885-1931, undated

Series 2: Correspondence, 1843-1940, undated

Series 3: Circulars/Requests for Submissions of Works of Art, 1886-1905

Series 4: Legal Records, 1881-1928

Series 5: Financial Records, 1870-1989, undated

Series 6: Diaries, 1894-1901

Series 7: Notes and Writings, 1872-1980, undated

Series 8: Scrapbooks, 1878-1909

Series 9: Printed Material, 1873-1990, undated

Series 10: Photographs, 1898-1990

Series 11: Photographs of Works of Art, undated

Series 12: Miscellany, undated
Biographical Note:
Charles M. Kurtz's name is known to many scholars and students of American art history. To some he is important for his critical writings, others are interested in his management of exhibitions for the Art Union and the American Art Association. Many are aware of him because of his publication of National Academy Notes, which continued for nine years. Still others are familiar with Kurtz in his role as an art administrator for late 19th century art exhibitions like those at the 1893 Columbian Exposition in Chicago and the St. Louis Fair, or for his accomplishments as the first director of the Albright Gallery in Buffalo, New York. Sometimes researchers have become familiar with his name through the sale catalogue for his considerable collection, which was sold at auction after his death in 1909. His career, which encompassed the last quarter of the nineteenth century and the first decade of the twentieth century, touched on virtually every aspect of art in America during that period.

Born in 1853 to Davis Brook Kurtz (1826-1906), an attorney, and Julia Wilder, Charles Kurtz enjoyed a genteel upbringing. The Kurtz family originated in Darmstadt, Germany, and migrated to America in the eighteenth century. D.B. Kurtz, a leading member of the Lawrence County bar, was also a vice-president of the National Bank of Lawrence County, Pennsylvania. As a local representative of many important railroad and business interests, he accumulated assets estimated at one million dollars by the time of his death, just three years before that of his son, Charles, the eldest of his five children. Unlike his brothers Louis, who also became an attorney, and Edward, a professor at Columbia University, Charles eschewed a professional career to enter the art world, as did his sisters Emily, an artist, and Catherine, a musician.

After his graduation from Washington and Jefferson College in Washington, Pennsylvania, Kurtz visited the Centennial Exposition, held in 1876 in Philadelphia, before coming to New York to study art at the National Academy of Design. These two activities foreshadowed the direction that his career would eventually take. As the chronology indicates, his early efforts revolve around writing for a variety of publications, most notably, his own National Academy Notes. In 1881 he took what was to be the first of many trips abroad to survey the art scene in Europe. Later in his career, his fascination with foreign art and his own entrepeneurial interests led him to become an outspoken opponent of tariffs on imported art.

Kurtz's personal life changed significantly in 1884 when he met Julia Stephenson, a physician's daughter and fledging art student from Harrodsburg, Kentucky. Throughout their courtship and after their marriage the couple was frequently separated. Consequently, they wrote lengthy letters which document not only their personal relationship but also Kurtz's aspirations and activities in the art world.

With his appointment as one of Halsey C. Ives's (1847-1911) chief assistants of the Fine Arts Department of the World's Columbian Exposition in 1891, Charles Kurtz's career achieved international stature. Among the most notable European artists he introduced into this country through circulating exhibitions were the Glasgow School, the Danish School, the Hungarian artist, Mihaly Munkacsy, and the subject of his final exhibition, the Spanish artist, Sorolla.

Throughout his life, Kurtz was plagued by health problems and, in 1899, illness forced him to resign as Assistant Director of Fine Arts for the United States for the Paris Exposition of 1900. Throughout the following decade, his work was increasingly interrupted by ill health. His death in 1909 at the age of 54, while sudden, was not entirely unexpected. However it most certainly cut short a cosmopolitan career that encompassed virtually every aspect of the art world and the pertinent issues of the day.

Kurtz is remembered for his editorial work with the National Academy of Design; as Art Director for the Southern Exposition, 1883-1886, and the St. Louis Exposition, 1894-1899 (where he introduced the Glasgow School of Painting); and as Assistant Chief/Director for the World's Columbian Exposition, the 1900 Paris Exposition, and the 1904 Louisiana Purchase Exposition. He was also director of the Buffalo Fine Arts Academy.

1855 -- Charles McMeen Kurtz born

1876 -- receives B.S. degree from Washington and Jefferson College, Washington, Pennsylvania

1876-78 -- studies at the National Academy of Design, N.Y. with Lemuel Wilmarth and William Morgan; writes a column, "New York Letters," for The Courant published in New Castle, Pennsylvania

1878 -- edits a small daily paper published during a "National Camp Meeting for the promotion of Holiness" held that summer in New Castle, Pa.; its critical stance resulted in his public denouncement and earned him a reputation as a journalist in western Pennsylvania; receives M.A. from Washington and Jefferson College

1878-79 -- becomes the local editor of The Guardian of New Castle

1879 -- publishes The Daily Reporter, a financial success

1881 -- publishes the first issue of National Academy Notes; travels in Europe, spending time in England, Holland, Belgium, Germany, Switzerland, Italy and France (Paris)

1881-82 -- prepares Illustrated Notes for Metropolitan Museum of Art exhibition

1882 -- writes "Art Notes" in The New York Tribune and resigns Dec. 23rd

1882-83 -- accepts position to write for Music and Drama, a new daily paper

1883 -- becomes the general manager of the American Art Union; exhibits a large collection of Art Union paintings in Buffalo, N.Y. and Louisville, Ky., where they became part of the Southern Exposition's first great art display

1883-86 -- accepts offer to become Director of the Art Department, Southern Exposition, Louisville, Kentucky

1884 -- edits Art Union magazine until December; applies for position to head the Art Department of the New Orleans World's Fair in September

1884-86 -- accepts a position offered by the American Art Association; terminates uncongenial relationship in March, 1886

1885 -- writes catalogues for the sale of the George Seney Collection and for the Watts exhibition at the Metropolitan Museum of Art, New York; October 1, marries Julia Stephenson (1861-1931), daughter of Dr. A. T. Stephenson of Harrodsburg, Kentucky; they had two daughters who survived them: Julia Wilder Kurtz (1889-1977), and Isabella Starkweather Kurtz (1901-1991); another daughter, Elizabeth Stephenson Kurtz (1886-1897), predeceased them

1886 -- terminates employment with the Art Association; daughter, Elizabeth Stephenson Kurtz, born

1886-87 -- manages the circulation of Mihaly Munkacsy's Christ Before Pilot for Charles Sedelmeyer to American venues: New York, Boston, St. Louis, Cincinnati, Kansas City, Minneapolis, Saint Paul, Nashville, Phildelphia, Indianapolis; tour generates $90,000 in ticket receipts

1889-91 -- February 24, appointed art critic ("Art Notes") and book reviewer for New York Daily Star; later literary and art editor of the Sunday Star

1890 -- writes for the Sunday edition The Press, a New York paper

1891 -- writes for The World; art editor for The New York Recorder; contributes to the New York Truth

1891-93 -- contributes to Chicago Evening Post ; writes artist biographies for The Chicago Graphic, a regional magazine; appointed Assistant Chief of the Department of Fine Arts of the World's Columbian Exposition

1894 -- contributes column, "Art at the Exposition" to St. Louis Life

1895 -- tours Denmark, Scotland, and France during the summer on behalf of the St. Louis Exposition

1894-99 -- appointed Director of the Art Department of the St. Louis Annual Exposition

1896 -- elected member of The Japan Society, London

1897 -- daughter, Elizabeth (Daisy), dies

1898 -- receives a diploma and medal "in recognition of valuable services in connection with the Fine Arts Exhibit" from the directors of the Trans-Mississippi International Exposition, Omaha

1899 -- appointed Assistant Director of Fine Arts for the United States Commission to the Paris Exposition of 1900; resigned in July due to ill health

1901-04 -- appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition, August

1901 -- daughter, Isabella Starkweather Kurtz, born

1902 -- receives honorary Ph.D from Washington and Jefferson College "in recognition of distinguished ability and services as an art critic and writer"

1905 -- receives the cross of the Order of Merit from Prince Ferdinand of Bulgaria; appointed Director, Buffalo Fine Arts Academy and Albright Art Gallery, Buffalo, New York, in January; exhibits Glasgow paintings at Albright Art Gallery from November until the following April

1906 -- writes Academy Notes, a bulletin pubished by the Buffalo Fine Arts Academy and the Albright Art Gallery; father, D.B. Kurtz, dies in Newcastle, Pennsylvania

1907 -- accused of importing German pictures free of duty for exhibition purposes and then selling some for profit

1908 -- Honorary Doctor of Philosophy degree conferred by Washington and Jefferson College

1909 -- Charles M. Kurtz dies in Buffalo, New York on March 21

1910 -- Sale of the private collection of Charles M. Kurtz at auction, Fifth Avenue Art Galleries, February 24-25

1931 -- Widow, Julia Stephenson Kurtz dies October 30

1977 -- Daughter, Julia Wilder Kurtz, dies

1991 -- Daughter, Isabel Starkweather Kurtz, dies in Buffalo, N.Y.; remaining Charles M. Kurtz Papers bequeathed to the Archives of American Art and the National Academy of Design, New York
Related Material:
The St. Louis Exposition/Halsey C. Ives papers in the Archives of American Art contain material relating to Charles M. Kurtz.

Additional Charles Kurtz papers, 1870-1910, including 340 letters which discuss exhibitions, sales of art, patronage, atelier visits, and submissions to publications, and letters to his parents in which he discsses the art market and art world new; as well as manuscripts, notebooks, a diary, and printed ephemera relating to exhibitions and publications, are available at the Getty Research Institute, Research Library, Los Angeles, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 4912) including Charles Kurtz's Glasgow painting diary. The loaned diary was returned to the lender and can now be found at the Yale Center for British Art in New Haven, Connecticut. This material is not described in the collection container inventory.
Provenance:
For many years, the Kurtz Papers were thought to have been destroyed in a fire. Isabel Kurtz, a school teacher who lived with her older sister in Buffalo, New York, was vague when initially approached about her father's papers by Archives Regional Director, Robert Brown in the mid-1980s. However upon her death in 1991, her will revealed that the papers were indeed in her house in Buffalo and the bulk of them were bequeathed to the Archives of American Art. Paintings and a diary relating to the Glasgow School were given to the Yale Center for British Art. That diary has subsequently been duplicated on microfilm and is now also available in the Archives. Scorch marks on some of the papers and also on the paintings given to Yale suggest that there was indeed a fire. The material that was not bequeathed to the Archives included duplicates of printed documents along with books from the Kurtz library and a coin collection, all of which were dispersed in an estate auction that was held in Buffalo in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
Glasgow painting diary, Microfilm reel 4912: Authorization to publish, quote, or reproduce requires written permission from Yale Center for British Art. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Editors -- United States  Search this
Art critics -- United States  Search this
Arts administrators -- United States  Search this
Topic:
Works of art  Search this
Glasgow school of painting  Search this
Exhibitions -- United States  Search this
Art, Scottish  Search this
Art -- Private collections  Search this
Art criticism  Search this
Art museums -- Buffalo (N.Y.)  Search this
Art -- Collectors and collecting  Search this
Museum directors -- New York (State) -- Buffalo  Search this
Genre/Form:
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Citation:
Charles M. Kurtz papers, 1843-1990 (bulk 1884-1909). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kurtchar
See more items in:
Charles M. Kurtz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kurtchar
Online Media:

Washington Gallery of Modern Art records

Creator:
Washington Gallery of Modern Art (Washington, D.C.)  Search this
Names:
Corcoran Gallery of Art  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Eisenstein, Julian Calvert, 1921-  Search this
Hopps, Walter  Search this
Millard, Charles  Search this
Nordland, Gerald  Search this
Extent:
15.7 Linear feet
0.523 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Date:
1959-1992
Summary:
The records of the Washington Gallery of Modern Art measure 15.7 linear feet and 0.523 GB and date from 1959 to 1992. The records document the history of the gallery through Board of Directors meeting minutes, various committee meetings minutes and agendas, bylaws, and other trustee records; correspondence and other materials associated with each of the four gallery directors over the course of the gallery's existence; general correspondence; exhibition files, proposed exhibitions, collection files, and other curatorial and registrar records; financial records; development and membership records; tour guide information, gift shop finances and orders, and other museum services; and clippings, catalogs, and other printed and digital material.
Scope and Contents:
The records of the Washington Gallery of Modern Art measure 15.7 linear feet and 0.523 GB and date from 1959 to 1992. The records document the history of the gallery through Board of Directors meeting minutes, various committee meetings minutes and agendas, bylaws, and other trustee records; correspondence and other materials associated with each of the four gallery directors over the course of the gallery's existence; general correspondence; exhibition files, proposed exhibitions, collection files, and other curatorial and registrar records; financial records; development and membership records; tour guide information, gift shop finances and orders, and other museum services; and clippings, catalogs, and other printed and digital material.

Trustee records includes general administrative documents such as the bylaws of the gallery, certificates of incorporation, permits, and a history of the organization. Also included are the agendas and minutes for quarterly board of trustee meetings between 1962 and 1968, correspondence and agendas for various committees, annual reports, and president's records belonging to Julian Eisenstein, Carleton B. Swift, Jr., and Helen "Leni" Stern.

Director's records are arranged according to the tenure of each director of the gallery: Adelyn Breeskin (June 1962-May 1964), Gerald Nordland (June 1964-July 1966), Charles Millard (July 1966-June 1967), and Walter Hopps (August 1967-October 1968). Documents include correspondence with notable individuals, reports made to the board of trustees, and documents regarding exhibitions during each director's tenure.

Correspondence is arranged by year and includes correspondence from 1987 and 1992 between various researchers and Dr. Julian Eisenstein, chairman of the Board of Trustees for the gallery, concerning the history of the gallery.

Curatorial records include loan agreements and other documentation regarding exhibitions held at the gallery, information regarding proposed exhibitions for the gallery, and the collection files for objects in the permanent collection. Also included are transcripts and recordings of interviews from the "Popular Image" exhibition.

Financial documents include general ledgers, miscellaneous accounts arranged alphabetically, copyright information, stocks, and financial reports. Development records include attendance and sales information for each exhibition at the gallery, membership drive statistics and solicitation forms, information from foundations who contributed to the gallery, and membership lists.

Museum service documents include consignment records, rental agreements, museum shop sales and catalog orders, guided tour documents, docent training information, and volunteer lists. Public relation records are primarily on benefits, recitals, and other special events hosted by the gallery. Printed materials include brochures, newspaper clippings, press releases and exhibition catalogs.
Arrangement:
The collection is arranged into nine series. The arrangement is based on a pre-existing finding aid created by the Washington Gallery of Modern Art.

Series 1: Trustee Records, 1959-1968 (1.8 linear feet; Boxes 1-2)

Series 2: Director's Records, 1962-1968 (1.4 linear feet; Boxes 2-4)

Series 3: Correspondence, 1961-1992 (0.9 linear feet; Boxes 4-5)

Series 4: Curatorial/Registrar Records, 1962-1969 (6.4 linear feet; Boxes 5-11, OV 18, 0.523 GB; ER01)

Series 5: Financial Records, 1962-1969 (1.5 linear feet; Boxes 11-13)

Series 6: Development/Membership Records, 1962-1968 (1.1 linear feet; Boxes 13-14)

Series 7: Museum Services, 1962-1968 (1.2 linear feet; Boxes 14-15)

Series 8: Public Relations, 1963-1968 (0.1 linear feet; Box 15)

Series 9: Printed Material, 1961-1968 (1.3 linear feet; Boxes 15-17, OV 18)
Biographical / Historical:
The Washington Gallery of Modern Art (established 1961; closed 1968) was a gallery in Washington, D.C. The Washington Gallery of Modern Art was a non-profit institution organized for the purpose of presenting significant exhibitions of contemporary American painting and sculpture. In conjunction with exhibitions, the gallery also sponsored lectures, concerts, films, tours, and an art rental service designed to encourage the understanding and appreciation of contemporary art. It was located at 1503 21st Street, NW, Washington, D.C. Among its directors were Gerald Nordland, Charles Millard, Adelyn Breeskin and Walter Hopps. In 1968, the Washington Gallery of Modern Art sold its permanent collection to the Oklahoma Art Center and its programs were incorporated into the Corcoran Gallery of Art. At that time, the Washington Gallery of Modern Art turned over all assets to the Corcoran.
Provenance:
Donated 1965 by the Washington Gallery of Modern Art, in 1996 and 2002 by the Washington Gallery of Modern Art via Dr. Julian Eisenstein, one of the founders of the Gallery and President of Board of Trustees (1961-1966), in 2004 via Linda Lichtenberg Kaplan, director of public affairs (1965-1967), and in 2015 by the Corcoran Gallery of Art via David S. Julyan representative for the Trustees of the Corcoran Gallery of Art. One announcement for an exhibition by Mary Meyer was donated in 2009 by former director and curator (1966-1974) Charles Millard.
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:
Arts administrators -- Washington (D.C.)  Search this
Function:
Arts organizations -- Washington (D.C.)
Genre/Form:
Interviews
Sound recordings
Citation:
Washington Gallery of Modern Art records, 1959-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.washgall
See more items in:
Washington Gallery of Modern Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-washgall

Margret Craver Withers papers

Creator:
Withers, Margret Craver, 1907-  Search this
Extent:
9.6 Linear feet
0.002 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Motion pictures
Scrapbooks
Date:
1908-2016
Summary:
The papers of silversmith and arts administrator Margret Craver Withers measure 9.6 linear feet and 0.002 GB and date from 1908 to 2016. The papers document her career as an silversmith and jeweler through biographical material; correspondence with family, friends, colleagues, and art organizations; manuscripts, notes, lectures, and other writings; professional activity records with various organizations; photographs, printed material, correspondence related to specific subject materials such as individuals or organizations; exhibition catalogs, clippings, published articles, and other printed materials; designs, sketches, sketchbooks, and other artwork; and personal photographs, some in digital format, and photographs and slides of works and works by other artists.
Scope and Contents:
The papers of silversmith and arts administrator Margret Craver Withers measure 9.6 linear feet and 0.002 GB and date from 1908 to 2016. The papers document her career as an silversmith and jeweler through biographical material; correspondence with family, friends, colleagues, and art organizations; manuscripts, notes, lectures, and other writings; professional activity with various organizations; photographs, printed material, correspondence related to specific subject materials such as individuals or organizations; exhibition catalogs, clippings, published articles, and other printed materials; designs, sketches, sketchbooks, and other artwork; and personal photographs, some in digital format, photographs and slides of works and works by other artists.

Biographical material includes copies of a transcript for an oral history conducted by Columbia University, awards, and artist statements. Correspondence includes letters to friends, colleagues, and organizations. Also included are numerous personal letters between Craver and her husband. Writings include draft manuscripts for articles and booklets, transcripts for various lectures, and notes and notebooks.

Professional material includes film reels and corresponding transcripts, about sliversmithing techniques; grooved disk recordings of interviews with artists and silversmithing techniques; scrapbooks; invoices; commissioned work; and exhibition related materials for various museums.

Subject Files were organized by Craver on specific individuals or organizations. The files contain documents such as correspondence, printed material, and photographs. Printed material includes exhibition announcements and catalogs, newspaper and magazine clippings, a scrapbook, and published articles and booklets by Craver.

Artwork consists of sketches, designs, and sketchbooks by Craver. Included are some pieces by other artists. Photographic material consists of personal photographs and digital photographs of Craver with family and friends, photographs and slides of her artwork, and photographs of works by other artists.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1945-1988 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1935-2016 (1.7 linear feet; Boxes 1-2)

Series 3: Writings, 1929-1988 (0.6 linear feet; Boxes 2-3)

Series 4: Professional Activity Files, 1941-1996 (1.6 linear feet; Boxes 3-4, 9, FC 14-20)

Series 5: Subject Files, 1926-1991 (0.7 linear feet; Box 4)

Series 6: Printed Material, 1935-1997 (1.5 linear feet; Boxes 4-5, 9-10)

Series 7: Artwork, circa 1937 (0.4 linear feet; Box 5, OV 11-13)

Series 8: Photographs, 1908-2002 (3.0 linear feet; Boxes 6-8, 0.002 GB; ER01)
Biographical / Historical:
Margret Craver Withers (1907-2010) was a silversmith and arts administrator in Boston, Massachusetts.

Withers was born in Kansas City, Missouri in 1907. She became interested in metal working while studying at the University of Kansas. After graduation she traveled to Europe where she trained under Baron Erik Fleming, court silversmith to the King of Sweden. In 1935 Withers established the department of jewelry and metalsmithing at the Wichita Arts Association. In the 1940s and 1950s Craver developed and taught a series of workshops on metalsmithing as occupational therapy for wounded veterans. In 1949, she married Charles Withers. She continued to be known professionally under her unmarried name, Margret Craver. Withers is credited with reviving the technique of en resille, in which enamel-coated metal foil is embedded in glass. Withers died in 2010.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Margret Craver Withers conducted by Robert F. Brown between 1983 and 1985.
Provenance:
The Margret Craver Withers papers were donated in several installments between 1971 and 2019. Donations between 1971 and 1998 were done by Marget Craver Withers. Three film reels were donated in 1975 by Handy and Harman. Donations in 2011 were by Josephine Withers, daughter of Margret Craver Withers. Donations between 2014 and 2019 were made by Judith Childs, friend of Margret Craver Withers.
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:
Arts administrators -- Massachusetts -- Boston  Search this
Silversmiths -- Massachusetts -- Boston  Search this
Topic:
American studio craft movement  Search this
Genre/Form:
Drawings
Motion pictures
Scrapbooks
Citation:
Margret Craver Withers papers, 1908-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.withmarg
See more items in:
Margret Craver Withers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-withmarg

Oral history interview with Guy Palazzola, 1974 June 16

Interviewee:
Palazzola, Guy, 1919-1978  Search this
Interviewer:
Barrie, Dennis, 1947-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Painters -- Michigan -- Ann Arbor -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11921
(DSI-AAA_SIRISBib)212986
AAA_collcode_palazz74
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212986

Oral history interview with Walter Midener, 1981 Aug. 3

Interviewee:
Midener, Walter, 1912-1998  Search this
Interviewer:
Barrie, Dennis, 1947-  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- Michigan -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12737
(DSI-AAA_SIRISBib)212148
AAA_collcode_midene81
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212148
Online Media:

Oral history interview with W. Hawkins Ferry, 1974 Jan. 17

Interviewee:
Ferry, W. Hawkins, 1913-1988  Search this
Interviewer:
Barrie, Dennis, 1947-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Art -- Collectors and collecting -- Interviews  Search this
Art patrons -- Michigan -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12569
(DSI-AAA_SIRISBib)212657
AAA_collcode_ferry74
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212657

Oral history interview with Walter Midener, 1974 July 10-17

Interviewee:
Midener, Walter, 1912-1998  Search this
Interviewer:
Barrie, Dennis, 1947-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Sculptors -- Michigan -- Detroit -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13295
(DSI-AAA_SIRISBib)212903
AAA_collcode_midene74
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212903

Oral history interview with Roy Moyer, 1975 September 17-23

Interviewee:
Moyer, Roy, 1921-2007  Search this
Interviewer:
Barrie, Dennis, 1947-  Search this
Subject:
Dickinson, Martha  Search this
Neuberger, Roy R.  Search this
Schapiro, Meyer  Search this
Trilling, Lionel  Search this
Weyhe, Erhard  Search this
American Federation of Arts  Search this
Columbia University  Search this
UNICEF  Search this
United States  Search this
University of Oslo  Search this
University of Toronto  Search this
Weyhe Gallery  Search this
Type:
Interviews
Sound recordings
Place:
Greece -- description and travel
Topic:
Art -- Study and teaching  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Music -- Instruction and study  Search this
Painters -- New York (State) -- Interviews  Search this
Painting, Modern -- 20th century  Search this
World War, 1939-1945  Search this
Record number:
(DSI-AAA_CollID)11824
(DSI-AAA_SIRISBib)212939
AAA_collcode_moyer75
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212939
Online Media:

Dennis Barrie Interviews of Ohio Artists, circa 1984

Creator:
Barrie, Dennis, 1947-  Search this
Subject:
Clague, John  Search this
Nevadomi, Ken  Search this
Parker, Patricia Zinsmeister  Search this
Roby, George  Search this
Von Weise, Wenda  Search this
New Organization for the Visual Arts (Ohio)  Search this
Archives of American Art  Search this
Type:
Video recordings
Interviews
Topic:
Artists -- Ohio -- Interviews  Search this
Sculptors -- Ohio -- Interviews  Search this
Ceramicists -- Ohio -- Interviews  Search this
Fiber artists -- Ohio -- Interviews  Search this
Record number:
(DSI-AAA_CollID)6679
(DSI-AAA_SIRISBib)216003
AAA_collcode_barrdenn
Theme:
Lives of American Artists
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216003

Beverly Sills

Alternate Title:
Blackglama: What Becomes a Legend Most?
Artist:
Bill King, 1939 - 1987  Search this
Sitter:
Beverly Sills, 25 May 1929 - 2 Jul 2007  Search this
Associated Institution:
Blackglama  Search this
Medium:
Photolithographic halftone poster
Dimensions:
Sheet: 70.5 x 55.4 cm (27 3/4 x 21 13/16")
Type:
Print
Date:
1975
Topic:
Costume\Jewelry\Necklace  Search this
Costume\Jewelry\Earring  Search this
Interior\Studio  Search this
Costume\Outerwear\Coat\Fur  Search this
Poster  Search this
Beverly Sills: Female  Search this
Beverly Sills: Visual Arts\Administrator  Search this
Beverly Sills: Performing Arts\Director\Opera  Search this
Beverly Sills: Performing Arts\Performer\Musician\Singer\Opera  Search this
Beverly Sills: Performing Arts\Performer\Entertainer\Radio  Search this
Beverly Sills: Communications\Broadcast Journalist\Television  Search this
Beverly Sills: Performing Arts\Performer\Musician\Singer\Soprano  Search this
Beverly Sills: Presidential Medal of Freedom  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Leslie, Judith and Gabri Schreyer and Alice Schreyer Batko
Object number:
NPG.98.147
Restrictions & Rights:
Usage conditions apply
Copyright:
© Bill King
© American Legend Cooperative
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm44a587bd3-a8f1-49b9-bb5b-db997b5ba03f
EDAN-URL:
edanmdm:npg_NPG.98.147

Rene D'Harnoncourt

Artist:
Eve Arnold, 21 Apr 1913 - 4 Jan 2012  Search this
Sitter:
René D'Harnoncourt, 17 May 1901 - 13 Aug 1968  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 20.6 x 30.4cm (8 1/8 x 11 15/16")
Sheet: 17.9 x 35.3cm (7 1/16 x 13 7/8")
Type:
Photograph
Date:
1978
Topic:
Interior  Search this
Artwork\Sculpture  Search this
Costume\Dress Accessory\Tie\Necktie  Search this
René D'Harnoncourt: Male  Search this
René D'Harnoncourt: Visual Arts\Administrator\Art Museum\Director  Search this
René D'Harnoncourt: Rulers and Nobility\Aristocrat\Count  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Mildred Constantine
Object number:
S/NPG.99.100
Restrictions & Rights:
Usage conditions apply
Copyright:
© Eve Arnold
Howard Greenberg Gallery exclusively represents artist
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4656e2407-8498-40fc-82c6-edcb0880f658
EDAN-URL:
edanmdm:npg_S_NPG.99.100

Oral history interview with Ray Scott

Interviewee:
Scott, Ray  Search this
Interviewer:
Barrie, Dennis  Search this
Extent:
54 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1977 March 26-July 14
Scope and Contents:
An interview of E. Ray Scott conducted 1977 March 26-July 14, by Dennis Barrie, for the Archives of American Art.
Biographical / Historical:
Ray Scott was the director of the Michigan Council for the Arts.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 37 min.
Provenance:
These interviews are part of the Archives' 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 others.
Occupation:
Arts administrators -- Michigan -- Interviews  Search this
Topic:
Art -- Michigan  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.scott77
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-scott77

Oral history interview with Roy Moyer

Interviewee:
Moyer, Roy, 1921-2007  Search this
Interviewer:
Barrie, Dennis  Search this
Names:
American Federation of Arts  Search this
Columbia University -- Students  Search this
UNICEF  Search this
United States. Army  Search this
University of Oslo -- Students  Search this
University of Toronto -- Faculty  Search this
Weyhe Gallery  Search this
Dickinson, Martha  Search this
Neuberger, Roy R.  Search this
Schapiro, Meyer, 1904-  Search this
Trilling, Lionel, 1905-1975  Search this
Weyhe, Erhard, 1882-1972  Search this
Extent:
4 Items (Sound recording: 4 sound files (4 hr., 16 min.), digital, wav file)
82 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Greece -- description and travel
Date:
1975 September 17-23
Scope and Contents:
An interview of Roy Moyer, conducted September 17-23, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution at Moyer's New York City apartment.
Moyer speaks of his childhood, parents, and early music and art training in Allentown, Pennsylvania; his education at Columbia University and the University of Oslo; joining the Army during World War II; teaching English in Greece during its civil war; teaching at the University of Toronto; consulting on educational TV programs; working in the Weyhe Gallery; his management practices and overseeing exhibitions, the film program, and various other initiatives as director of the American Federation of Arts; his painting practice; the growth in the number of art organizations in the 1960s and '70s; and his transition to working for UNICEF. Moyer also recalls Lionel Trilling, Meyer Schapiro, Martha Dickinson, Erhard Weyhe, Roy Neuberger, and others.
Biographical / Historical:
Roy Moyer (1921-2007) was a painter and art administrator from New York, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 16 min.
Provenance:
These interviews are 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 others.
Restrictions:
Use requires an appointment.
Topic:
Art -- Study and teaching  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Music -- Instruction and study  Search this
Painters -- New York (State) -- Interviews  Search this
Painting, Modern -- 20th century  Search this
World War, 1939-1945  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.moyer75
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moyer75

Oral history interview with Nancy Hom, 2020 August 30

Interviewee:
Hom, Nancy, 1949-  Search this
Interviewer:
Ho, Melissa, 1970-  Search this
Subject:
Pandemic Oral History Project  Search this
Type:
Interviews
Video recordings
Topic:
Pandemics  Search this
COVID-19 (Disease)  Search this
Asian American artists  Search this
Women artists  Search this
COVID-19 (Disease) and the arts  Search this
COVID-19 (Disease) -- Social aspects  Search this
Asian American women  Search this
Asian American women artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Chinese American women  Search this
Chinese American women artists  Search this
Asian American art  Search this
Record number:
(DSI-AAA_CollID)21990
AAA_collcode_hom20
Theme:
Asian American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_21990

Oral History interview with Sheila Cogan, 1972 July

Interviewee:
Cogan, Sheila, 1942-  Search this
Interviewer:
Schwartz, Barry N., 1942-  Search this
Subject:
National Center for Experiments in Television  Search this
Richmond Art Center (Calif.)  Search this
Street Artists Guild  Search this
Type:
Interviews
Topic:
Art, American  Search this
Art -- California -- San Francisco  Search this
Educators -- Interviews  Search this
Video art  Search this
Record number:
(DSI-AAA_CollID)13190
(DSI-AAA_SIRISBib)212590
AAA_collcode_cogan72
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212590

Ruth Bowman papers

Creator:
Bowman, Ruth, 1923-  Search this
Names:
American Association of Museums  Search this
American Federation of Arts  Search this
Brooklyn Museum  Search this
Canadian Museums Association  Search this
Craft and Folk Art Museum  Search this
KUSC (Radio station : Los Angeles, Calif.)  Search this
Long Beach Museum of Art  Search this
Los Angeles County Museum of Art  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Newark Museum  Search this
WNYC (Radio station : New York, N.Y.)  Search this
Albers, Josef  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bengelsdorf, Rosalind, 1916-1979  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Cézanne, Paul, 1839-1906  Search this
Diller, Burgoyne, 1906-1965  Search this
Eakins, Thomas, 1844-1916  Search this
Ferren, John, 1905-1970  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Les, 1935-  Search this
Lipchitz, Jacques, 1891-1973  Search this
MacDonald, Duncan (Broadcaster)  Search this
Mason, Alice Trumbull, 1904-1971  Search this
McNeil, George, 1908-1995  Search this
Morris, George L. K., 1905-1975  Search this
Noguchi, Isamu, 1904-1988  Search this
Picasso, Pablo, 1881-1973  Search this
Reinhardt, Ad, 1913-1967  Search this
Sloan, Helen Farr, 1911-2005  Search this
Wilfred, Thomas, 1889-1968  Search this
Extent:
26.7 Linear feet
21.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Scripts (documents)
Date:
1936-2006
bulk 1963-1999
Summary:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California -- Los Angeles  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art, American -- 20th century  Search this
Genre/Form:
Photographs
Interviews
Sound recordings
Scripts (documents)
Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bowmruth2
Online Media:

Oral History interview with Sheila Cogan

Creator:
Cogan, Sheila  Search this
Interviewer:
Schwartz, Barry N.  Search this
Names:
National Center for Experiments in Television  Search this
Richmond Art Center (Calif.)  Search this
Street Artists Guild  Search this
Extent:
11 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1972 July
Scope and Contents:
Interview of Sheila Cogan conducted 1972 July, by Barry Schwartz, for the Archives of American Art.
Cogan discusses the arts scene in San Francisco, especially the rise of the Street Artists Guild; her work with the Richmond Arts Center; and the beginnings of video art at the National Center for Experimental Television in San Francisco.
Biographical / Historical:
Sheila Cogan (1942- ) was an educator and art administrator, in San Francisco, California.
Provenance:
This interview is part of the Archives' 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 others.
Occupation:
Arts administrators -- Interviews  Search this
Topic:
Art, American  Search this
Art -- California -- San Francisco  Search this
Educators -- Interviews  Search this
Video art  Search this
Genre/Form:
Interviews
Identifier:
AAA.cogan72
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cogan72

Oral history interview with Nancy Hom

Interviewee:
Hom, Nancy  Search this
Interviewer:
Ho, Melissa  Search this
Names:
Pandemic Oral History Project  Search this
Extent:
1 Item ((29 min.), digital, mp4)
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
2020 August 30
Scope and Contents:
An interview with Nancy Hom conducted 2020 August 30, by Melissa Ho, for the Archives of American Art's Pandemic Oral History Project at Hom's home in San Francisco, California.
Biographical / Historical:
Nancy Hom (1949 - ) is a Chinese American artist, curator, illustrator and non-profit arts consultant in San Francisco, California. Hom was executive director of the Kearny Street Workshop, San Francisco, 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:
This interview is open for research.
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 audio 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 audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- California -- San Francisco  Search this
Arts administrators -- California -- San Francisco  Search this
Illustrators -- California -- San Francisco  Search this
Topic:
Pandemics  Search this
COVID-19 (Disease)  Search this
Asian American artists  Search this
Women artists  Search this
COVID-19 (Disease) and the arts  Search this
COVID-19 (Disease) -- Social aspects  Search this
Asian American women  Search this
Asian American women artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Chinese American women  Search this
Chinese American women artists  Search this
Asian American art  Search this
Genre/Form:
Interviews
Video recordings
Identifier:
AAA.hom20
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hom20
Online Media:

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