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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 Thomas Lawson

Interviewee:
Lawson, Thomas, 1951-  Search this
Interviewer:
Ferguson, Russell, 1956-  Search this
Extent:
7 Items (sound files (6 hr., 58 min.) Audio, digital, wav)
113 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2018 August 9-10
Scope and Contents:
An interview with Thomas Lawson conducted 2018 August 9-10, by Russell Ferguson, for the Archives of American Art, at Lawson's home in Los Angeles, California.
Lawson speaks of his family history, childhood, and schooling in Glasgow, Scotland; studying literature at St. Andrews University; early art-making, magazine-making, and curatorial experiences in university; developing an interest in contemporary art while studying for a postgraduate diploma in art history at Edinburgh University; visiting New York and interviewing Jasper Johns in 1974 for his postgraduate thesis; pursuing doctoral studies in art history at the CUNY Graduate Center, in the same class as Douglas Crimp and Craig Owens; beginning to write for various art publications; executing curatorial projects during his doctoral period; becoming a part of the late '70s New York art scene; the first exhibition of his artwork, at Artists Space; the influence of avant-garde theater on his art-making; co-founding and operating REALLIFE Magazine; writing the essay "Last Exit: Painting" and others for Artforum; his work and relationship with Metro Pictures; his thoughts on recent analysis of the Pictures Generation; teaching at SVA and later at CalArts; changes in the New York art scene during the '80s; his first public art projects; his international body of exhibitions; his work as dean of CalArts; the effect of his move to California on his art-making practice; CalArts' response to the 1994 Northridge earthquake; working as a co-selector for the British Art Show; his work on the biography of Thomas Muir; helping start the publication Afterall; his sense of an inadequate critical response to the entirety of his body of work; his return to painting in the last decade; and the development of his ideas about teaching. Lawson also recalls Susan Morgan, Eduardo Paolozzi, Pat Douthwaite, Douglas Hall, Hugh MacDiarmid, John Steer, Ivor Davies, John Cage, Mark Lancaster, Milton Brown, Robert Pincus-Witten, John Rewald, Franics Naumann, Rosalind Krauss, Betsy Baker, Ray Ring, Norman Lewis, Kellie Jones, Sherrie Levine, David Salle, Julia Heyward, Eric Fischl, Richard Serra, Robert Longo, Ingrid Sischy, Rene Ricard, Helene Winer, Jack Goldstein, Nigel Greenwood, Sherrie Levine, Benjamin Buchloh, Tim Rollins, Jenne Siegel, Mark Dion, Gregg Bordowitz, Andrea Fraser, Julie Ault, Andres Serrano, Anthony Reynolds, Mike Kelley, Declan McGonagle, Ross Sinclair, Alanna Heiss, Millie Wilson, Steven Lavine, Richard Kuhlenschmidt, Mark Bradford, Lucy Byatt, Lauri Firstenberg, David Kordansky, Danielle Colomine, Michel Aphesboro, and others.
Biographical / Historical:
Thomas Lawson (1951- ) is a painter, writer, the dean of the School of Art at California Institute of the Arts, and the Editor-in-Chief at East of Borneo, in Los Angeles, California. Russell Ferguson (1956- ) is a professor in the Department of Art at University of California, 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.
Occupation:
Arts administrators -- California -- Los Angeles -- Interviews  Search this
Topic:
Authors -- California -- Los Angeles -- Interviews  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lawson18
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lawson18

Oral history interview with Victor Franco

Interviewee:
Franco, Victor  Search this
Interviewer:
Schwartz, Barry N.  Search this
Names:
Mechicano Art Center  Search this
Extent:
14 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1972 July
Scope and Contents:
Interview of Victor Franco conducted by Barry Schwartz for the Archives of American Art.
Biographical / Historical:
Victor Franco is an art administrator from Los Angeles, 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.
Restrictions:
Patrons must use transcript.
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- California -- Los Angeles -- Interviews  Search this
Topic:
Art, American  Search this
Hispanic American art  Search this
Genre/Form:
Interviews
Identifier:
AAA.franco72
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franco72

Oral history interview with Lorser Feitelson

Interviewee:
Feitelson, Lorser, 1898-1978  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Buff, Conrad, 1886-1975  Search this
Cahill, Holger, 1887-1960  Search this
Durston, Arthur  Search this
Extent:
2 Sound tape reels (Sound recordings, 5 in.)
52 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 May 12-1964 June 9
Scope and Contents:
An interview of Lorser Feitelson conducted 1964 May 12-1964 June 9, by Betty Hoag for the Archives of American Art.
Feitelson speaks of his background and parental influence; his early interest in art; studying painting in Europe; the influence of the Old Masters; his painting methods; early exhibitions of his work; being appointed Federal Art Project supervisor for the Los Angeles area; his duties; delegating work to artists; working with Holger Cahill; political problems with the FAP; the effect of the project on the art scene in California; methods used for murals; the Easel Painting Project of the FAP and how it was run; the work that was done by the Index of American Design in California; his post-WPA career; and he recalls Arthur Durston and Conrad Buff.
Biographical / Historical:
Lorser Feitelson, b. 1898; d. 1978, Painter and art administrator, Federal Art Project of Los Angeles, Calif.
General:
An interview of Boris Deutsch (6/64) conducted by B. Hoag is also on tape 2.
Interviews of Charles Rogers, Stanton Macdonald-Wright, and Elizabeth Lochrie conducted by B. Hoag are also on one tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- California -- Los Angeles -- Interviews  Search this
Topic:
Mural painting and decoration -- California -- Los Angeles  Search this
Federal aid to the arts  Search this
Art and state -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.feitel64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-feitel64

Robert Bruce Inverarity papers

Creator:
Inverarity, Robert Bruce, 1909-1999  Search this
Names:
Federal Art Project (Calif.)  Search this
Federal Art Project (Ill.)  Search this
Federal Art Project (Iowa)  Search this
Federal Art Project (N.Y.)  Search this
Federal Art Project (Or.)  Search this
Federal Art Project (Utah)  Search this
Federal Art Project (Wash.)  Search this
Museum of International Folk Art (N.M.)  Search this
Deutsch, Hilda, 1911-  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Graves, Morris, 1910- -- Photographs  Search this
Morris, Carl, 1911-1993  Search this
Ray, Man, 1890-1976 -- Photographs  Search this
Tobey, Mark  Search this
Extent:
13.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Sketchbooks
Interviews
Photographs
Drawings
Place:
United States -- Economic conditions, 1918-1945 -- Washington (State)
Date:
circa 1840s-1997
Summary:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Scope and Content Note:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.

Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.

Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.

Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.

Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.

Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.

Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.
Arrangement:
The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.

Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)

Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)

Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)

Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)

Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)

Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)

Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)

Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)

Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)
Biographical Note:
Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.

He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.

Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).

During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).

After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).

Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.

Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.

After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.

Robert Bruce Inverarity died in 1999.
Separated Material:
Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.
Provenance:
Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.
Restrictions:
The collection is open for research. Use 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  Search this
Painters  Search this
Topic:
Puppet theater  Search this
New Deal, 1933-1939 -- Washington (State)  Search this
Works of art  Search this
Federal aid to the arts -- Washington (State)  Search this
Art and state -- Washington (State)  Search this
Genre/Form:
Scrapbooks
Sound recordings
Sketchbooks
Interviews
Photographs
Drawings
Citation:
Robert Bruce Inverarity papers, circa 1840s-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.inverobe
See more items in:
Robert Bruce Inverarity papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-inverobe
Online Media:

Oral history interview with John Outterbridge

Creator:
Outterbridge, John, 1933-2020  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Names:
American Academy of the Fine Arts -- Students  Search this
Chicago Academy of Fine Arts -- Students  Search this
Compton Communicative Arts Academy  Search this
Pasadena Art Museum  Search this
Alexander, Peter, 1939-  Search this
Coplans, John  Search this
Di Suvero, Mark, 1933-  Search this
Dickson, Charles  Search this
Gilmore, Robert  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Rauschenberg, Robert, 1925-2008  Search this
Sera, Richard  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
13 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1973 January 3
Scope and Contents:
Interview of John W. Outterbridge conducted 1973 January 3, by Allen Bassing, for the Archives of American Art.
Outterbridge speaks of his family background and how that influenced him to lean toward the arts; attending Agriculture & Technical University and majoring in engineering even though he wanted to become an artist; joining the Army in order to get the G.I. Bill so he could afford school; painting during his three-year stint in the service, and how his company commander admired his work and got him a studio; attending the Chicago Academy of Art, then the American Academy of Art after leaving the military; moving to Los Angeles to pursue a career as an artist full-time; quitting painting and deciding to focus on sculpture; working at the Pasadena Art Museum, and how it disturbed him that there weren't any Black artists being represented in the shows he was installing there; getting involved with the Compton Communicative Arts Academy just as it was starting; and the present situation of the Compton Communicative Arts Academy and where he sees it going. He recalls Andy Warhol, Peter Alexander, Richard Serra, Robert Rauschenberg, Mark di Suvero, John Coplans, Judson Powell, Noel Puerefoy, Charles Dickson, Bobby Gilmore, and many others.
Biographical / Historical:
John Outterbridge (1933-2020) was an art administrator, painter, and sculptor from Los Angeles, California.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
Genre/Form:
Interviews
Identifier:
AAA.outter73
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-outter73

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:

Oral history interview with Everett Ellin

Interviewee:
Ellin, Everett  Search this
Interviewer:
Kirwin, Liza  Search this
Extent:
78 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 April 27-28
Scope and Contents:
An interview of Everett Ellin conducted 2004 April 27-28, by Liza Kirwin, for the Archives of American Art, in Washington, D.C.
Ellin speaks of his childhood and early education in Chicago; taking an aptitude test in high school and learning that he had multiple aptitudes; attending the University of Michigan and earning a BSE in Mechanical and Industrial Engineering; earning a law degree at Harvard Law School; his tour as an Air Force officer and tenure as law clerk to the Chief Justice of the California Supreme Court; working at Columbia Pictures as house legal counsel; serving as aid for the vice president at William Morris Agency; studying acting; Hollywood in the 1950s; opening his own gallery, the Everett Ellin Gallery, in Los Angeles, in 1957-1958; his marriage to painter Jane Jacobs; working for French & Company, in New York in 1959, as director of the contemporary gallery; Clement Greenberg's role at French & Company; opening his second gallery in Los Angeles, the Everett Ellin Gallery, Inc., 1960-1963; artists he has shown including Bruce Beasely, Jasper Johns, Arshile Gorky, David Smith, and others; represented working for Marlborough Gallery, in New York, as director, 1963-1964; organizing the Jackson Pollock retrospective at Marlborough Gallery in 1964; being hired by Harry Guggenheim as public affairs officer of the Solomon R. Guggenheim Museum and his promotion to assistant director; travel to Peru to help organize an exhibition of Peruvian ceramics for the Guggenheim; founding the Museum Computer Network (MCN) and establishing a base of operations at the Museum of Modern Art with support from the Mellon Foundation; early MCN planning meetings; and his vision for the future of MCN. He recalls artists Lee Krasner, Morris Louis, Robert Motherwell, Barnett Newman, and others; collectors Frederick Weisman, Edward G. Robinson, Milton Sperling; museum professionals Rene d'Harnoncourt, Thomas Messer, Lawrence Alloway, Frank O'Hara, Walter Hopps, and others.
Biographical / Historical:
Everett Ellin (1928-2011) was an art dealer, art administrator, and consultant of Diana, Tex. Liza Kirwin is an AAA collector in Washington, D.C.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 6 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ellin04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ellin04

Oral history interview with Edith Wyle

Interviewee:
Wyle, Edith R.  Search this
Creator:
Emanuelli, Sharon K.  Search this
Women in the Arts in Southern California Oral History Project  Search this
Names:
Craft and Folk Art Museum  Search this
Egg and Eye Gallery and Restaurant (Los Angeles, Calif.)  Search this
Women in the Arts in Southern California Oral History Project  Search this
Extent:
153 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1993 March 9-September 7
Scope and Contents:
An interview of Edith Wyle conducted 1993 March 9-September 7, by Sharon K. Emanuelli, for the Archives of American Art, Women in the Arts in Southern California Oral History Project.
Wyle speaks of her family background and her early education and interests; her studies at U.C. Berkeley and UCLA; her marriage to Frank Wyle; her friendship with Rico Lebrun; the cultural scene in Los Angeles between 1940 and 1970; the founding of the Egg and the Eye restaurant and gallery; and the founding of the Craft and Folk Art Museum and its development over the years.
Biographical / Historical:
Edith R. Wyle (1918-1999) was an arts administrator and painter from Los Angeles, California. Established Egg and the Eye Gallery and Restaurant in Los Angeles in 1964 and oversaw its transformation in 1973 into the Craft and Folk Art Museum, for which she was Director and then Program director until 1984. Wyle also is a painter, and had a close friendship with Rico Lebrun.
General:
Originally recorded on 1 sound cassettes. Reformatted in 2010 as 16 digital wav files. Duration is 8 hrs., 8 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Women artists -- California -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.wyle93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wyle93

Oral history interview with Clinton Adams

Interviewee:
Adams, Clinton, 1918-2002  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Tamarind Institute  Search this
Tamarind Lithography Workshop  Search this
University of California, Los Angeles -- Faculty  Search this
Altoon, John, 1925-  Search this
Delano, Annita, 1894-  Search this
Edmondson, Leonard, 1916-  Search this
Feitelson, Lorser, 1898-1978  Search this
Johnston, Ynez, 1920-  Search this
Kistler, Lynton R., , 1897-1993  Search this
Langsner, Jules, 1911-1967  Search this
Lebrun, Rico, 1900-1964  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Price, Vincent, 1911-1993  Search this
Scholder, Fritz, 1937-2005  Search this
Extent:
149 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1995 August 2-3
Scope and Contents:
An interview of Clinton Adams conducted 1995 August 2-3, by Paul Karlstrom, for the Archives of American Art, at his home, in Albuquerque, New Mexico.
Adams discusses his family background; involvement in Hollywood "industry"; teaching at University of California, Los Angeles; service during WWII; first contact with New York's Museum of Modern Art; his decision to return to California; teaching painting at UCLA from 1946-1954, and friends and colleagues at that time including Lorser Feitelson, Stanton Macdonald-Wright, Lynton R. Kistler and Annita Delano; the difficult political situation at UCLA and the "modernist" conflicts; his views on modernist and conservative groups; Stanton Macdonald-Wright; Adams' own work; his relationship to the ideas and nature of modernism; the Sanity in Art group and other art groups in Los Angeles; his opinion on which artists should have been included in the exhibition/catalogue "Turning the Tide: Early Los Angeles Modernists"; his observations on art historical constructs; the history of New Mexican art; the idea of regionalism; the mythology of Santa Fe, New Mexico.; Southwestern art; the Tamarind Lithography Workshop during its New Mexico phase, its background and changes after the move from Los Angeles to the University of New Mexico, his fifteen years as director, major artists involved, and his desire to publish overlooked artists. Adams recalls Fritz Scholder, John Altoon, Leonard Edmondson, Ynez Johnston, Vincent Price, Jules Langsner, and Rico Lebrun.
Biographical / Historical:
Clinton Adams (1918-2002) was a printmaker, painter, and art administrator of Los Angeles, California and Albuquerque, New Mexico.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 16 digital wav files. Duration is 3 hrs., 28 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. Funding for the transcription provided by the Pasadena Art Alliance.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- New Mexico -- Albuquerque -- Interviews  Search this
Topic:
Modernism (Art) -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Printmakers -- New Mexico -- Albuquerque -- Interviews  Search this
Prints -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.adams95
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-adams95

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:

Oral history interview with Jim Woods

Creator:
Woods, James M.  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Extent:
12 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1972 December 20
Scope and Contents:
Interview of Jim Woods conducted 1972 December 20, by Allen Bassing, for the Archives of American Art.
Biographical / Historical:
Jim Woods (1935-2006) was an art administrator in Los Angeles, California. Founded Studio Watts Workshop in 1964.
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.
Restrictions:
Patrons must use transcript.
Use requires an appointment.
Occupation:
Arts administrators -- California -- Los Angeles -- Interviews  Search this
Topic:
Art, American -- California -- Los Angeles  Search this
Genre/Form:
Interviews
Identifier:
AAA.woods72
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woods72

Oral history interview with Judith Baca

Interviewee:
Baca, Judith Francisca  Search this
Interviewer:
Mesa-Bains, Amalia  Search this
Extent:
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1986 August 5-6
Scope and Contents:
An interview of Judith Baca conducted 1986 August 5-6, by Amalia Mesa-Bains, for the Archives of American Art.
Baca speaks of her family history, childhood, and education in Los Angeles, her involvement with the Los Angeles muralism movement in the early 1970s, her teaching experience at East Los Angeles recreation center, her directorship of the Eastside murals and of the City-Wide Mural Project, the work of other muralists, feminist views on art which have influenced her work, the origin of the Social and Public Arts Resource Center in Venice, California, her directorship and the mission of the S.P.A.R.C. in 1986, and her own current mural projects.
Biographical / Historical:
Judith Baca (1946-) is an art administrator and mural painter from Venice, California.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 2 hr., 40 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:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Hispanic American artists  Search this
Mexican American art  Search this
Mural painting and decoration, American  Search this
Women painters -- California -- Los Angeles  Search this
Arts administrators -- California -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.baca86
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baca86

Oral history interview with Judith Baca, 1986 August 5-6

Interviewee:
Baca, Judith Francisca, 1946-  Search this
Interviewer:
Mesa-Bains, Amalia, 1943-  Search this
Type:
Sound recordings
Interviews
Topic:
Hispanic American artists  Search this
Mexican American art  Search this
Mural painting and decoration, American  Search this
Women painters -- California -- Los Angeles  Search this
Arts administrators -- California -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Record number:
(DSI-AAA_CollID)5436
(DSI-AAA_SIRISBib)211937
AAA_collcode_baca86
Theme:
Latino and Latin American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211937
Online Media:

Oral history interview with Allen Bassing, 1972 June

Interviewee:
Bassing, Allen, 1932-  Search this
Interviewer:
Schwartz, Barry N., 1942-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Educators -- California -- Los Angeles -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12473
(DSI-AAA_SIRISBib)212534
AAA_collcode_bassin72
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212534

Oral history interview with Leonard Castellanos, 1972 December 26

Interviewee:
Castellanos, Leonard  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Subject:
Franco, Victor  Search this
Mechicano Art Center  Search this
Type:
Interviews
Topic:
Art, American  Search this
Art directors -- California -- Los Angeles -- Interviews  Search this
Hispanic American art  Search this
Record number:
(DSI-AAA_CollID)5450
(DSI-AAA_SIRISBib)212583
AAA_collcode_castel72
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212583

Oral history interview with Victor Franco, 1972 July

Interviewee:
Franco, Victor  Search this
Interviewer:
Schwartz, Barry N., 1942-  Search this
Subject:
Mechicano Art Center  Search this
Type:
Interviews
Topic:
Art, American  Search this
Hispanic American art  Search this
Record number:
(DSI-AAA_CollID)13584
(DSI-AAA_SIRISBib)212682
AAA_collcode_franco72
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212682

Oral history interview with Lorser Feitelson, 1964 May 12-1964 June 9

Interviewee:
Feitelson, Lorser, 1898-1978  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Cahill, Holger  Search this
Buff, Conrad  Search this
Durston, Arthur  Search this
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Mural painting and decoration -- California -- Los Angeles  Search this
Federal aid to the arts  Search this
Art and state -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12880
(DSI-AAA_SIRISBib)213456
AAA_collcode_feitel64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213456
Online Media:

Oral history interview with David Avalos, 1988 June 16-July 5

Interviewee:
Avalos, David, 1947-  Search this
Interviewer:
Nieto, Margarita  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- California -- San Diego -- Interviews  Search this
Hispanic American artists  Search this
Hispanic American art  Search this
Mexican American art  Search this
Mexican American artists  Search this
Mural painting and decoration -- 20th century -- California -- San Diego  Search this
Record number:
(DSI-AAA_CollID)5428
(DSI-AAA_SIRISBib)213765
AAA_collcode_avalos88
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213765
Online Media:

Oral history interview with John Outterbridge, 1973 January 3

Interviewee:
Outterbridge, John Wilfred, 1933-2020  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Subject:
Gilmore, Robert  Search this
Rauschenberg, Robert  Search this
Alexander, Peter  Search this
Warhol, Andy  Search this
Sera, Richard  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Dickson, Charles  Search this
Coplans, John  Search this
Di Suvero, Mark  Search this
Chicago Academy of Fine Arts  Search this
Pasadena Art Museum  Search this
American Academy of the Fine Arts  Search this
Compton Communicative Arts Academy  Search this
Type:
Interviews
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
Record number:
(DSI-AAA_CollID)11485
(DSI-AAA_SIRISBib)214143
AAA_collcode_outter73
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214143

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