California Palace of the Legion of Honor Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Thomas Carr Howe and Robert Neuhaus, 1987 Sept 25. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century -- California -- San Francisco Search this
Museum directors -- California -- Interviews Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with William Gaskin, 1964 Feb. 28. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching -- California Search this
An interview of William Gaskin conducted 1964 Feb. 28, by Lewis Ferbraché, for the Archives of American Art.
Gaskin speaks of his education at the San Francisco Institute of Art; his early interest in theater and literature; and his involvement with the WPA-FAP in San Francisco. He discusses a WPA mosaic project; how artists' careers were affected by the WPA; and the effects of politics on the WPA. He mentions Beniamino Bufano, Hilaire Hiler, and Dong Kingman.
Biographical / Historical:
William Gaskin, b. 1892; d. 1968, Art administrator of San Francisco, Calif.
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: Patrons must use microfilm copy.
This interview is open for research. Contact Reference Services for more information.
Topic:
Art -- Study and teaching -- California Search this
An interview with Linda Lucero conducted 2022 March 14–16, by Melissa L. San Miguel for the Archives of American Art, at Lucero's home in San Francisco, California.
Biographical / Historical:
Linda Lucero (1947- ) is a printmaker who was co-founder and executive director of La Raza Graphic Center, she is based in San Francisco, CA. Lucero also served as the executive and artistic director of Yerba Buena Arts and Events and Gardens Festival.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Printmakers -- California -- San Francisco Search this
Arts administrators -- California -- San Francisco Search this
Quotes and excerpts must be cited as follows: Oral history interview with Richard Shaw [videorecording], 1998 April 3 and 6. Archives of American Art, Smithsonian Institution.
The Fred Martin papers measure 14.6 linear feet and date from circa 1949-2018. The collection primarily consists of sketchbooks, writings, notes, correspondence and printed material related to Martin's time as director of SFAI, as well as his resignation letter and responses to it. His art is also amply represented in the form of slides and exhibition documentation. Martin's extensive travel is also recorded, as well as sketchbooks made in response to travel.
Materials microfilmed on reels 1128-1129 include correspondence between Martin and Sam Haddad and Royal Marks of the Royal Marks Gallery, 1964-1972, and with many artists and people involved with the arts; manuscript, business and printed materials; catalogs and announcements; clippings; miscellany; two small works; 20 photographs, 1957-1966, of works by Martin, Jeremy Anderson, Jay Defeo, Richard Diebenkorn, Sam Francis, Sonia Gechtoff, Wally Hedrick, Ivan Majdrakoff, David Park, Sam Richardson, and Joseph White; and one photograph of Wally Hedrick with a painting.
Biographical / Historical:
Fred Martin (1927-2022) was a painter, writer, art administrator and educator in San Francisco, California. Martin was a professor and director of the San Francisco Art Institute.
Related Materials:
The Archives of American Art also holds an interview of Fred Martin conducted 1980 Aug. 27-Sept. 19, by Terry St. John, for the Archives of American Art.
Provenance:
A small portion of the collection was donated in 1975 by Fred Martin. The bulk of the collection was donated in 2023 by Demian Martin, Fred Martin's son.
Restrictions:
This collection is temporarily CLOSED to researchers due to archival processing and digitization. For more information, please contact Reference Services.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- San Francisco Search this
Collagists -- California -- San Francisco Search this
Painters -- California -- San Francisco Search this
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:
Missing Title
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:
Cultural property -- Protection -- Europe -- History -- 20th century Search this
Art thefts -- Germany -- History -- 20th century Search this
Museum directors -- California -- San Francisco Search this
Quotes and excerpts must be cited as follows: Oral history interview with Robert Emory Johnson, 1975 Mar. 14. Archives of American Art, Smithsonian Institution.
Topic:
Art, American -- California -- San Francisco Search this
Arts administrators -- California -- Interviews Search this
Waddy, Ruth G. (Ruth Gilliam), 1909-2003 Search this
Extent:
26.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Date:
1928-2018
Summary:
The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Scope and Contents:
The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)
Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)
Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)
Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)
Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)
Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34
Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)
Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)
Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.
Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.
Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.
As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.
Provenance:
The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Washington (D.C.) Search this
Quotes and excerpts must be cited as follows: Oral history interview with Ian McKibbin White, 1980 November 24-1981 January 9. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Thomas Carr Howe, 1976 June 2-3. Archives of American Art, Smithsonian Institution.
Topic:
Museum directors -- California -- San Francisco -- Interviews Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Joseph A. Danysh, 1964 December 3. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with James Melchert, 1991 Apr. 4-5. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Ian McKibbin White, 1987 January 8-12. Archives of American Art, Smithsonian Institution.
Topic:
Museum directors -- California -- San Francisco -- Interviews Search this
California Palace of the Legion of Honor Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1930-1936
Summary:
The papers of arts administrator Aline Kistler measure 0.2 linear feet and date from 1930 to 1936. The papers relate to Kistler's career as an editor of Prints journal and education director at the California Palace of the Legion of Honor, and include correspondence, interviews, lecture and research notes on art, printed material, and writings.
Scope and Contents:
The papers of arts administrator Aline Kistler measure 0.2 linear feet and date from 1930 to 1936. The papers relate to Kistler's career as an editor of Prints journal and education director at the California Palace of the Legion of Honor, and include correspondence, interviews, lecture and research notes on art, printed material, and writings.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Arts administrator Aline Kistler (1895- ) was the education director at the California Palace of the Legion of Honor in San Francisco, California. Kistler was also an authority on prints, and edited the journal Prints.
Provenance:
Provenance unknown.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of ceramicist, educator, and arts administrator James Melchert measure 7.0 linear feet and 12.28 Gigabytes, and date from circa 1949 to 2021. The collection documents Melchert's career through biographical material, personal and professional correspondence, professional files documenting Melchert's teaching, residences, exhibitions, and other professional activities, writings, printed material documenting exhibitions and more, photographic material including images of Melchert and his artwork, and artwork comprising slide projection works.
Scope and Contents:
The papers of ceramicist, educator, and arts administrator James Melchert measure 7 linear feet and 12.28 Gigabytes, and date from circa 1949 to 2021.
Biographical material includes biographies and résumés, travel documents, and student records. Correspondence is professional and personal in nature and includes letters from artists such as Lawrence Weiner, Adrian Piper, Sol Lewitt, Hetty Huisman, and Peter Voulkos; gallerists and curators including Holly Solomon, Paul Kotula, Marcia Tucker, Lucy Lippard, and Harald Szemann; and notable former students including Paul Cotton and Theresa Cha. Professional files include records and correspondence from Melchert's tenures at the American Academy in Rome, the National Endowment for the Arts, and the University of California Berkeley, in addition to documenting other professional activities.
The writings series includes interviews, talks, panels, symposia, notes, artist statements, and autobiographical texts. Printed material includes clippings and exhibition documentation. Photographic material includes images of Melchert and his artwork from various stages of his career. Artwork includes Melchert's slide projection works represented by slides, and an artist multiple by Nam June Paik.
Arrangement:
The collection is arranged in seven series:
Series 1: Biographical Material, circa 1949-2019 (0.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1953-2021 (3.1 Linear feet: Boxes 1-4; 3.93 Gigabytes: ER01-ER02)
Series 3: Professional Files, circa 1965-2020 (0.8 Linear feet: Box 4)
Series 4: Writings, circa 1960s-2020 (0.7 Linear feet: Box 5; 8.35 Gigabytes: ER03-ER05)
Series 5: Printed Material, circa 1960s-2020 (1.4 Linear feet: Boxes 5-7)
Series 6: Photographic Material, circa 1952-2017 (0.6 Linear feet: Box 7)
Series 7: Artwork, circa 1968-1990 (0.3 Linear feet: Box 7)
Biographical / Historical:
James Melchert (1930-2023) was a ceramicist and educator who lived in Oakland, California. Melchert was known for his uniquely conceptualist approach to ceramics which draws from other disciplines including painting and performance art.
Born in New Bremen, Ohio, Melchert's education followed an unorthodox path: upon finishing his undergraduate degree in Art History in 1952, he spent four years in Japan teaching English at a high school, during which time he met his wife to be, a missionary and collage artist named Mary Ann Hostetler, with whom he would have three children. Melchert received a first master's degree from the University of Chicago in 1957 in painting, followed by a second master's degree in ceramics from the University of California at Berkeley in 1961. He shifted his focus to ceramics while completing his painting degree and attended a five-day workshop with the highly innovative and influential Peter Voulkos, with whom he would study at Berkeley and for whom he would serve as studio assistant. Melchert's career as a ceramicist began with a close association to Voulkos and the California Funk art movement.
Melchert's evolving interests led to his work including performance art and slide projection works, one of which was exhibited at Documenta 5 curated by Harald Szeemann in Kassel, Germany. After a trip to Europe in the eighties, Melchert began his experimental investigations with ceramic tile, working with cracks and imperfections in tiles and painting on the resulting works, a theme that would be an occupation of his studio practice to this day. Melchert taught fairly steadily throughout the early stages of his career and is known as a dedicated instructor to artists of various disciplines, including Paul Cotton and Theresa Cha.
Notably Melchert served as a faculty member at University of California at Berkeley from 1964-1994, with a stint living in Washington D.C. serving as the Director of Visual Arts Program of the National Endowment for the Arts from 1977 to 1981, and in Rome, Italy as the Director of American Academy, Rome from 1984 to 1988. As an artist, in addition to being exhibited around the world, Melchert's ceramic works including commissions are held in numerous collections such as the Los Angeles County Museum of Art, Massachusetts Institute of Technology, National Museum of Modern Art, Kyoto, Japan, San Francisco Museum of Modern Art, Smithsonian American Art Museum's Renwick Gallery, Stedelijk Museum in Amsterdam, Netherlands, and Yale University Museum of Art.
Related Materials:
Related materials include Archives of American Art's Oral history interview with James Melchert, 1991 Apr. 4-5, and Oral history interview with James Melchert, 2002 September 18-October 19.
Provenance:
Donated 2004 and 2019-2021 by James Melchert as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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.
Spreckels, Alma de Bretteville, 1881-1968 Search this
Extent:
126 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1980 November 24-1981 January 9
Scope and Contents:
An interview of Ian McKibbin White conducted 1980 November 24-1981 January 9, by Thomas Carr Howe, for the Archives of American Art.
White speaks of his education; U.S. Navy service, 1952-1955; travel, his museum career including work at the Brooklyn Botanical Garden, the Brooklyn Museum, the Peary-MacMillan Arctic Museum at Bowdoin College, and the California Palace of the Legion of Honor; the merger of the California Palace of the Legion of Honor and the M.H. de Young Memorial Museum into the Fine Arts Museums of San Francisco; the funeral of Alma de Bretteville Spreckels; Thomas Carr Howe as his mentor; FAMSF's "blockbuster exhibitions"; membership organizations; development of the American collection; fiscal problems and museum staff. He recalls David Levine, Jack McGregor, Aaron Shikler and others.
Biographical / Historical:
Ian McKibbin White (1929-) is a museum administrator of Honolulu, Hawaii. White was the longtime director of Fine Arts Museums of San Francisco.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 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.
Occupation:
Arts administrators -- California -- San Francisco -- Interviews Search this
Function:
Art museums -- California -- San Francisco
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
