Search Results

Interviewee:

Heiss, Alanna  Search this

Interviewer:

McElhinney, James Lancel, 1952-  Search this

Creator:

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Names:

Biennale di Venezia  Search this

Clocktower Gallery  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Institute for Art and Urban Resources  Search this

Lawrence University  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New Museum (New York, N.Y.)  Search this

P.S. 1 Contemporary Art Center  Search this

University of Chicago -- Students  Search this

Callahan, Harry M.  Search this

Finkelpearl, Tom  Search this

Gill, Brendan, 1914-1997  Search this

Highstein, Jene, 1942-2013  Search this

Matta-Clark, Gordon, 1943-1978  Search this

Nonas, Richard, 1936-  Search this

Extent:

80 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2010 June 15-October 28

Scope and Contents:

An interview of Alanna Heiss conducted 2010 June 15 and October 28, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Art International Radio, on Leonard Street, in New York, New York.

Heiss speaks of the Clocktower Gallery and the AIR offices; New York galleries and museums and the economic depression of the 1970s; art shows in Germany, France, Switzerland, and England and the role of foreign and West Coast curators in New York shows during the 1960s; founding the Institute for Art and Urban Resources with Brendan Gill; her lack of interest in collecting and the problems she feels it poses for organizations showing art; her attitudes about displaying art in the 1970s; growing up in a small town in Southern Illinois; spending summers as a child in South Dakota; her musical training; art in relation to Midwestern cultural values; her work on the exhibition "Stalin's Choice: Soviet Socialist Realism, 1932-1956" in 1993; her degree in music and the philosophy of aesthetics from Lawrence University; taking classes at the University of Chicago; moving to New York and deciding to focus on visual arts; her time in Europe and the various jobs she took while abroad including teaching, inspecting monuments for the Society for Ancient Buildings and Monuments, writing about animals, selling and transporting used cars, and serving as an artist liaison; and the exhibitions she saw during her travels.

Heiss also discusses trips she made across the United States after returning from Europe; working as a band road crew manger; her work in 1993 on the John Cage tribute show for the Venice Biennale called "Il Suono Rapido delle Cose" and the album produced in conjunction with the show called Caged/Uncaged - A Rock/Experimental Homage To John Cage; her marriage to the artist Jene Highstein and their friendships with the artists Richard Nonas and Gordon Matta-Clark; her return to New York from Europe around 1970 and her use of old or abandoned real estate as locations for contemporary art exhibitions; her first show, "Under the Brooklyn Bridge" in 1971; founding PS1; her work as a parole officer and her exposure to the culture of Harlem; the various shows held at PS1; urban art spaces in New York including the New Museum and the Coney Island Sculpture Museum; her exhibition space on Bleecker Street in New York; her disenchantment with the idea of community art; her work with Tom Finkelpearl; the way she publicized exhibitions; the underground culture of the 1970s; and the relationship between the Museum of Modern Art and PS1 and their eventual merger.

Biographical / Historical:

Alanna Heiss (1943-) is director of Art International Radio in New York, New York. James McElhinney (1952-) is an artist and educator in New York, New York.

General:

Originally recorded on 1 sound disc. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 39 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.

Occupation:

Gallery directors -- New York (State) -- New York  Search this

Arts administrators -- New York (State) -- New York  Search this

Curators -- New York (State) -- New York  Search this

Topic:

Women arts administrators  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation.

Identifier:

AAA.heiss10

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99e6f2c82-e682-4784-9927-1a9582dc615e

EDAN-URL:

ead_collection:sova-aaa-heiss10

Interviewee:

Heiss, Alanna, 1943-  Search this

Interviewer:

McElhinney, James, 1952-  Search this

Subject:

Callahan, Harry M.  Search this

Finkelpearl, Tom  Search this

Gill, Brendan  Search this

Highstein, Jene  Search this

Matta-Clark, Gordon  Search this

Nonas, Richard  Search this

Clocktower Gallery  Search this

Institute for Art and Urban Resources  Search this

Lawrence University  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New Museum (New York, N.Y.)  Search this

P.S. 1 Contemporary Art Center  Search this

University of Chicago  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Biennale di Venezia  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Alanna Heiss, 2010 June 15-October 28. Archives of American Art, Smithsonian Institution.

Topic:

Women arts administrators  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)15902

(DSI-AAA_SIRISBib)296450

AAA_collcode_heiss10

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_296450

Interviewee:

Ghez, Susanne, 1937-  Search this

Interviewer:

Richards, Judith Olch, 1947-  Search this

Subject:

Enwezor, Okwui  Search this

Flood, Richard G.  Search this

Paschke, Ed  Search this

Reid, Katharine Lee  Search this

Rorimer, Anne  Search this

Spector, Buzz  Search this

David and Alfred Smart Museum of Art  Search this

University of Chicago. Renaissance Society  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Susanne Ghez, 2011 Jan. 25-26. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Women arts administrators  Search this

Theme:

Women  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Record number:

(DSI-AAA_CollID)15916

(DSI-AAA_SIRISBib)297010

AAA_collcode_ghez11

Theme:

Women

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_297010

Interviewee:

Ghez, Susanne  Search this

Interviewer:

Richards, Judith Olch  Search this

Creator:

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Names:

David and Alfred Smart Museum of Art  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

University of Chicago. Renaissance Society  Search this

Enwezor, Okwui  Search this

Flood, Richard G., 1949-  Search this

Paschke, Ed  Search this

Reid, Katharine Lee  Search this

Rorimer, Anne  Search this

Spector, Buzz  Search this

Extent:

4 Items (Sound recording, master: 4 memory cards (4 hr., 53 min.), secure digital, 1.25 in.)

84 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2011 Jan. 25-26

Scope and Contents:

An interview of Susanne Ghez conducted 2011 Jan. 25 and 26, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at the Renaissance Society, in Chicago, Ill.

Ghez discusses her work for the Renaissance Society in Chicago; the Renaissance Society's involvement with European artists; taking risks; the importance of "programming first"; attention to Chicago area artists; a mix of local, national, and international programming; complementary programming with the Smart Museum of Art; audiences; the relationship between the Renaissance Center and the University of Chicago; installation issues; improved outreach to students; working on "Documenta 11," including the experience of co-curating with Okwui Enwezor and travelling to visit artists; exhibitions coming out of the "Documenta experience"; changes in curatorial practices; recommendations for aspiring curators; her retirement and succession plans; projects as an independent curator; art collectors in Chicago; serving on advisory committees; organizing thematic exhibitions; the importance of "belief" and "trust," and other topics. She recalls Anne Rorimer, Richard Flood, Buzz Spector, Katharine Lee Reid, James Coleman, Benjamin Buchloh, Ed Paschke, and others.

Biographical / Historical:

Susanne Ghez (1937- ) is a museum director at the Renaissance Society in Chicago, Ill. Judith Olch Richards (1947- ) is former executive director of iCI in New York, N.Y.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Arts administrators -- Illinois -- Chicago  Search this

Curators -- Illinois -- Chicago  Search this

Museum directors -- Illinois -- Chicago  Search this

Topic:

Art -- Collectors and collecting  Search this

Women arts administrators  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation.

Identifier:

AAA.ghez11

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db13ce94-7eaf-4abd-b264-bfdc3edf34fb

EDAN-URL:

ead_collection:sova-aaa-ghez11

Interviewee:

Hewes, Harry  Search this

Interviewer:

Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this

Subject:

Du Von, Jay  Search this

Federal Music Project (U.S.)  Search this

Federal Writers' Project  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 Harry Hewes and Jay Du Von, 1964 Oct. Archives of American Art, Smithsonian Institution.

Topic:

Federal aid to the arts  Search this

Theme:

New Deal  Search this

Record number:

(DSI-AAA_CollID)12196

(DSI-AAA_SIRISBib)213568

AAA_collcode_hewes64

Theme:

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213568

Creator:

Patch, Margaret Merwin, 1894-1987  Search this

Names:

American Craftsmen's Council  Search this

World Crafts Council  Search this

Ayers, Hester Merwin, 1902-1975  Search this

Webb, Aileen O., 1892-1979  Search this

Extent:

10.9 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Sound recordings

Date:

1885-1986

Summary:

The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material, and photographs.

Scope and Contents:

The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material; and photographs.

Biographical material includes documents from Margaret Merwin Patch as well as items from Rachel Merwin-Coggeshall, George Patch, Hester Merwin, and Ruth Merwin. One scrapbook contains clippings and photographs from the Patch's time at Cranbrook Academy of Art. Correspondents include Dorothy Johnson, Luba Kruja, Mary and Frances Schimpff, Olga Valkova, and Aileen Webb. Writings by others include unpublished works by Aileen Webb and Beatrice Wood. Family photographs depict the Patch and Merwin families.

The bulk of Patch's papers relate to her involvement with numerous arts organizations including the American Craftsmen's Council, Atlantic Center for the Arts, Shelburne Falls Art Center, and the World Crafts Council. These files may include founding documents, financial material, administrative records, correspondence, notes, printed material, and photographs. Found is material from the planning, goals, and accomplishments of twenty-five international meetings of various committees and groups of the World Crafts Council.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Material, 1903-1976 (0.9 linear feet; Box 1, 12, OV13-14)

Series 2: Correspondence, 1928-1986 (0.6 linear feet; Box 1)

Series 3: Diaries, 1912-1926 (0.2 linear feet; Box 2)

Series 4: Writings and Notes, circa 1919-circa 1980s (0.4 linear feet; Box 2)

Series 5: Subject Files, 1927-1986 (1.4 linear feet; Box 2-3)

Series 6: American Craftsmen's Council Records, 1953-1987 (1.0 linear feet; Box 4)

Series 7: World Crafts Council Records, circa 1960-1986 (5.2 linear feet; Box 5-10)

Series 8: Printed Material, 1930s-1986 (0.4 linear feet; Box 10)

Series 9: Photographs, 1880s-1980s (0.8 linear feet; Box 10-11)

Biographical / Historical:

Margaret Merwin Patch (1894-1987) was an arts administrator in Massachusetts and Florida.

Born in Bloomington, Illinois in 1894, Margaret Stone Merwin graduated from Illinois Wesleyan University in 1915. She attended the University of Chicago Graduate School of Commerce and Administration from 1916 to 1917.

While living in London, Margaret enrolled at the London School of Economics and worked for the American Section of the Allied Maritime Transport Council, attending the Paris Peace Conference. Upon returning to the United States, she was a member of the National Industrial Conference Board and attended Columbia University in the early 1920s. She started a statistical graphic design company, Merwin-Davis Statistical Reports and Charts, which produced illustrated and varied graphs to display statistical information in the mid-1920s.

Margaret Merwin married George Patch in 1930. She and George moved between their summer home in Shelburne Falls, Massachusetts, New York City, where Margaret was a special consultant to the National Broadcasting Company, and Bloomfield Hills, Michigan where she studied painting under Zoltan Sepeshy and Wallace Mitchell at Cranbrook Academy of Art. During World War II, Patch worked for the Office of Price Administration. Upon her husband's death in the 1950s, Patch spent winters in New Smyrna Beach, Florida.

From the 1940s until her death in 1988, Margaret Merwin Patch devoted her time to arts administration in the United States and around the world. Her passion began when she became the art chairman of the Women's Club of Shelburne Falls, Massachusetts. With that role, she helped lead the exhibition, class instruction, and retail support of local crafts. Eventually, her activity led to the formation of the Shelburne Falls Craft Center. Among the many organizations with which she was involved were the Aid to Artisans, American Craftsmen's Council, Atlantic Center for the Arts, Deerfield Valley Art Association, Michigan League of Women Voters, and the Shelburne Falls Art Center. Through her affiliation with the American Craftsmen's Council, Patch embarked on a year-long trip around the world in 1960. This trip helped lay the foundation for the World Crafts Council, which was formally established in 1964, with the aid of her colleague, Aileen Osborn Patch. A UNESCO group, the World Crafts Council sponsored international crafts conferences and cultural assemblies.

Margaret Merwin Patch died in 1988.

Related Materials:

Also in the Archives of American Art is an interview of Margaret Merwin Patch, conducted 1980 October 16-1984 September 25, by Robert F. Brown.

Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.

Provenance:

The Margaret Merwin Patch papers were donated to the Archives of American Art by Linda M. Walker, a personal representative of Patch's estate in 1987.

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 the audiovisual recording in this collection must use an access copy. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Arts administrators  Search this

Topic:

Handicraft  Search this

Genre/Form:

Diaries

Sound recordings

Citation:

Margaret Merwin Patch papers, 1885-1986. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.patcmarg

See more items in:

Margaret Merwin Patch papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99ed9270e-2377-4463-bad6-6d030ae4e6d5

EDAN-URL:

ead_collection:sova-aaa-patcmarg

Interviewee:

Pollock, Merlin F., 1905-1996  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Art Institute of Chicago  Search this

Federal Art Project (Ill.)  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Merlin F. Pollock, 1979 July 30 and 1980 July 30. Archives of American Art, Smithsonian Institution.

Topic:

Mural painting and decoration, American -- Illinois -- Chicago  Search this

Arts administrators -- Illinois -- Interviews  Search this

Muralists -- United States -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12533

(DSI-AAA_SIRISBib)211981

AAA_collcode_polloc79

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_211981

Interviewee:

Pollock, Merlin F., 1905-1996  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Art Institute of Chicago  Search this

Federal Art Project (Ill.)  Search this

Extent:

5 Items (sound files, digital, wav file)

65 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1979 July 30 and 1980 July 30

Scope and Contents:

An interview with Merlin F. Pollock conducted 1979 July 30 and 1980 July 30, by Robert Brown, for the Archives of American Art. Pollock speaks of his training at the Art Institute of Chicago and the Ecole des Beaux Arts, Fontainebleau, France; his work as instructor of mural painting at the Art Institute of Chicago, 1935-1943; his paintings of Alaska commissioned by the government in 1937 and his work as supervisor of mural painting for the Illinois WPA, 1940-1943. He also discusses Chicago artists and his own murals for the government.

Biographical / Historical:

Merlin F. Pollock (1905-1996) was a painter and teacher, Chicago, Ill.

General:

Originally recorded on 3 tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 3 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.

Occupation:

Painters -- United States -- Interviews  Search this

Topic:

Mural painting and decoration, American -- Illinois -- Chicago  Search this

Arts administrators -- Illinois -- Interviews  Search this

Muralists -- United States -- Interviews  Search this

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.

Identifier:

AAA.polloc79

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9575671b2-e860-4548-9444-36970ff8faf7

EDAN-URL:

ead_collection:sova-aaa-polloc79

Creator:

Colker, Ed, 1927-  Search this

Names:

Atelier Desjobert  Search this

Haybarn Press  Search this

United States. Army  Search this

Barnet, Will, 1911-2012  Search this

Johnson, J. Curtis  Search this

Konner, Melvin  Search this

Norris, Kathleen, 1947-  Search this

Pease, Deborah  Search this

Takaezu, Toshiko  Search this

Walker, Jeanne Murray  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Video recordings

Date:

1944-2020

Summary:

The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.

Scope and Contents:

The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.

Biographical materials include official letters regarding Colker's performance in the Army, caricatures of him, diplomas, resume, awards, and certificates.

Correspondence, mainly professional in nature with a few scattered personal letters, concerns Colker's academic and artistic work, Haybarn Editions, exhibitions, projects, and various interests. Poet correspondents are J. Curtis Johnson, Kathleen Norris, Deborah Pease, and Jeanne Walker; translators include Melvin Konner and others.

Interviews with Ed Colker, conducted between 1982 and 2008 for various purposes, are preserved as 1 sound cassette and published transcripts. Also found are 1 sound cassette, 1 videocassette, and a published transcript of interviews Colker conducted with Will Barnet and Toshiko Takaezu in 1981 and 1994 respectively.

Among Colker's writings are the published versions of several articles and the manuscript of an unpublished one; two proposed books for students of design and typography; lectures delivered to students (3 videocassettes), miscellaneous writings, notes, and 1 videocassete of readings by artists from one of Colker's Haybarn Press poetry portfolios.

Subject files document many of Colker's professional interests, activities, projects, and relationships. Also of note are files about Haybarn Press.

The bulk of the printed material consists of exhibition catalogs, announcements, and school catalogs. Almost all is about or mentions Colker, or features reproductions of his work. Of note is the first and only issue of Re-Art: A Reflection of Current Ideas on the Arts (1954), published by Colker and Gene Feldman.

Photographs are of Colker and his family; Colker at events related to his artistic, academic, and publishing activities; artwork by Colker, and his work as reproduced in Haybarn Editions. Also found are an exterior view of the barn studio and one of printers working at Desjobert Press.

Arrangement:

The collection is arranged as 8 series:

Missing Title

Series 1: Biographical Materials, 1946-circa 2011 (Box 1; 1 folder)

Series 2: Correspondence,1954-2011 (Box 1; 0.3 linear feet)

Series 3: Interviews, 1981-2008 (Box 1; 0.2 linear feet)

Series 4: Writings, 1961-1990s (Box 1; 0.5 linear feet)

Series 5: Subject files, 1952-2013 (Boxes 2-3; 1.3 linear feet)

Series 6: Printed Material,1944-2011 (Box 3; 0.7 linear feet)

Series 7: Photographs, circa 1960s-2010 (Box 4; 0.2 linear feet)

Series 8: Unprocessed Addition, circa 1963-2020 (Box 5; 0.2 linear feet)

Biographical / Historical:

Ed Colker (b. 1927) is a painter, printmaker, educator, and administrator who has worked in Chicago, Philadelphia, and New York City. Colker founded the not-for-profit fine art publisher Haybarn Press. He is married to artist Elaine Galen and resides in Mt. Kisco, NY.

After high school, Colker was awarded a scholarship and began his art education at the Pennsylvania Museum School of Industrial Arts. He interrupted his studies to serve in the U.S. Army (1944-1946). He graduated in 1949, by which time the school had become the Philadelphia Museum School of Art; today it is the University of the Arts. He taught art in the Philadelphia area before moving to New York City in 1956. Later, Colker earned degrees from New York University (B.S. Ed, 1964; M.A., 1985).

Colker taught art and design courses at the University of Pennsylvania, University of Illinois at Chicago Circle, Cornell University, Pratt Institute, and Philadelphia College of Art. By the 1980s, he had become an administrator as well as a professor. Throughout his academic career, Colker published and lectured widely, served as a visiting artist, acted as a consultant, and participated in professional organizations. He occasionally organized exhibitions and served on exhibition juries.

Since 1960, under the imprints Editions du Grenier, Haybarn Editions, and Haybarn Press, Colker has published limited edition books, portfolios, broadsides, individual pages, and folders of poetry. Most are accompanied by Colker's etchings and lithographs inspired by the texts. Haybarn Press, under the Ambor Edition imprint, also produced four portfolios with text and drawings by Elaine Galen, 1996-2008. From its inception, the work of Haybarn Press has been featured in many exhibitions of book arts. Colker also participated in group shows throughout the United States and enjoyed solo exhibitions of his paintings and prints. Haybarn Press productions and Colker's prints and paintings are in the permanent collections of Brown University, Cornell University, Harvard University, Library of Congress, Museum of Modern Art, New York Public Library, University of Arizona Museum of Art, and others.

Now retired from university administration and teaching, Colker continues to operate Haybarn Press and occasionally serves as an exhibition juror and visiting artist.

Provenance:

Donated by Ed Colker in 1991, 2013 and 2020.

Restrictions:

Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:

Arts administrators -- United States  Search this

Painters -- United States  Search this

Topic:

Printmakers -- United States  Search this

Painting, Modern -- 20th century -- United States  Search this

Printing  Search this

Art -- Study and teaching  Search this

Transcripts  Search this

Design  Search this

Educators -- United States  Search this

Genre/Form:

Interviews

Sound recordings

Video recordings

Identifier:

AAA.colked

See more items in:

Ed Colker papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9677cefb0-ea6d-4565-b7ac-2fe91567811e

EDAN-URL:

ead_collection:sova-aaa-colked