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Gloria Kolodny Chanenson papers on Josephine Hancock Logan

Creator:
Chanenson, Gloria Kolodny  Search this
Names:
Society for Sanity in Art (Chicago, Ill.)  Search this
Logan, Frank G., 1852-1937  Search this
Logan, Josephine Hancock, 1862-1943  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1939-1974
Summary:
The scattered papers documenting the activities of pre-World War II Chicago art patron Josephine Hancock Logan measure 0.2 linear feet and date from 1939 to 1974. The papers also relate to her husband, Frank G. Logan, and the Society for Sanity in Art and were compiled by Gloria Kolodny Chanenson. Found are printed materials, a mailing list, photographs, and printed poetry by Logan.
Scope and Contents:
The scattered papers documenting the activities of pre-World War II Chicago art patron Josephine Hancock Logan measure 0.2 linear feet and date from 1939 to 1974. The papers also relate to her husband, Frank G. Logan, and the Society for Sanity in Art and were compiled by Gloria Kolodny Chanenson. Found are printed materials, a mailing list, photographs, and printed poetry by Logan.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Arts administrator Gloria Kolodny Chanenson (1920-2010) was a scholarship student at the School of the Art Institute of Chicago. From 1938-1943, she was the secretary of Josephine Hancock Logan.

Josephine Hancock Logan (1862-1943) was prominent art patron from Chicago, Illinois. She was an opponent of modernism who founded the Society for Sanity in Art in 1936.
Provenance:
Donated 1988 by Gloria K. Chanenson.
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.
Occupation:
Collectors -- Illinois -- Chicago  Search this
Arts administrators -- Illinois -- Chicago  Search this
Topic:
Modernism (Art)  Search this
Art patronage  Search this
Art -- Collectors and collecting  Search this
Women arts administrators  Search this
Citation:
Gloria Kolodny Chanenson papers on Josephine Hancock Logan, 1939-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.changlor
See more items in:
Gloria Kolodny Chanenson papers on Josephine Hancock Logan
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a4c64e1e-c791-4180-8489-ef5c6c581a0c
EDAN-URL:
ead_collection:sova-aaa-changlor

Hilla Rebay papers, 1921-1963

Creator:
Rebay, Hilla, 1890-1967  Search this
Subject:
Solomon R. Guggenheim Museum  Search this
Art Dealers Association of America  Search this
Citation:
Hilla Rebay papers, 1921-1963. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Women artists  Search this
Women painters  Search this
Women arts administrators  Search this
Theme:
Women  Search this
Patronage  Search this
Record number:
(DSI-AAA_CollID)9185
(DSI-AAA_SIRISBib)211380
AAA_collcode_rebahill
Theme:
Women
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211380

Hilla Rebay papers

Creator:
Rebay, Hilla, 1890-1967  Search this
Names:
Art Dealers Association of America  Search this
Solomon R. Guggenheim Museum  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1921-1963
Summary:
The scattered papers of abstract artist, collector, and museum director Hilla Rebay measure 0.2 linear feet and date from 1921 to 1963. Found are photographs, printed materials concerning Rebay and the Guggenheim Foundation Museum of Non-Objective Painting, and a transcript from a court case involving taxes.
Scope and Contents:
The scattered papers of abstract artist, collector, and museum director Hilla Rebay measure 0.2 linear feet and date from 1921 to 1963. Found are photographs, printed materials concerning Rebay and the Guggenheim Foundation Museum of Non-Objective Painting, and a transcript from a court case involving taxes.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Abstract painter, art collector, and museum director Hilla Rebay (1890-1967) was active in New York City, New York, and served as the first director of the Guggenheim Museum.

Born Baroness Hildegard Anna Augusta Elisabeth Rebay von Ehrenwiesen in France, she studied art in Germany, Switzerland, and France. Rebay worked with Solomon Guggenheim to form a collection of Non-Objective paintings which became the foundation of the art collection of the Solomon R. Guggenheim Museum.
Provenance:
Records documenting the legal case were donated by the Art Dealers Association of America in 1963, which participated in the case by designating expert witness for the government to testify as to the market value of paintings. Provenance of the rest of the collection is 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.
Occupation:
Museum directors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Women artists  Search this
Women painters  Search this
Women arts administrators  Search this
Citation:
Hilla Rebay papers, 1921-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rebahill
See more items in:
Hilla Rebay papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94c99bc4c-c46e-401c-909c-32a84113f943
EDAN-URL:
ead_collection:sova-aaa-rebahill

Jean Zaleski papers

Creator:
Zaleski, Jean  Search this
Names:
Women in the Arts Foundation, Inc  Search this
Baker, Dina Gustin, 1924-  Search this
Roser, Ce  Search this
Weinstein, Joyce, 1931-  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1957-1979
Scope and Contents:
Correspondence with family, friends, and colleagues, and correspondence about feminist art and art groups; notes, essays and drafts of articles; photos of family, friends and associates, including Women in the Arts Foundation, Inc. members, and photos of art work; invoices, receipts and price lists; catalogs, announcements, clippings and printed materials. Also included are two untranscribed interviews: one of Dina Gustin Baker and Joyce Weinstein conducted by Zaleski in New York City, 1976; and another of Jean Zaleski and Ce Roser conducted by Vivian Southerland for radio station WBAI, New York City, 1976.
Biographical / Historical:
Painter, art administrator; New York, N.Y.
Provenance:
Donated September 1979 and January 1980 by Jean Zaleski.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Arts administrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Feminism and art  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women arts administrators  Search this
Women painters  Search this
Genre/Form:
Interviews
Identifier:
AAA.zalejean
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96fa60cf4-b73c-41d3-a021-d444e214b9f0
EDAN-URL:
ead_collection:sova-aaa-zalejean

Midtown Galleries records

Creator:
Midtown Galleries  Search this
Names:
Midtown-Payson Galleries  Search this
Betts, Edward H., 1920-  Search this
Bishop, Isabel, 1902-1988  Search this
Cadmus, Paul, 1904-1999  Search this
Coiner, Charles T., 1897-  Search this
Davis, Gladys Rockmore, 1901-1967  Search this
Etnier, Stephen, 1903-1984  Search this
Etting, Emlen, 1905-1993  Search this
Fiene, Ernest, 1894-  Search this
Gruskin, Alan D. (Alan Daniel), 1904-1970  Search this
Gruskin, Mary J.  Search this
Guston, Philip, 1913-1980  Search this
Hale, Nathan Cabot  Search this
Healey, Francis C.  Search this
Kingman, Dong, 1911-  Search this
Lahm, Ren'ee, 1897-1945  Search this
Magafan, Ethel, 1916-1993  Search this
Maldarelli, Oronzio, 1892-1962  Search this
Mangravite, Peppino, 1896-  Search this
Martin, Fletcher, 1904-1979  Search this
Meyer, Fred  Search this
Moller, Hans, 1905-  Search this
Nagler, Edith Kroger, 1890-1986  Search this
Nagler, Fred, 1891-1983  Search this
Palmer, William C., 1906-  Search this
Parsons, Betty  Search this
Peirce, Waldo, 1884-1970  Search this
Reinhardt, Siegfried, 1925-1984  Search this
Rosenthal, Doris Patty, 1889-1971  Search this
Saarinen, Lilian Swann, 1912-1995  Search this
Schoener, Jason  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Shulkin, Anatol, 1899-1961  Search this
Simkhovitch, Simka, 1893-1949  Search this
Sokole, Miron, 1901-  Search this
Soyer, Isaac, 1902-1981  Search this
Taubes, Frederic, 1900-  Search this
Thon, William, 1906-2000  Search this
Varga, Margit, 1908-2005  Search this
Vickrey, Robert, 1926-2011  Search this
Wingate, Arline, 1906-1998  Search this
Extent:
86.82 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Video recordings
Date:
1904-1997
Summary:
The records of Midtown Galleries measure 86.82 linear feet and date from 1904 to 1997. The collection documents the operation and general administration of the business and includes artist records, exhibition material, inventories, financial records, photographs, and printed material.
Scope and Content Note:
Records of Midtown Galleries [including the addition], circa 1904-1997, comprise 86.82 linear feet on 117 microfilm reels. Records are sparse for the early years when the gallery was operated as a cooperative. As the business expanded and became profitable, recordkeeping was more systematic and thorough. Records consist of administrative correspondence, 1927-1989 and undated; exhibition records, 1934-1982 and undated; inventories and sales records, 1946-1980 and undated; financial records, 1933-1957; miscellaneous, 1934-1985 and undated; photographs, circa 1925-circa 1980; printed matter, 1932-1982 and undated; personal papers of Alan D. and Mary J. Gruskin, 1932-1983 and undated; and Papers of Francis C. Healey, 1932-1935 and undated An addition, represents scattered material, 1932-1997 and undated, that remained after the gallery closed in 1995. It includes administrative records, 1934-1995 and undated; photographs circa 1938-1988 and undated; artists records, 1932-1993 and undated; exhibitions, 1958-1993 and undated; videotapes, 1977-1988; and oversize printed matter, 1973-1977 and undated Because microfilmimg of the Midtown Galleries records was already underway when this material was received, it could not be integrated with the main portion of the collection.

Administrative correspondence is categorized as General Correspondence, Artists Correspondence, and Artists Applications. General Correspondence is with clients, collectors, museums and galleries, arts organizations, and businesses providing services to Midtown Galleries, and concerns routine business matters. Artists Correspondence contains both personal and business letters since the Gruskins were close friends of many artists represented by Midtown Galleries. Artists Applications consists of correspondence with artists seeking representation by Midtown Galleries. Both accepted and rejected artists are included in this subseries.

Exhibition records includes schedules and general correspondence about cooperative exhibitions and traveling shows. Exhibition files, arranged by title, contain correspondence concerning arrangements for each show.

Inventories include listings by artist and by warehouse location; also, lists of paintings on consignment, paintings returned to artists, loan/shipping log, and "traffic cards." Sales records include "groups totals,: artists account ledger, and sales slips.

Financial records consist of bills paid, banking records, accounting records, and tax returns with related documentation.

Miscellaneous items include manuscripts of Isabel Bishop Catalogue Raisonne and Biography by Karl Lunde and The Art of Philip Guston by Lester D. Longman. Also included are legal documents such as Act of Incorporation, partnership agreement, and leases; 32 guest registers, 1924-1985 and undated, and 15 samples of artist-designed fabrics produced by Onandoga Silk Co., 1946-1947.

Photographs of people include founders Alan D. Gruskin and Francis C. Healey, Mary J. Gruskin (Mrs. Alan D.) and many artists affiliated with Midtown Galleries. Photographs of works of art are by Midtown artists and others. Also, illustrations for Painting in the U.S.A. by Alan D. Gruskin; 2 albums of photographs of the work of Waldo Peirce, circa 1925-1930s (probably compiled by Peirce). Photographs of exhibitions include Midtown Galleries exhibitions and shows elsewhere featuring works by Midtown artists. Miscellaneous photographs include: Gruskin's Department Store (Pa.); models used by artists Julien Binford, Henry Koerner, and Doris Rosenthal; properties owned by Julien Binford and Hans Moeller; Anatol Shulkin's travel pictures of the Soviet Union; store window displays featuring Midtown artists, and fashion models at Midtown Galleries.

Printed matter includes material produced by Midtown Galleries: exhiition catalogs, 1932-1983 and undated; news releases, 1932-1983 and undated; Midtown News, 1965-1970; and miscellaneous items, 1943-1970 and undated Printed matter produced by others includes is comprised of artists files consisting mainly of newsclippings; also, articles about Midtown Galleries and the Gruskins.

Personal papers of Mary J. and Alan D. Gruskin contain biographical information, correspondence, financial records, miscellaneous items, calendars, and writings of Alan D. Gruskin. Correspondence, 1931-1970 and undated, with family and friends concerns personal business; also, letters of condolence on the death of Alan D. Gruskin, 1970. Financial records include personal finances and documentation of gifts of artwork to institutions, with appraisals and tax information. Calendars, 1939-1983, record both personal engagements and some business appointments. Writings of Alan D. Gruskin include manuscripts and drafts of columns, short stories, a screenplay, radio broadcasts, and lecture notes from courses at Harvard.

Papers of Francis C. Healey are comprised of correspondence that relates to both gallery and ersonal business. Also included are scripts and drafts for radio broadcasts, printed matter, press releases, and proposals for radio programs.

Administrative records received with the addition include general correspondence, correspondence with clients, and correspondence regarding gifts, sales and purchases. Records concerning the sale of Midtown Galleries to John Whitney Payson include Gruskin's and Payson's inventories. Also, included is a history of the gallery.

Photographs are of the Gruskins, their friends, and country house; also, views of Midtown exhibitions, openings, artists, and individual works of art.

Artists records are comprised mainly of artists files, largely containing printed matter. Among the artists records are a file of holiday cards by various artists, many with original artwork. Also included are catalogs of group shows featuring Midtown artists at other galleries

Exhibition materials include announcements, news releases, catalogs, miscellaneous printed matter, and a guest book. A small number of these items are dated after Payson's purchase of Midtown Galleries.

Videotapes of William Palmer, Isabel Bishop, and Robert Vickrey, as well as oversize printed matter relating to Midtown artists, complement the artists records.
Arrangement:
The collection is arranged into 10 series. A detailed explanation of the arrangement of each series is provided with the series descriptions. Each series is subdivided, often by record type, with categories usually arranged chronologically; exceptions are noted. Administrative correspondence (Series 1) is arranged alphabetically, as are many inventories sales records (Series 3). Photographs of people, exhibitions, and works of art (Series 6) are arranged alphabetically, as are the artists files and exhibition clippings portions of the printed matter (Series 7). The addition is described separately in Appendix A; and, wherever possible, reel and frame numbers of related materials received and filmed with the addition have been included in the main text's series descriptions.

Missing Title

Series 1: Administrative Correspondence, 1927-1989, undated (51 linear ft.)

Series 2: Exhibitions, 1932-1982, undated (4 linear feet)

Series 3: Inventories and Sales Records, 1932-1980, undated (5.3 linear ft.)

Series 4: Financial Records, 1933-1957 (3.5 linear feet)

Series 5: Miscellaneous, 1934-1985, undated (2 linear feet)

Series 6: Photographs, circa 1925-circa 1980 (6.5 linear feet)

Series 7: Printed Matter, 1932-1990, undated (7.25 linear ft.)

Series 8: Personal Papers of Alan D. and Mary J. Gruskin, 1904-1990, undated (4.5 linear feet)

Series 9: Papers of Francis C. Healey, 1932-1935, undated (0.5 linear ft.)

Series 10: Addition, 1932-1997, undated (2.5 linear feet)
Historical Note:
Alan D. Gruskin (1904-1970) hoped to become an artist, but while still a student realized that his talents were better suited to art administration than painting. Following graduation from Harvard University, he worked at a New York gallery that specialized in old masters, returning home to Pennsylvania after a year to pursue a writing career that ultimately proved unsuccessful. Gruskin returned to New York and opened Midtown Galleries at 559 Fifth Avenue in 1932. Specializing in work by living American artists, Midtown was one of a rather small number of commercial galleries in New York City that showed contemporary American art. Midtown Galleries represented academic and realist painters, and purposely avoided abstract art.

Founded during the Depression, Midtown Galleries was a shoe-string operation in its early years. Originally operated as a cooperative, Midtown Galleries' participating artists contributed to the costs and work of presenting exhibitions. Between 1932 and 1935, Gruskin served as "Art Director" of the gallery and his business partner, Francis C. Healey was "Publicity Director." Healey appears to have been responsible for weekly broadcasts on NBC radio designed to interest people in visiting the gallery. The 15-minute programs consisted of discussions with museum directors, curators, artists, writers, and musicians about a broad range of cultural topics. Copies of the scripts were offered for a dime, and the payments mailed by radio listeners bought Gruskin's meals. During this period, Gruskin lived in the gallery. After Healey's departure in 1935, Midtown Galleries ceased to be run as a cooperative.

Midtown Galleries usually represented approximately two dozen artists, and many remained with the gallery for decades. They included: Julien Binford, Isabel Bishop, Paul Cadmus, Gladys Rockmore Davis, Emlen Etting, Maurice Freedman, Dong Kingman, Oronzio Maldarelli, William C. Palmer, Waldo Peirce, Doris Rosenthal, Zoltan L. Sepeshy, Frederic Taubes, William Thon, Margit Varga, and Robert Vickrey.

Gruskin worked to educate and interest the public in American art and to promote the artists he represented. In addition to countless reviews, articles, and catalog essays, he wrote three books: Painting in the U.S.A. (1946), The Watercolors of Dong Kingman and How the Artist Works (1958), William Thon: The Artist and His Technique (1964). Gruskin advocated the use of fine art in advertising and industry, obtaining commissions for his artists and at the same time assisting clients in building corporate collections. A prime example is the Upjohn Company which, at Gruskin's urging, included reproductions of paintings in "Your Doctor Speaks," a series of public service announcements. Many of the paintings were purchased subsequently, forming the basis of the Upjohn Collection. A traveling exhibition, The Upjohn Company Collection of Contemporary American Paintings, was circulated by Midtown Galleries and featured in a Life magazine article about fine art and advertising. Another example is the fabric patterns, based on paintings by several of Midtown Galleries' artists, commissioned by the Onandoga Silk Company; the fabrics were used for dresses by popular designers, with fashion shows and window displays of paintings by the participating artists at selected department stores throughout the country. Working closely with architects and interior designers, Gruskin and Midtown Galleries were innovators in the use of domestic and business settings to showcase art with Art In Interiors, a series of exhibitions held annually between 1952 and 1961.

Midtown Galleries was a pioneer in circulating traveling exhibitions to colleges and art associations in communities distant from major art museums and commercial galleries. Beginning in 1936 and or more than 35 years, Midtown Galleries circulated 8-10 shows throughout the country each year; most were group shows organized around a theme, though occasional solo exhibitions were offered. Other important exhibitions off the premises were the Central Illinois Art Exposition, 1939, and the contemporary American art exhibition at the New York World's Fair, 1964-1965. The 1939 show organized by Gruskin for the Bloomington, Illinois, Art Association was a large exhibition of American art borrowed from a variety of institutions; the very well-publicized show was heavily attended, drawing visitors from a large area of the rural Midwest, many of whom had never visited a museum or seen original art.

Missing Title

1932 -- established as a cooperative gallery at 559 Fifth Ave. by Alan D. Gruskin (Art Director) and Francis C. Healey (Public Relations Director); Midtown Galleries presented programs on contemporary American art broadcast by NBC radio

1934-1935 -- Tudor City Art Galleries at 8 Prospect Place, New York City, featuring works by Midtown Galleries' artists and others, administered by Gruskin and Healey

1935 -- departure of Francis C. Healey; gallery moved to 605 Madison Ave.; gallery ceased to be run as a cooperative

1936 -- began traveling exhibitions to universities, museums, and regional art associations

1939 -- Central Illinois Art Exposition (Bloomington, Ill.)

1946 -- San Francisco branch opened and closed; publication of Painting in the U.S.A. by Alan D. Gruskin

1951 -- gallery moved to 17 East 57th Street

1958 -- publication of The Watercolors of Dong Kingman and How the Artist Works by Alan D. Gruskin

1962 -- gallery moved to 11 East 57th Street

1964 -- exhibition of contemporary American art at the New York World's Fair, organized by Midtown Galleries; shown in American Interiors Pavilion, this was the only exhibit of its kind at the Fair; publication of William Thon: The Artist and His Technique by Alan D. Gruskin

1966 -- loan of Midtown Galleries' records for microfilming by the Archives of American Art; this small selection, along with many other gallery records, was donated by Mary Gruskin to the Archives between 1972 and 1991, with an additional gift in 1997

1970 -- death of Alan D. Gruskin (1904-1970); Mary J. Gruskin assumes position of Director

1972 -- first portion of Midtown Galleries' records donated to the Archives of American Art by Mrs. Gruskin

1985 -- sale of Midtown Galleries to John Whitney Payson; Bridget Moore, Director, and Mary J. Gruskin, Director Emerita

1986 -- majority of Midtown Galleries' records acquired by the Archives of American Art

1990 -- name changed to Midtown-Payson Galleries; gallery moved to 745 Fifth Ave.

1991 -- additional gift of records by Mrs. Gruskin

1992 -- records arranged, described, and prepared for microfilming

1993 -- microfilming began; continued sporadically, in small segments

1995 -- Midtown-Payson Galleries closed

1997 -- additional gift of records by Mrs. Gruskin

1999 -- microfilming completed
Provenance:
Midtown Galleries loaned a small number of records consisting of news releases, 1939-1966, and exhibition schedules to the Archives of American Art for microfilming in 1966. Subsequently, Mary J. Gruskin donated this material, along with many other gallery records, to the Archives in several installments between 1972 and 1991; an additional gift was received in 1997. The portion loaned in 1966 is now integrated with the main records and has been refilmed in sequence. Unfortunately, the addition of 1997 was received in Washington, D.C. after microfilming was well underway. The addition has been microfilmed and described separately as Series 10. Wherever possible, the main text has been annotated with reel and frame numbers for related items contained in the addition.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- United States  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Video recordings
Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
Identifier:
AAA.midtgall
See more items in:
Midtown Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw914dd4711-6742-49ca-86c0-2e99aad538ea
EDAN-URL:
ead_collection:sova-aaa-midtgall

Kimberly Camp papers

Creator:
Camp, Kimberly  Search this
Names:
Barnes Foundation  Search this
Extent:
9.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sketchbooks
Sound recordings
Video recordings
Date:
1970-2015
Scope and Contents:
The Kimberly Camp papers include biographical material, writings, works of art, audiovisual material, and printed material relating to the career of Kimberly Camp as an artist and arts administrator.
Biographical material includes appointment books. Writings consist of manuscript drafts for "Defending the Dead: The Totally True Story of the Barnes Transformation" (not yet published) and notebooks and sketchbooks about her art and career as an arts administrator. Audio visual material includes 18 audio cassettes and 39 VHS video cassettes containing interviews or lectures given by Camp as well as assorted recordings related to her work. Printed material relates to Camp's position as an arts administrator.
Biographical / Historical:
Kimberly Camp (1956-) is an African American painter, dollmaker, and arts administrator in Collingswood, New Jersey. Camp was executive director of the Barnes Foundation from 1999-2005.
Provenance:
Donated 2016 and 2023 by Kimberly Camp.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Manuscript drafts for Defending the Dead: The Totally True Story of the Barnes Transformation and Salzburg Seminar journal are ACCESS RESTRICTED; Use requires written permission. Contact Reference Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
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 -- New Jersey  Search this
Dollmakers -- New Jersey  Search this
Painters -- New Jersey  Search this
Topic:
African American artists  Search this
Women artists  Search this
Genre/Form:
Interviews
Sketchbooks
Sound recordings
Video recordings
Identifier:
AAA.campkimb
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93cae9342-ebd2-4fd6-96ed-16273bd1927f
EDAN-URL:
ead_collection:sova-aaa-campkimb

Lowery Stokes Sims papers, circa 1981-2017

Creator:
Sims, Lowery Stokes, 1949-  Search this
Type:
Sound recordings
Interviews
Video recordings
Citation:
Lowery Stokes Sims papers, circa 1981-2017. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
African American art  Search this
African American art museum curators  Search this
Theme:
African American  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)21726
(DSI-AAA_SIRISBib)398599
AAA_collcode_simslowe
Theme:
African American
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_398599

Lowery Stokes Sims papers

Creator:
Sims, Lowery Stokes  Search this
Extent:
24.4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Video recordings
Date:
circa 1981-2017
Scope and Contents:
The papers of African American art historian, curator and art administrator, Lowery Stokes Sims, measure 24.5 linear feet and date from circa 1918-2017. Included are correspondence; photographs of Lowery and others at events; notes and journals;printed material; exhibition records and administrative records from the Metropolitan Museum of Art, The Studio Museum in Harlem, and the Museum of Art and Design and other organizations; VHS videos, DVD and audio cassettes of interviews with Sims regarding artists and exhibitions; and research files on artists.
Biographical / Historical:
Lowery Stokes Sims (1949-) is an African American art historian, curator and art administrator. Sims was the first African American Curator at the Metropolitan Museum of Art (1972-1999), then served as Executive Director, President then Adjunct Curator of the Permanent Collection of The Studio Museum in Harlem (2000-2007), and Senior Curator and then Chief Curator of the Museum of Art and Design (2007-2015).
Provenance:
The collection was donated in 2019 by Lowery Stokes Sims as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
This collection is access restricted; written permission is required. Contact Reference Services for more information.

Access, with permission, 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.
Occupation:
Art historians -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
African American art  Search this
African American art museum curators  Search this
Genre/Form:
Sound recordings
Interviews
Video recordings
Identifier:
AAA.simslowe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a66e8319-d9c1-4f8d-b005-08f8bc7cf659
EDAN-URL:
ead_collection:sova-aaa-simslowe

Laurence E. Schmeckebier papers, 1909-1988

Creator:
Schmeckebier, Laurence Eli, 1906-1984  Search this
Subject:
Grosz, George  Search this
Lebrun, Rico  Search this
Meštrović, Ivan  Search this
Nordhausen, A. Henry  Search this
Orozco, José Clemente  Search this
Refregier, Anton  Search this
Rood, John  Search this
Roysher, Hudson  Search this
Schreckengost, Viktor  Search this
Dehn, Adolf  Search this
Evergood, Philip  Search this
Gropius, Walter  Search this
Type:
Scrapbooks
Citation:
Laurence E. Schmeckebier papers, 1909-1988. Archives of American Art, Smithsonian Institution.
Topic:
Art in universities and colleges -- New York (State) -- Syracuse  Search this
Mural painting and decoration, American -- New York (State) -- Syracuse  Search this
Mural painting and decoration, Mexican  Search this
Muralists  Search this
Greeting cards  Search this
Latino and Latin American artists  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8724
(DSI-AAA_SIRISBib)210905
AAA_collcode_schmlaur
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210905

Adele S. Brown Papers

Collection Creator:
Brown, Adele Smith, 1910-  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
1935-1982
Scope and Contents:
Correspondence includes letters from artists, arts administrators, and philanthropists. Many of the letters relate to Brown's work with the Museum of Modern Art Gallery in Washington, D.C., and with the Section of Fine Arts. Letters are from Mabel T. Boardman, Charles Bregler, Frank di Gioia, Susan Eakins, Duncan Ferguson, Margaret Gates, Robert Gates, Rockwell Kent, Karl Knaths, Matt Kries, Walt Kuhn, Doris Lee, John Marin, Reginald Marsh, Boardman Robinson, Helen Sardeau, Eugene Savage, Augustus Vincent Tack, Heinz Warneke, C. Law Watkins, Harold Weston, and William Zorach.

General material regarding the Museum of Modern Art Gallery includes a proposal for an exhibition by Brown which includes sketches of galleries, photographs of exhibitions, and clippings and exhibition printed material. Additionally, records relating to Brown's work with the Section of Fine Arts include lists of works of art, exhibition catalogs, and clippings.
Collection 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.
Collection 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.
Collection Citation:
Adele S. Brown papers, 1935-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browadel, Series 1
See more items in:
Adele S. Brown papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92183b21e-154f-45ee-9d6e-442277a068a8
EDAN-URL:
ead_component:sova-aaa-browadel-ref3

Oral history interview with John Britton Matthew, 1964 Oct. 25

Interviewee:
Matthew, John Britton, 1896-1980  Search this
Interviewer:
McChesney, Mary Fuller, 1922-2022  Search this
Subject:
McChesney, Robert, 1913-2008  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 John Britton Matthew, 1964 Oct. 25. Archives of American Art, Smithsonian Institution.
Topic:
Federal aid to the arts  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12553
(DSI-AAA_SIRISBib)213655
AAA_collcode_matthe64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213655
Online Media:

Jeannette Eckman papers, 1937-1941

Creator:
Eckman, Jeannette, 1882-  Search this
Delaware Historical Records Survey  Search this
Subject:
Federal Art Project (Del.)  Search this
Federal Theater Project (Del.)  Search this
Federal Writers' Project (Del.)  Search this
Federal Music Project (Del.)  Search this
Citation:
Jeannette Eckman papers, 1937-1941. Archives of American Art, Smithsonian Institution.
Topic:
Federal aid to public welfare -- Delaware  Search this
Music and state -- Delaware  Search this
Theater and state -- Delaware  Search this
Art and state -- Delaware  Search this
Federal aid to the arts -- Delaware  Search this
Theme:
New Deal  Search this
Patronage  Search this
Record number:
(DSI-AAA_CollID)6997
(DSI-AAA_SIRISBib)209130
AAA_collcode_eckmjean
Theme:
New Deal
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209130

Emily Nathan papers, circa 1943-1985

Creator:
Nathan, Emily S., 1907-1999  Search this
De Creeft, José, 1884-1982  Search this
Subject:
Goldberg, Rube, 1883-1970  Search this
Lerner, Abram  Search this
Spyropoulous, Jannis  Search this
Johns, Jasper  Search this
Rothko, Mark  Search this
Smith, Tony  Search this
Namuth, Hans  Search this
McLanathan, Richard B. K.  Search this
Woolfenden, William E. (William Edward)  Search this
De Creeft, José  Search this
Hirshhorn, Joseph H.  Search this
Towle Mfg. Company  Search this
Smithsonian Institution  Search this
Archives of American Art  Search this
Type:
Sound recordings
Interviews
Citation:
Emily Nathan papers, circa 1943-1985. Archives of American Art, Smithsonian Institution.
Topic:
Roosters -- Pictorial works  Search this
Roosters -- Anecdotes  Search this
Caricatures and cartoons  Search this
Art, American  Search this
Inventors -- Interviews  Search this
Archives -- Public relations  Search this
Museums -- Public relations  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Art and industry  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8071
(DSI-AAA_SIRISBib)210242
AAA_collcode_nathemil2
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210242

Betty Blayton-Taylor papers, 1929-2016, bulk 1970s-2000s

Creator:
Blayton-Taylor, Betty  Search this
Subject:
Children's Art Carnival (New York, N.Y.)  Search this
Harlem Textile Works (New York, N.Y.)  Search this
Printmaking Workshop  Search this
Type:
Sound recordings
Citation:
Betty Blayton-Taylor papers, 1929-2016, bulk 1970s-2000s. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
Women artists  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)17619
(DSI-AAA_SIRISBib)397364
AAA_collcode_blaybett
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_397364
Online Media:

Oral history interview with Thomas Carr Howe and Robert Neuhaus, 1987 Sept 25

Interviewee:
Howe, Thomas Carr, 1904-1994  Search this
Interviewer:
Fairbanks, Peter  Search this
Subject:
Karlstrom, Paul J  Search this
Neuhaus, Robert, 1909-  Search this
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
Record number:
(DSI-AAA_CollID)11619
(DSI-AAA_SIRISBib)215597
AAA_collcode_howe87
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215597
Online Media:

Oral history interview with Evangeline J. Montgomery

Interviewee:
Montgomery, Evangeline J.  Search this
Interviewer:
Elliott, Claude L.  Search this
Extent:
25 Items (WAV files (3 hours., 16 min.), digital, wav )
65 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2021 June 15 - December 7
Scope and Contents:
An interview with Evangeline J. Montgomery conducted 2021 June 15-December 7, by Claude L. Elliott for the Archives of American Art, at Montgomery's home at the Hebrew Home of Greater Washington in Rockville, MD.
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C. Montgomery has advocated for racial justice and public equity across media. She is especially known for her metallurgical works and abstract lithographs as well as her work with the US State Department to foster arts education domestically and abroad.
Related Materials:
The Archives also holds the papers of Evangeline J. Montgomery.
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:
Art museum curators -- Washington (D.C.)  Search this
Metal-workers -- Washington (D.C.)  Search this
Printmakers -- Washington (D.C.)  Search this
Topic:
African American artists  Search this
Women artists  Search this
African American printmakers  Search this
Women printmakers  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.montgo21
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c3bea9e1-6d68-40a2-a6c7-7907d601b25e
EDAN-URL:
ead_collection:sova-aaa-montgo21
Online Media:

Arthur Monroe papers

Creator:
Monroe, Arthur  Search this
Names:
Oakland Museum  Search this
World Black and African Festival of Arts and Culture  Search this
Extent:
22.6 Linear feet
6.36 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketchbooks
Scrapbooks
Date:
circa 1940-2019
Summary:
The papers of African American abstract expressionist painter, arts administrator and educator Arthur Monroe measure 22.6 linear feet and 6.3 gigabytes and date from circa 1940 to 2019. Monroe was the registrar at the Oakland Museum and American Studies professor at University of California, Berkeley and San Jose State University. This collection documents his career through biographical material, correspondence, writings, FESTAC records, professional files, research files, teaching files, printed material, and photographic material.
Scope and Contents:
The papers of African American abstract expressionist painter, arts administrator and educator Arthur Monroe measure 22.6 linear feet and 6.3 gigabytes and date from circa 1949 to 2019. Monroe was the registrar at the Oakland Museum and American Studies professor at University of California, Berkeley and San Jose State University. This collection documents his career through biographical material, correspondence, writings, FESTAC records, professional files, research files, teaching files, printed material, and photographic material.
Arrangement:
This collection is arranged as 9 series.

Series 1: Biographical Material, circa 1970-circa 2013 (0.4 linear feet; Box 1)

Series 2: Correspondence, circa 1971-cira 2015 (1.7 linear feet; Boxes 1-3)

Series 3: Writings, 1974-circa 2019 (3.7 linear feet; Boxes 3-6)

Series 4: FESTAC Records, 1973-1993, bulk 1974-1978 (4.5 linear feet; Boxes 6-11, 23)

Series 5: Professional Files, 1957-2019 (4 linear feet; Boxes 11-15)

Series 6: Research Files, 1951-2010 (4.5 linear feet; Boxes 15-19, 23)

Series 7: Teaching Files, 1970-circa 2010 (1.1 linear feet; Boxes 19-20)

Series 8: Printed Material, 1955-2014 (1.3 linear feet; Boxes 20-21, 24)

Series 9: Photographic Material, circa 1940-circa 2019 (1.4 linear feet; Boxes 21-22)
Biographical / Historical:
Arthur Monroe (1935-2019) was an African American abstract expressionist painter, arts administrator, and educator in Oakland, California. Monroe was the Chief Registrar at the Oakland Museum for over 30 years and also taught African American Studies as a professor at the University of California, Berkeley and San Jose State University. Arthur Monroe was the Chair of the Far West Region North Committee for FESTAC (1977), also known as the Second World Black and African Festival of Arts and Culture, as well as an organizer for the First Statewide Conference of Black Artists held in 1978.
Provenance:
The collection was donated in 2019 by Arthur Monroe 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.
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 -- Oakland  Search this
Educators -- California -- Oakland  Search this
Arts administrators -- California  Search this
Topic:
African American painters  Search this
African American artists  Search this
Abstract expressionism  Search this
African American art -- African influences  Search this
African American educators  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Citation:
Arthur Monroe papers, circa 1940-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.monrarth
See more items in:
Arthur Monroe papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98ed18ada-836d-488b-9ef8-d027e1a92751
EDAN-URL:
ead_collection:sova-aaa-monrarth
Online Media:

Harry Lowe papers

Creator:
Lowe, Harry, 1922-  Search this
Names:
Archipenko, Alexander, 1887-1964  Search this
Dahl-Wolfe, Louise  Search this
Edmondson, William, 1882?-1951  Search this
Flagg, James Montgomery, 1877-1960  Search this
Mabry, Thomas D.  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Extent:
0.4 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1938-1982
Scope and Contents:
Letters, photographs, slides, and printed materials on art exhibits and subjects.
REEL 3134: Papers accumulated by Lowe while Director of the Tennessee Fine Arts Center regarding an exhibit on the work of African American sculptor William Edmondson, 1964. Included are 12 letters, 1961-1964, from Louise Dahl-Wolfe, Thomas D. Mabry and others concerning works loaned to the exhibit; a photograph of Edmondson and 12 of his sculpture; an undated exhibition announcement; and 10 clippings.
UNMICROFILMED: Letters and photocopies of letters; files, containing photographs, slides, and negatives relating to a Alexander Archipenko exhibition, Paris, France, 1969, exhibition of Mexican Folk Art from the Nelson A. Rockefeller Collection, Museum of Primative Art, 1969, and the Art Embassies Program, 1966; photos of Lowe; slides of Cranbrook Academy of Art installations; articles and photocopies of articles, regarding Nelson Rockefeller, and his art collection, James Montgomery Flagg, and others; printed material, including press releases and exhibition catalogs; and miscellany.
Biographical / Historical:
Arts administrator and designer; Washington, D.C. Worked at Cranbrook Academy of Art, 1951-1953; was Director of the Tennessee Fine Arts Center, 1959-1964; a curator, Department of Exhibitions & Design, National Collection of Fine Arts, 1964-1972.
Provenance:
Donated 1971 & 1984 by Harry Lowe.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Arts administrators -- Washington (D.C.)  Search this
Designers -- Washington (D.C.)  Search this
Topic:
Art -- Exhibitions  Search this
African American artists  Search this
African American sculptors  Search this
Identifier:
AAA.loweharr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw929f23a60-cc17-448b-93a7-b9e577adfc77
EDAN-URL:
ead_collection:sova-aaa-loweharr

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.

Missing Title

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
GUID:
https://n2t.net/ark:/65665/mw9a172f43c-33be-45e4-87fb-14ed23fc3008
EDAN-URL:
ead_collection:sova-aaa-outtjohn
Online Media:

Alma Thomas papers

Creator:
Thomas, Alma  Search this
Names:
Art in Embassies Program (U.S.)  Search this
Martha Jackson Gallery  Search this
Bader, Franz, 1903-1994  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Johnson, Nathalie J. Cole  Search this
Sarg, Tony, 1882-1942  Search this
Tarbary, Celine  Search this
Taylor, Joshua Charles, 1917-  Search this
Thomas, J. Maurice (John Maurice), 1900 or 1901-  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Audiocassettes
Video recordings
Photographs
Date:
circa 1894-2001
Summary:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Scope and Contents note:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.

Biographical material includes identity cards, chronologies, an audio recording including a biographical account, and scattered documentation of Thomas's education and teaching careers with D.C. Public Schools, Howard University, and Thomas Garrett Settlement in Wilmington, Delaware. Also found are records relating to Thomas's participation in a summer marionette class taught by Tony Sarg in 1934, and a tour of European art centers which Thomas took in 1958.

Letters relate primarily to the exhibition of Thomas's work and related events and are from galleries, museums, other art institutions, colleagues, and friends including Franz Bader, Adelyn Breeskin, Corcoran Gallery of Art, Howard University Gallery of Art, Martha Jackson Gallery, Nathalie J. Cole Johnson, Vincent Melzac, Celine Tabary, and Joshua Taylor.

Notes and writings include four notebooks and autobiographical writings by Thomas, a "Birthday Book," and an annotated engagement calendar. J. Maurice Thomas's writings about Alma Thomas, her research for a bibliography on James Weldon Johnson, and writings by others, including Jacob Kainen, about Alma Thomas, are also found here.

Exhibition files contain a wide variety of documentation for many group and solo exhibitions of Thomas's work from the early 1950s through a 1998-2000 traveling retrospective exhibition, including solo exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in 1972. The records include letters from Franz Bader Gallery, David Driskell at Fisk University, and Vincent Melzac. Photographs include Thomas with individuals including William Buckner, Jeff Donaldson, David Driskell, James W. Herring, and Vincent Melzac. Also found is a photograph of the 1951 Little Paris Studio Group picturing Lois Mailou Jones, Celine Tabary, Alma Thomas, and others. Two video recordings are of events related to the 1998-2000 retrospective at the Fort Wayne Museum of Art and the Columbus Museum of Art. Records documenting a 1981-1982 exhibition at the Smithsonian National Museum of American Art, A Life in Art: Alma Thomas, includes the script of a video written by Adolphus Ealey.

Personal business records include price lists, gift and loan receipts, and files concerning the Art in Embassies Program, the Martha Jackson Gallery, a benefit auction for the Corcoran School of Art, and the designation of the Thomas family home in Washington, D.C. as a historic property.

Eleven scrapbooks document Thomas's teaching career through the activities of the art classes she taught at Shaw Junior High School.

Printed materials include announcements and catalogs for exhibitions and other events; clippings which document Thomas's career and subjects of interest to her; Christmas cards featuring block prints designed by Thomas; and other programs and publications featuring Thomas.

Photographs are of Alma Thomas, family, and friends and colleagues including Sam Gilliam, James V. Herring, and Nathalie V. Cole Johnson; art classes taught by Thomas; Thomas's homes in Columbus, Georgia and Washington, D.C.; and exhibitions not documented in Series 4: Exhibition Files, including photographs of Alma Thomas at an opening at Barnett Aden Gallery with Alonzo Aden and others.
Arrangement note:
The papers have been arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1911-2001 (Box 1; 0.5 linear feet)

Series 2: Letters, circa 1930-2001 (Boxes 1-2; 0.6 linear feet)

Series 3: Notes and Writings, circa 1920s-circa 1998 (Box 2; 0.7 linear feet)

Series 4: Exhibition Files, 1951-2000 (Boxes 2-3, OV 7; 0.8 linear feet)

Series 5: Personal Business Records, circa 1950s-1994 (Box 3; 0.2 linear feet)

Series 6: Printed Material, circa 1908-2000 (Boxes 3-5, OV 7; 1.8 linear feet)

Series 7: Scrapbooks, 1930-1946 (Box 5; 0.3 linear feet)

Series 8: Photographs, circa 1894-2001 (Boxes 5-6; 0.6 linear feet)
Biographical/Historical note:
Washington, D.C. painter and art educator Alma Thomas (1891-1978) was known for her abstract paintings filled with dense patterns of color, and was considered a major artist of the Washington Color School.

Thomas was born in Columbus, Georgia, in 1894, and was the eldest of the four daughters of John Harris Thomas and Amelia Cantey Thomas. The family moved to Washington, D.C. in 1906 and Thomas was first introduced to art classes at Armstrong Technical High School. Following her graduation in 1911 she took a course in kindergarten teaching at the Miner Normal School, and subsequently worked as a substitute teacher in the Washington, D.C. public school system until 1914, when she took a teaching position on the Eastern shore of Maryland. From 1916 to 1923 she taught kindergarten at Thomas Garrett Settlement House in Wilmington, Delaware.

Thomas originally enrolled at Howard University in Washington, D.C. as a home economics major in 1921, but after studying under Lois Mailou Jones amd James V. Herring in Herring's newly established art department, she earned a Bachelor's degree in Fine Art in 1924, and became the first person to graduate from the program. Thomas then began her teaching career at Shaw Junior High School in Washington, D.C. that lasted from 1924, until her retirement in 1960. During this time she established community arts programs that would encourage her students to develop an appreciation of fine arts. Activities included marionette programs, distribution of student-designed holiday menu cards for dinners given for soldiers at the Tuskegee Veterans' Hospital, art clubs, lectures, and student exhibitions. In 1943 she became the founding vice president of Barnett Aden Gallery, which was established by James V. Herring and Alonzo Aden and was the first integrated gallery in Washington, D.C.

In 1934 Thomas earned an M.A. degree in Art Education from Columbia University. At American University in Washington, D.C., she studied creative painting under Joe Summerford, Robert Gates, and Jacob Kainen from 1950 to 1960, and began to break away from representational painting and experiment more seriously with Abstract Expressionism. In 1958 she participated in a tour of the art centers of Western Europe under the auspices of the Tyler School of Fine Arts at Temple University in Philadelphia.

Following her retirement from teaching in 1960, Thomas devoted herself full-time to painting, and continued to develop her signature style. She was inspired by nature and the desire to express beauty through composition and color, and refused to be constrained by societal expectations related to her race, gender, and age, achieving her greatest success in the last decade of her life. Her work was exhibited at the Dupont Theatre Art Gallery, Franz Bader Gallery, and the Howard University Gallery of Art, before she was honored in 1972 with exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in Washington, D.C.

Thomas's work has been exhibited at the White House and can be found in the permanent collections of major museums, including the Metropolitan Museum of Art, the National Museum of Women in the Arts, and the Smithsonian American Art Museum.
Separated Materials note:
In 1979, J. Maurice Thomas loaned papers for microfilming. Most, but not all, of the loaned material was later donated and is described in this finding aid. Loaned materials not donated at a later date are available on reels 1541-1543 and are not described in the container listing of this finding aid.
Provenance:
J. Maurice Thomas, the artist's sister, loaned portions of the collection for microfilming in 1979. Most, but not all of this material was then later donated in several accretions by J. Maurice Thomas, between 1979 and 2004. Charles Thomas Lewis, Thomas' nephew, gave additional papers in 2010.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies 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 -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Topic:
Painting, American  Search this
African American artists  Search this
Women artists  Search this
Washington Color School (Group of artists)  Search this
Women educators  Search this
Women painters  Search this
African American educators  Search this
African American painters  Search this
Genre/Form:
Scrapbooks
Audiocassettes
Video recordings
Photographs
Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomalma
See more items in:
Alma Thomas papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98cd54656-ee02-4a0d-81ad-6db24f1be010
EDAN-URL:
ead_collection:sova-aaa-thomalma
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