What is Feminist Art? questionnaire responses date from 2019 and measure 0.4 linear feet. The questionnaire asking "What is Feminist Art?" was sent by Mary Savig, Curator of Manuscripts at the Archives of American Art, to artists asking each to respond to the question on a single page of 8 1/2" x 11" paper, for inclusion in an exhibition "What is Feminist Art?" curated by Savig. Responses include collages, handwritten and typescript statements, drawings, photographs, and prints. The fifty-one artists responding include Tanya Aguiñiga, Marla Allison, Jerri Allyn, Helène Aylon, Siri Berg, Regina Bogat, Adrienne Maree Brown, Nanibah Chacon, Ann Chernow, Jesse Chun, Sheila de Bretteville, Judy Chicago, Mercedes Dorame, Kristen Dorsey, Anaïs Duplan, Eiko Fan, Audrey Flack, Vanessa Dion Fletcher, Grace Graup-Pillard, Harmony Hammond, Maren Hassinger, Jodie Herrera, Everyl Ocean Hughes, Ginny Huo, Xandra Ibarra, E. Jane, Arlette Jassel, Laura Kina, Joyce Kozloff, Nina Kuo, Carole Frances Lung, Mia Mackrandilal, Amber McCrary, Susan Michod, Yong Soon Min, Linda Mary Montano, Nora Noranjo Morse, Annysa Ng, Patricia Olson, Howardena Pindell, Liz Whitney Quisgard, L.J. Roberts, Martha Rosler, Mimi Smith, Joan Snyder, Tina Takemoto, Mary Temple, Cynthia Tom, Faith Wilding, Martha Wilson and Terry Wolverton. The Archives' 2019 exhibition will include responses to the same question asked of artists for the 1977 exhibition of the same name organized by the Woman's Building, a feminist art organization in Los Angeles, California.
Biographical / Historical:
The Archives of American Art compiled these documents for the exhibition "What is Feminist Art?" at the Lawrence A. Fleischman Gallery, 2019 where they will be presented along with responses to the same question posed to artists, 1976 and 1977, that were organized into an exhibition at the Woman's Building, Los Angeles, California, February 1977.
Related Materials:
The Archives of American Art also holds the Woman's Building Gallery records.
The Archives of American Art also holds the records of the Woman's Building which include responses and other documentation relating to the 1977 exhibition "What is Feminist Art?".
Provenance:
The responses were donated individually by each artist in 2019 and 2020.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.
Scope and Contents:
The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.
Administrative files include job descriptions, inventories of artwork, addresses, and contact lists; papers relating to foundries, photographers, framers, and printers; advertising records, property records, travel files, and one gallery guestbook. Correspondence files document the galleries' relationship with collectors, clients, art organizations, and consultants. The files include some sales records, agreements, printed material, and photos of artwork as well. Artists' files include biographical information, artist statements, correspondence, client lists, exhibition materials, loan and consignment records, and more. Among the artists featured extensively is Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown.
Exhibition and event files shed light on solo and group shows held at Fuller galleries, Art Unlimited and Hansen Gallery, and outside galleries, museums, and institutions; art fairs held in the U.S. and abroad, and auctions. Files related to film screenings, tours, luncheons, and other special events held at Fuller galleries are also present. Dealer and institution files consist of correspondence, loan and consignments records, bills of sale, commission agreements and contracts, printed material, price lists, and some photographic materials. Financial records contain account ledgers, invoices and receipts, gallery checks, and sales records. Also present are donation records, appraisal reports, and some financial records from Arts Unlimited and Hansen Gallery.
Diana Fuller's papers include project files, appraisal records, membership records, correspondence, and photographic materials. Records related to the Bay Area Consortium for the Visual Arts consist of administrative records, project files, grant applications, 1989 earthquake disaster relief material, and organization finances. Files relating toParallels and Intersections and its accompanying exhibition contain artist files, author files, correspondence, publishing agreements, drafts, cassette tapes, DVDs, and more.
Arrangement:
The collection is arranged as 7 series.
Series 1: Administrative Records, 1969-1992 (Box 1-3; 2.2 linear feet)
Series 2: Correspondence Files, 1963-1993 (Box 3-8; 5.5 linear feet)
Series 3: Artists' Files, 1959-1993 (Box 8-37; 28.5 linear feet)
Series 4: Exhibition and Event Files, 1967-1993, 2001 (Box 37-45; 8.3 linear feet)
Series 5: Dealer and Institution Files, 1965-1992 (Box 45-51; 6.3 linear feet)
Series 6: Financial Records, 1958-1990 (Box 51-58, 68-70; 7.9 linear feet)
Series 7: Diana Fuller Personal and Professional Papers, 1970s-2004 (Box 58-67; 9.2 linear feet)
Biographical / Historical:
The Diana Fuller galleries were contemporary art galleries in San Francisco, California, from 1969 to 1990. During this period, the gallery changed name and ownership on several occasions: Hansen-Fuller Gallery (1969-1979), Hansen-Fuller-Goldeen Gallery (1979-1982), Fuller-Goldeen Gallery (1982-1986), and Fuller-Gross Gallery (1987-1990). The three gallerists who partnered with Fuller were Wanda Hansen, Dorothy Goldeen, and Brian Gross. Among the artists represented by Fuller galleries were Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown. Fuller galleries held performance and conceptual art exhibitions, music performances, screened films, and rented its space out for luncheons and other special events. The gallery also exhibited at art fairs in the U.S. and Europe.
Diana Burgess Fuller is a curator, editor, and filmmaker who was previously a gallerist and art dealer. Diana Burgess worked at Saks Fifth Avenue when she married author Blair Fuller in 1965. Around 1967, she began working for Wanda Hansen's contemporary art gallery, which changed names from Art Unlimited to Hansen Galleries (sometimes Gallery). In 1969, Fuller and Hansen opened the Hansen-Fuller Gallery. That same year, Blair Fuller and novelist Oakley Hall started the Community of Writers at Squaw Valley. Diana Fuller has been involved with Squaw Valley since its inception, and currently serves as director of its screenwriting program. Fuller continued in the retail art business for a short period after closing the gallerey in 1990. In the late 1990s, Fuller began working on the seminal exhibition and book catalog, Art/Women/California, 1950-2000: Parallels and Intersections (2002), documenting more than 90 women artists working in California in the second half of the twentieth century. Fuller was the former president of the Film Arts Foundation and former chair of the Roxie Theater; she currently serves on the board of Artists in Residence Program at Recology.
Related Materials:
Also found in the Archives of American Art is the Dorothy Goldeen Gallery records.
Provenance:
The collection was donated by Diana Fuller, 1991-1995 and 2022.
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.
Topic:
Art, Modern -- 20th century -- California -- San Francisco Search this
Function:
Art galleries, Commercial -- California
Citation:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of New York painter, Charles Cajori measure 7.4 linear feet and 0.070 GB and date from 1928-2018. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery, located on the Lower East Side in New York, through biographical material; correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; printed materials; and photographic materials.
Scope and Content Note:
The papers of New York painter, Charles Cajori measure 7.4 linear feet and 0.070 GB and date from 1928-2018. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery, located on the Lower East Side in New York, through biographical material; correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; printed materials; and photographic materials.
Biographical material consists of Charles Cajori's high school records, air force records, passports and other travel documents, material related to his 90th birthday celebration, resumes, exhibition lists, a few drawings, obituaries, memorial service information, conservation reports on paintings, and other material.
Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Barbara Grossman, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art. There are also condolences to Barbara regarding Cajori's death.
Cajori's writings include drafts on painting and drawing that Cajori prepared for classroom lectures and panel discussions; essays on Paul Cézanne and Chaim Soutine; and his account of the founding of the Tanager Gallery. Cajori's writings also include a biographical account and an artist's statement. There are writings by Louis Finkelstein, Andrew Forge, and Mercedes Matter about Cajori's work. Included are several guest registers for Cajori's exhibitions at the David Findlay Gallery, Lohin Geduld Gallery, and the New York Studio School. There are also some class notes and essays that are probably from Cajori's college days, as well as some undated writings that include notes on art and artist statements.
Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped as well as born digital interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.
Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. There are files of printed materials on the New York Studio School as well as Tanager Gallery that include exhibition catalogs and clippings.
Photographic material includes photographs, slides, and negatives of Charles Cajori, his studio, family and friends, black and white and color photographs of works of art, events and exhibition installations.
Arrangement:
The collection is arranged as 6 series:
Series 1: Biographical Material, 1928-2018 (Box 5; 0.4 linear feet)
Series 2: Correspondence, 1929-2015 (Boxes 1-2, 5-6; 1.8 linear feet)
Series 3: Writings and Notes, 1940-2012 (Boxes 2, 6, 8; 0.4 linear feet)
Series 4: Interviews, Talks, and Panel Discussions, 1983-2012 (Boxes 2-3, 6; 1.3 linear feet, ER01; 0.070 GB)
Series 5: Printed Material, 1943-2018 (Boxes 3-4, 6, 8, OV 9; 2 linear feet)
Series 6: Photographic Material, circa 1928-2015 (Boxes 6-8; 1.6 linear feet)
Biographical Note:
Painter and teacher Charles Cajori (1921-2013) worked in New York City and Connecticut.
Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture.
Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. Through Tanager Gallery, Cajori became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, he continuously showed his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.
In conjunction with his activities as an artist, Charles Cajori taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, the University of California at Berkeley and Queens College (CUNY) where he taught for 20 years. Cajori was a co-founder of the New York Studio School, where he continued to serve on the faculty and the Board.
Charles Cajori received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953, and a grant from the National Endowment for the Arts in 1981, as well as a Guggenheim Fellowship in 2001.
Charles Cajori was married to the painter Barbara Grossman and they lived in Watertown, Connecticut.
Provenance:
The Charles Cajori papers were donated to the Archives of American Art by Charles Cajori in 2011 and by Barbara Grossman in 2015 and 2021.
Restrictions:
This collection is open for research. Access to original papers requires an appointments and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference 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:
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Video recordings
Transcripts
Citation:
Charles Cajori papers, 1928-2018. Archives of American Art, Smithsonian Institution.
The papers of African American art historian Judith Wilson measure 11.2 linear feet and 27.94 GB and date from 1966 to 2010. Wilson's career is documented through correspondence with friends, colleagues, artists, universities, and art organizations; notebooks; files on writing projects, conferences, lectures, symposia and other professional activities; and a small amount of printed material. Also found is research material on artist Bob Thompson, including photographs, printed material, correspondence, notebooks and a documentary video recording. Additionally, the collection includes sound recordings of 71 interviews of artists and art collectors and six video recordings. Some of the materials are in digital format.
Scope and Contents:
The papers of art historian Judith Wilson measure 11.2 linear feet and 27.94 GB and date from 1966 to 2010. Wilson's career is documented through correspondence with friends, colleagues, artists, universities, and art organizations; notebooks; files on writing projects, conferences, lectures, symposia and other professional activities; and a small amount of printed material. Also found is research material on artist Bob Thompson, including photographs, printed material, correspondence, notebooks and a documentary video recording. Additionally, the collection includes sound recordings of 71 interviews of artists and art collectors and six video recordings. Some of the materials are in digital format.
Arrangement:
The collection is arranged as 9 series.
Missing Title
Series 1: Correspondence, 1975-2009 (1.3 linear feet; Boxes 1-2)
Series 2: Notebooks, 1977-2008 (1.7 linear feet; Boxes 2-3)
Series 3: Writing Projects, 1972-2010 (1.7 linear feet; Boxes 4-5)
Series 4: Conferences, Lectures, and Symposia, 1978-2009 (2.0 linear feet; Boxes 5-7, 17.11 GB; ER01-ER05)
Series 5: Professional Records, 1979-2009 (1.0 linear foot; Boxes 7-9)
Series 6: Research Material on Bob Thompson, 1966-2006 (1.8 linear feet; Boxes 8-10, 1.70 GB; ER06-ER07)
Series 7: Printed Material, 1981-2010 (0.5 linear feet; Box 10)
Series 8: Interviews, 1978-2008 (1.0 linear foot; Boxes 11-12, 0.697 GB; ER08-ER09)
Series 9: Video Recordings, 1979-2007 (4 folders; Box 12, 8.42 GB; ER10-ER15)
Biographical / Historical:
Judith Wilson (1952- ) is an African American art historian in San Francisco, California. Wilson began her career as an editor for Ms. Magazine in 1975. In 1979 she wrote a profile of Alma Thomas for that magazine, after which she began writing regularly about visual art and cultural politics, reviewing exhibitions, writing feature articles, and serving as guest editor for several publications. Her research interests included African American art and black visual culture. She received her Ph.D. in art history from Yale University with a dissertation on the artist Bob Thompson. Her teaching career included full-time positions in art history at University of Virginia, Yale, and the University of California, Irvine, as well as part-time and visiting professorships at several other schools. In 2006 she retired from the University of California, Irvine after eight years. During her career Wilson served on editorial and advisory boards for art publications and wrote many catalog essays, contributed to anthologies, and presented numerous conference papers, many of which were later published.
Provenance:
The collection was donated in 2012 by Judith Wilson-Pates.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Office. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
"Bob Thompson Happening" (1965) video: Authorization to publish, quote or reproduce requires written permission from Joanne Elkin. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California -- San Francisco Search this
