The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.
Scope and Contents:
The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.
Administration and correspondence files document all aspects of the organization's activities and include founding documents; records of individual officers including presidents Domenico Facci, Joseph Domareki, Mark Freeman, Hughie Lee-Smith, Renee McKay and Frederic Whitaker, and historians Michael Engel and Jan Gary; correspondence with members and prospective members including artists such as John Taylor Arms, Thomas Hart Benton, Peter Blume, Stuart Davis, Walt Disney, Lyonel Feininger, Malvina Hoffman, William Meyerowitz, Henry Varnum Poor, Stow Wengenroth, and Stark Young; agenda, meeting minutes and reports to the Executive Board; and the correspondence and related records of various committees.
Exhibition files document a variety of activities related to exhibition planning, and include correspondence, entry forms, information on juries and awards, and lists of selected artwork and award winners.
Financial records include scattered treasurer correspondence and notes, records of bills paid, and some reports, investment and tax records from the 1960s-1990s.
Printed material includes an early brochure issued in 1944, and a brochure on the organization's history by Jan Gary, as well as annual exhibition catalogs and/or prospectuses from 1944 to 2000.
Photographic material consists of copy prints and negatives of photographic material used in the annual exhibition catalogs, including photos of artwork, juries and scattered exhibition installations.
Arrangement:
Before processing, much of the collection was unsorted, and there was little indication of original record keeping practices for a large portion of the material. Some of the earlier material from the 1940s had been sorted by name or activity and where possible this arrangement has been maintained. Researcherss should be aware, however, that similar types of material such as correspondence, financial, and administrative records, can be found in various places throughout the collection, particularly throughout Series 1. The collection is arranged as 5 series.
Series 1: Administration and Correspondence Files, 1944-2000 (2.43 linear feet; Boxes 1-3, OV 9)
Series 2: Exhibition Files, 1944-1999 (0.67 linear feet; Box 3)
Series 3: Financial Records, 1962-1999 (0.5 linear feet; Box 4)
Series 4: Printed Material, 1944-2001 (1.7 linear feet; Boxes 4-6)
Series 5: Photographic Material, circa 1969-1999 (0.9 linear feet; Boxes 6-8)
Biographical / Historical:
Audubon Artists, a national exhibiting society of painters, sculptors, and graphic artists, was founded in New York, New York, in 1940. The organization took its name from the homestead of John James Audubon where it met in December, 1941, to discuss a less regional name than the one it had initially adopted: Professional Arts Group of Washington Heights. The group's association with Audubon, however, begins and ends with the name.
Audubon Artists held its first exhibition at 8th Street Gallery in Apri-May, 1942, with an exhibiting group of 22 members. In 1943 the group was able to attract a wider pool of recognized professional artists, and by 1944 the membership had increased to 60 and the organization issued its first annual exhibition catalog with the newly adopted eagle and palette emblem.
A reorganization meeting took place on March 27, 1944, to address the growing responsibilities for the annual exhibition. President Frederic Whitaker subsequently oversaw the creation of the original consitution, the credo and the 1946 incorporation of the organization, and led a membership campaign designed to attract nationally renowned artists of various aesthetic persuasions and gain the organization more prestige.
Since then, Audubon Artists has continued to hold an annual exhibition in a variety of locations throughout New York City, including the National Academy of Design, National Arts Club, and the Salmagundi Club. The latter has been the exhibition's preferred home since 1997, and with circa 350 members Audubon Artists remains a thriving organization dedicated to "artistic progress" today.
Provenance:
The records were donated by Audubon Artists in 1978 (via Mark Freeman, president) and 2001 (via David Pena, president).
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.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Audubon Artists records, 1944-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The Audubon Artists records were processed in 2015 with funding provided by the Terra Foundation for American Art
This series consists of mixed administrative records and correspondence documenting all aspects of the organization's activities. While no records exist from the original meetings of interested parties from 1940-1942, the series does include fragments of the 1946 certificate of incorporation (with a photocopy of the full document), working copies of the constitution and by-laws from 1944-1946 and a 1946 published copy which includes a roll of membership. Subsequent revisions to the constitution from the 1950s-1980s can also be found here.
Correspondence is found throughout the series, but some correspondence of individual presidents, historians, committee chairs and other individuals can also be found in named files. Of particular interest is correspondence documenting Frederic Whitaker's membership campaign to attract nationally renowned artists, which includes dozens of letters to known American artists. These can primarily be found in the general business and correspondence files for the 1940s and includes replies to Whitaker from artists such as Stuart Davis and Lyonel Feininger. The series also houses an honorable mention award presented to Whitaker in October 1945.
Other correspondents during the 1940s include John Taylor Arms, Thomas Hart Benton, Peter Blume, Jon Corbino, Walt Disney, Robert Gwathmey, Raoul Hague, Malvina Hoffman, Peter Hurd, William Meyerowitz, Henry Varnum Poor, Everett Shinn, Benton Spruance, Stow Wengenroth, and Stark Young. There are also numerous letters from presidents who succeeded Whitaker such as Ralph Fabri, Domenico Facci, Mark Freeman, Renee McKay and Hughie Lee-Smith, and the organization's two historians, Michael M. Engel and Jan Gary.
Correspondence related to Eileen and Frederic Whitaker is from Eileen following Frederic's death and includes papers related to a misunderstanding about whether Frederic Whitaker or John J. Karpick was the first president of Audubon Artists.
General correspondence from the 1970s includes documentation of the organization's attempts to secure publicity by means of a promotional video tape submitted to a local cable public access channel.
Also found here are executive board and director's minutes for the 1960s, and some meeting minutes for 1977-1979, 1985 and 1988. Additional scattered agenda, minutes and reports can be found in the general business and correspondence files. The series also includes the correspondence and related records of various committees including those for admissions, awards, and nominations; lists of executive board members, officers, members and associate members; and some financial records.
Arrangement:
Folders are arranged alphabetically by folder title.
Collection 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.
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:
Audubon Artists records, 1944-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The Audubon Artists records were processed in 2015 with funding provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Audubon Artists records, 1944-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The Audubon Artists records were processed in 2015 with funding provided by the Terra Foundation for American Art
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scope and Content Note:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scattered biographical material includes resumes, artist's statements, copies of entries in Who's Who directories, and miscellaneous items.
Correspondence includes personal correspondence and general correspondence. Personal correspondence mostly consists of Chaim Koppelman's letters written to Dorothy while he was serving in the U.S. Army during World War II. He describes his daily activities, observations on army life, and his travels while stationed in England, France, and Germany. Of interest is Chaim Koppelman's letter to Dorothy describing his meeting Picasso and visiting the artist's studio. Personal correspondence also includes Chaim and Dorothy Koppelman's letters with family and friends. Notable correspondents include Sari Dienes, Nat Herz, Sheldon Kranz, Amédée Ozenfant, Hilla Rebay, and Theodoros Stamos. Hilla Rebay's letters to Chaim Koppelman discuss museum-related activities at the Solomon R. Guggenheim Foundation, including the Guggenheim's memorial exhibition for Wassily Kandinsky. There is also a file of letters from Eli Siegel to Chaim Koppelman. General correspondence includes mostly incoming letters to Chaim Koppelman from collectors, colleagues, students, and arts institutions. Frequent correspondents include: Associated American Artists, American Federation of the Arts, Audubon Artists, DeCordova and Dana Museum and Park, Pratt Graphics Center and Print Council of America.
Writings and notes contain annotated typescripts and handwritten drafts by Chaim and Dorothy Koppelman. Chaim Koppelman's writings include essays and talks on art, artists, and printmaking based on Aesthetic Realism; also found are some poems. Dorothy Koppelman's writings consist of artist's statements and essay-length pieces that were prepared for Aesthetic Realism talks on the work and lives of artists, held at the Terrain Gallery of the Aesthetic Realism Foundation and other venues. Also found is a sound recording of Chaim Koppelman's 1968 conversation with Richard Anuszkiewicz, Roy Lichtenstein, and Clayton Pond; the artists discuss the influence of the Siegel Theory of Opposites on their work.
Subject files document the activities, projects, and professional affiliations of Chaim and Dorothy Koppelman. Included are materials on exhibitions, applications for fellowships and grants, awards, drafts of writings, donations and acquisitions of artwork by museums. Teaching files provide an overview of the faculty positions held by Chaim and Dorothy Koppelman over the course of their careers. Found are extensive files on Chaim Koppelman's tenure at the School of Visual Arts. Exhibition files chronicle the Koppelmans' solo and group shows at the Terrain and other venues; substantive files contain Chaim Koppelman's correspondence with museums and arts institutions and sales information.
Two scrapbooks contain exhibition-related materials, such as artists' statements, press releases, awards, printed material, and photographs of artwork. Artwork includes sketches and illustrated letters by Chaim Koppelman. There are twenty annotated sketchbooks by Chaim Koppelman and a sketchbook by Dorothy Koppelman.
Photographs and snapshots are of Chaim and Dorothy Koppelman; many of the snapshots of Chaim Koppelman and others document his army service while stationed in the United States and Europe. Four photograph albums include black and white photographs of Chaim and Dorothy Koppelman in their studio; included are snapshots of the Koppelmans with family and friends at exhibition openings, gatherings, and on their travels. There are photographs of Regina Dienes, Gerson Lieber, Bernard Olshan, Joseph Solman, and Theodoros Stamos.
Arrangement:
The collection is arranged as 12 series:
Series 1: Biographical Material, 1940-2001 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1942-2003 (Box 1; 0.6 linear feet)
Series 3: Writings and Notes, 1930s-1989, 2005 (Box 1; 0.2 linear feet)
Series 4: Subject Files, 1942-2004 (Boxes 1-2; 0.8 linear feet)
Series 5: Teaching Files, 1940s-2006 (Box 2; 0.4 linear feet)
Series 6: Exhibition Files, 1940s-2005 (Boxes 2-3; 0.6 linear feet)
Series 7: Personal Business Records, 1944-1969 (Box 3; 3 folders)
Series 8: Scrapbooks, 1942-2003 (Box 3; 2 folders)
Series 9: Printed Material, 1937-1971, 2004 (Box 3; 0.25 linear feet)
Series 10: Artwork, 1933-1949, 1980-2000 (Box 3; 3 folders)
Series 11: Sketchbooks, 1944-2005 (Boxes 3-4; 0.8 linear feet)
Series 12: Photographs, 1930-circa 2004 (Box 4; 0.25 linear feet)
Biographical Note:
Chaim Koppelman (1920-2009) lived and worked in New York as a printmaker, educator, and Aesthetic Realism consultant. Painter, gallery director, Aesthetic Realism consultant, and educator Dorothy Koppelman (1920-) resides and works in New York City.
Chaim Koppelman was born in Brooklyn in 1920. Koppelman studied at the American Artists School with Carl Holty and at the Art Students League with Jose De Creeft and Will Barnet. Simultaneously, he began to study in classes taught by Eli Siegel, critic, poet, and founder of the philosophy Aesthetic Realism. In 1942, Koppelman was drafted in the U.S. Army. Before going overseas in 1943, he married Dorothy Myers. In the army, Koppelman continued his studies in painting and sculpture, where he attended the Art College in Western England, Bristol, and the Beaux Arts School in Reims, France. Chaim Koppelman took part in the Normandy invasion and was awarded the Bronze Star for his service.
After Koppelman returned to New York in 1944, he studied at the Amédée Ozenfant School, where he eventually became Ozenfant's assistant. Around this time, Koppelman turned from painting and sculpture to printmaking. In 1955, Chaim Koppelman, his wife, Dorothy, and other artists and poets studying Aesthetic Realism established the Terrain Gallery. For many years, Koppelman was the head of the gallery's Print Division and then later became an advisory director.
Chaim Koppelman held a number of teaching positions in universities and arts institutions. He lectured at Brooklyn College, the Art Education Department from 1950-1960. In 1959, Koppelman founded the Printmaking Division at the School of Visual Arts, where he served on the school's faculty until 2007. At the Aesthetic Realism Foundation, he taught artists how to relate their artwork and their everyday lives. He wrote: "After having tested his aesthetic concepts in literally thousands of works of different periods, in different styles, in different media, I say that Eli Siegel's Theory of Opposites is the key to what is good or beautiful in art….When Eli Siegel showed that what makes a work of art beautiful—the oneness of opposites—is the same as what every individual wants, it was one of the mightiest and kindest achievements of man's mind."
Among the awards Chaim Koppelman received were: two Tiffany Grants, 1956, 1959; New York Artists Equity Annual Awards Honoring Will Barnet, Robert Blackburn, Chaim Koppelman, 1992; and the Purchase Prize, Art Students League in 2005. Koppelman was a member of the National Academy and a member of the Society of American Graphic Artists (SAGA). In 2004, SAGA presented him with the Lifetime Achievement Award.
In addition to his solo and group exhibitions at the Terrain Gallery, Chaim Koppelman's work was featured at the Beatrice Conde Gallery, International Print Center (New York), Library of Congress, and Minneapolis Institute of Arts. His prints are in the collections of the Guggenheim Museum, Museum of Modern Art (New York), Metropolitan Museum of Art, Victoria and Albert Museum in London, and the National Gallery.
In December 2009, Koppelman died at age 89 in New York City.
Born in 1920, Dorothy Koppelman attended Brooklyn College, the Art Students League, and American Artists School where she trained under Joseph Solman. During this time, she began to study poetry, and the relation of art and the self in classes with Eli Siegel, the founder of Aesthetic Realism.
Dorothy Koppelman has had a number of solo and group exhibitions at the Terrain Gallery. She has also shown her paintings at the Atlantic Gallery, Art Gallery of Binghamton, New York, Beatrice Conde Gallery, the Broome Street Gallery, and at MoMA, Brooklyn Museum, Newark Museum, the Whitney Biennial 2006 Peace Tower, the National Academy, and the Butler Art Institute.
Dorothy Koppelman has served on the faculty at several arts institutions: the National Academy, Brooklyn College School of Education, and the School of Visual Arts. She has given presentations on Aesthetic Realism at the Fondazione Piero della Francesa in Italy, and with Carrie Wilson at the 31st World Congress of the International Society for Education through Art (InSEA). On August 16, 2002, in a talk given on Eli Siegel Day in Baltimore, she said, "Eli Siegel explained the true meaning of art for our lives. No one—no scholar, no artist, no person—in all the centuries ever saw this before: that we can learn about ourselves from the very technique of art!...He showed that far from being in a separate world, art has the answer to the trouble in this one."
She is a member of several professional organizations including the American Society of Contemporary Artists and New York Artists Equity. She has received an Honorable Mention from the Brooklyn Society of Artists, 1957; a Tiffany Grant for painting, 1965; and awards from the American Society of Contemporary Artists, 1996, 1999. Dorothy Koppelman's work has been included in the collections of Hampton University, Virginia; Rosenzweig Museum, Durham, North Carolina; New-York Historical Society; Yale University; the National Museum of Women in the Arts, as well as other institutions.
Dorothy Koppelman lives in New York City. She is a consultant on the faculty of the Aesthetic Realism Foundation, where she also teaches the Critical Inquiry, a workshop for artists. She serves on the Board of Directors of the Aesthetic Realism Foundation, and is President of the Eli Siegel/Martha Baird Foundation. She continues her study in classes with Ellen Reiss, Aesthetic Realism Chairman of Education.
Related Materials:
The Archives of American Art also holds the Terrain Gallery records of which Dorothy Koppelman is the director.
Provenance:
The collection was donated by Chaim and Dorothy Koppelman in 2006.
Restrictions:
Use of original papers requires an appointment. 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.
The papers of the painter, photographer, printmaker, and teacher Joseph Kaplan measure 4.5 linear feet and date from 1915-1977. The bulk of the collection consists of printed material, specifically exhibition catalogs. Also found are a large number of photographs taken of and by Kaplan. The papers also include biographical material, correspondence, personal business records, and artwork.
Scope and Contents:
The papers of the painter, photographer, printmaker, and teacher Joseph Kaplan measure 4.5 linear feet and date from 1915-1977. The bulk of the collection consists of printed material, specifically exhibition catalogs. Also found are a large number of photographs taken of and by Kaplan. The papers also include biographical material, correspondence, personal business records, and artwork.
Biographical material contains a few of Kaplan's personal documents, a number of certificates and medals he recieved during his lifetime, a travel itinerary notebook, and a few hand-written notes.
Kaplan's correspondence is primarily from colleagues, art organizations, galleries, museums, and colleges and universities such as the Corcoran Gallery of Art, National Academy of Design, and Audubon Artists, inc. Also found are letters from friends and colleagues such as Chaim Gross, Adolph Gottlieb, Raphael Soyer, Louis Lozowick, Milton Avery, and Sol Wilson, as well as a large number of letters to his wife Virginia written during his travels.
Personal business records concern Kaplan's art sales, loans, exhibition notifications, and his involvment in the WPA. His artwork is documented in price lists and inventory lists. Some of the material consists of routine transactions not necessarily related to Kaplan's work, including bank records, an address list, and income and expense reports.
Printed Material includes news clippings, exhibition catalogs, exhibition annoucenments, and invitations for Kaplan shows. There are a few published copies and page proofs of Kaplan's commerical artwork.
Artwork includes four Kaplan etchings, three of which are metal plates and one linoleum block. Also included are a few unidentified pen and pencil sketches.
Photographs depict Kaplan, mainly later in his life, and his family. Also found are four of Virginia Kaplan's photograph albums containing images of her and friends from early adulthood. Photographs of Kaplan's friends and colleagues include images of Aya and Eitaro Ishigaki, Chaim Gross, Raphael Soyer, William Gropper, and Joseph De Martini. Also included are photographs taken by Kaplan of New York City, his travels, and artist demonstrations. There are also a large number of photographs of Kaplan's artwork.
Arrangement:
The collection is arranged into 6 series:
Series 1: Biographical Material, 1919-1975 (Box 1, 5, OV 7; 0.3 linear feet)
Series 2: Correspondence, 1929-circa 1975 (Box 1, OV 7; 0.4 linear feet)
Series 3: Personal Business Records, circa 1920-1977 (Box 1; 0.2 linear feet)
Series 4: Printed Material, 1915-1975 (Box 1, 2, 3, OV 7; 2.3 linear feet)
Series 5: Artwork, circa 1940-circa 1960 (Box 3, 5; 2 folders)
Series 6: Photographic Material, 1917-circa 1975 (Box 4, 6, OV 7; 1.3 linear feet)
Biographical / Historical:
Joseph Kaplan (1900-1980) was a painter, printmaker, photographer, and teacher who worked primarly in New York and Provincetown. He was most active in the 1940s through the 1950s. Earlier in his career he worked on several WPA Federal Art Projects and Treasury Relief Art Projects.
Joseph Kaplan was born in Minsk, Russia and immigrated with his family to the United States in 1888 at the age of 12. He married Virginia Haber in 1927 and they had no children.
Kaplan studied at the Eductional Alliance Art School and the Art Students League. He went to Provincetown in the mid-twenties as a student of Charles W. Hawthorne with whom he previously studied with at the National Academy of Design. Afterwards he revisited Provincetown intermittently and began to regard the Cape as his summer studio, working there each summer since 1948.
In 1948 he won the first of many gold medals from the Audubon Artists at the National Academy of Design for a marine painting. He was also the first recipient of the John J. Newman Memorial Medal, given by the National Society of Painters in Casein for his Wellfleet, Low Tide. The Shore Studios in Provincetown, the Harry Salpeter Gallery and then Krasner Gallery in New York City represented Kaplan's artwork.
Kaplan predominantly worked in watercolor and oil paint, depicting landscapes and seascapes, and becoming acclaimed as a Colorist and Romanticist. He occasionally painted figures and, as he gained recognition, he traveled extensively in search for subjects. In 1968 Kaplan recieved a grant from Chapelbrook Foundation to live and work for a year in Mexico.
Kaplan's work was included frequently in group exhibitions and he participated in more then 30 major shows in his lifetime. Throughout his career he was a member of many art organizations including Artists League of America, Audubon Artists, Provincetown Art Association, and Cape Cod Art Association. He was continually active in the art life in Provincetown serving as board members, trustees, and judges. He also occasionally taught at art schools including the American Artist School and John Reed Club, and taught a number of private pupils.
Joseph Kaplan died on February 28th, 1980 at the age of 79 in Brewster, Massachusetts.
Separated Materials:
307 nitrate negatives donated to the Archives of American Art with the Joseph Kaplan papers have been removed and are stored in off-site storage. Negatives were duplicated onto safety based film and only select prints were made.
Provenance:
The Joseph Kaplan papers were donated to the Archives of American Art by Marilyn Kearney in 1981.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Massachusetts -- Provincetown Search this
Topic:
Painters -- New York (State) -- New York Search this
Photographers -- Massachusetts -- Provincetown Search this
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.
Scope and Contents:
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.
Biographical material includes records of Hughie Lee-Smith's schooling, military service, and awards, as well as resumes, bibliographies, and biographical summaries. Also found are family records, including the papers of his mother, Alice Carroll.
Lee-Smith's correspondence is with family, students, arts and cultural organizations, as well as schools, galleries, and museums, primarily regarding his participation in events and exhibitions. He also corresponded with fellow artists, such as Clarence Holbrook Carter, Reginald Gammon, Joseph Hirsch, Carol Wald, and Hale Woodruff, among many others. He maintained extensive correspondence with artist Sophie Wessel.
Lee-Smith's writings include artist statements and personal writings on his history and early influences, as well as many draft lectures and speeches, school writings, notes, and untitled writing fragments. Writings by others primarily include student essays and articles on the topic of Lee-Smith's work. Personal business records include scattered financial documents, including artwork sales records, and contracts and agreements with various art galleries and other organizations. Also found are files regarding his art commissions, gifts, professional activities, and records of his employment at the Art Students League. Exhibition files document select exhibitions in which Hughie Lee-Smith participated, primarily during the 1980s and 1990s. Organization records were maintained by Lee-Smith to document his participation in various groups, such as the National Academy of Design, Ira Aldridge Society, and Audubon Artists.
Printed material consists primarily of exhibition announcements and invitations for exhibitions of Lee-Smith's work, as well as news clippings, magazines, press releases, and publications from various art organizations and schools. One scrapbook contains exhibition announcements additional loose scrapbook pages document his early career. Photographs include many portraits of Hughie Lee-Smith, Lee-Smith in his studio, at events, and with friends and family. Additionally there are many photographs, slides, and transparencies of Lee-Smith's artwork. Also found are five photograph albums. A small amount of original artwork includes drawings by Lee-Smith and two sketchbooks belonging to his wife Patricia.
The collection includes numerous interviews of Hughie Lee-Smith, recorded on 37 sound cassettes, one sound tape reel, and four video cassettes. One audio interview is in digital format. Also found are planning documents, research material, and video footage for a documentary about the life and work of Hughie Lee-Smith, produced by New Deal Films, Inc, but never completed. Footage includes interviews with artists and art historians regarding Lee-Smith, gallery events, and images of his paintings.
The papers of artist Rex Goreleigh primarily documents his later life and includes a letters, biographical documents, printed material, estate records, and photographs and slides depicting Goreleigh, his studio, and artwork. Hughie Lee-Smith was close friends with Goreleigh and served as executor of his estate.
Also of note is a scrapbook put together for Goreleigh's 70th birthday in 1972. Of note is one scrapbook which contains photographs, notes, and artwork by fellow artists and students, including drawings by Romare Bearden and Hughie Lee-Smith.
Arrangement:
The collection is arranged as 13 series.
Series 1: Biographical Material, circa 1890-2001 (1.7 linear feet; Box 1-2, 35, RD 38)
Series 2: Correspondence, 1931-2006 (6.1 linear feet; Box 2-8, 0.006 GB; ER01)
Series 3: Writings, circa 1934-1998 (0.8 linear feet; Box 8-9)
Series 4: Personal Business Records, 1934-2001 (1.6 linear feet; Box 9-11, 35)
Series 5: Exhibition Files, circa 1973-2001 (1.2 linear feet; Box 11-12)
Series 6: Organization Records, 1941-2005 (2.1 linear feet; Box 12-14)
Series 7: Printed Material, 1919, 1930-2007 (8.5 linear feet; Box 14-22, 34)
Series 8: Scrapbooks, circa 1938-1990s (0.2 linear feet; Box 22, 35)
Series 9: Photographs, circa 1890-2003 (4.4 linear feet; Box 22-26, 35, OV 37)
Series 10: Artwork, circa 1940s-1980s (0.2 linear feet; Box 26)
Series 11: Interviews, 1973-1998 (2.1 linear feet; Box 26-28, 0.375 GB; ER02)
Series 12: Documentary Film Materials, 1985-2004 (3.5 linear feet; Box 28-32)
Series 13: Rex Goreleigh Papers, 1935-1994 (0.9 linear feet; 32-33, 36)
Biographical / Historical:
Hughie Lee-Smith (1915-1999) was a painter and educator in Ohio, Michigan, and New York. Born in Eustis, Florida, he lived for a period of time with family in Atlanta before joining his mother in Cleveland, Ohio, in 1925. In 1934 he received a scholarship to attend the Art School of the Detroit Society of Arts and Crafts, and in 1935 returned to Cleveland to attend the Cleveland School of Art. While in school he began exhibiting his paintings and teaching part-time at Karamu House. From 1938 to 1940 Lee-Smith completed lithography commissions for the Ohio WPA. In 1941 he moved to Detroit, married his first wife Mabel Louise Everett, and worked at a Ford automobile factory. He was then drafted into the U.S. Navy as a mural artist. After the war he briefly returned to factory work before enrolling at Wayne State University, earning a degree in Art Education in 1953. From 1953 to 1965 he taught summer art classes at the Grosse-Point War Memorial in Detroit.
In 1957 Lee-Smith moved to the East Village in New York City, signed with the Janet Nassler Gallery (Petite Gallery), exhibited his work extensively, and joined several art organizations. He also taught art at schools in Princeton, New Jersey. In 1967 he became the second African-American member of the National Academy of Design. He was visiting instructor and artist-in-residence at several art programs, including Howard University, and taught at the Art Students League from 1972 to 1988. In 1978 he married his third wife, Patricia. The New Jersey State Museum organized an extensive retrospective of Lee-Smith's work in 1988 which travelled nationally. Despite ill-health in the mid-1990s, he continued to create new paintings and exhibit his work. In 1997 he moved with his wife to Albuquerque, New Mexico, where he lived until his death in 1999.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Hughie Lee-Smith conducted by Carroll Greene in 1968.
Provenance:
A small amount of material was donated 1969-1981 by Hughie Lee-Smith. Additional papers were donated in 2011 by Patricia Lee-Smith, widow of Hughie Lee-Smith.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Authorization to publish requires written permission from Robert Panzer, VAGA. The donor has retained all intellectual property rights, including copyright, that they may own. 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.
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.
Scope and Contents note:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.
Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.
Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.
Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.
Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.
Arrangement note:
The collection is arranged into 4 series:
Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)
Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)
Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)
Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)
Biographical/Historical note:
Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.
Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.
From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.
Provenance:
The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York Search this
The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.
Scope and Contents note:
The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.
Biographical materials include curriculum vitae, Who's Who in American Art, memberships, and awards. Correspondence is primarily from colleagues, dealers, collectors, and representatives of museums, galleries, and arts organizations. There are a few outgoing letters from Benedict Tatti, including a handmade holiday card. Among the notable correspondents are Jane Canfield, Lloyd Goodrich, Louis Slobodkin, and William Zorach. Also found is a small portion of Adele Tatti's correspondence relating to her late husband's artwork.
Project files contain Tatti's commissions for Eutectic-Castolin Institute, Staten Island Community College, Statue of Liberty Restoration, and the Usdan Center for the Creative and Performing Arts; application proposals to Creative Artists Public Service program (CAPS); and the artist's invention of the rewind reel adapter. Subject files include Tatti's memberships and activities in professional associations, e.g., American Medallic Sculpture Association, American Numismatic Society, and Audubon Artists; Tatti's Artist-in-Residence proposals for the Television Lab, WNET 13; and his involvement in educational video presentations. Exhibition files consist of scattered materials on Tatti's shows at the Anthology Film Archives; Burr Galleries; Galerie Claude Bernard; The Kitchen, Mercer Arts Gallery; Northeast Harbor Gallery; and Roko Gallery.
Writings, notes, and lists include writings by Benedict Tatti; writings about Benedict Tatti, including a statement on the artist by Isamu Noguchi; and lists compiled by Adele Tatti relating to her late husband's work. Artwork contains Tatti's sketch of a sculpture for the Northeast Harbor Museum and sketches of medal designs. Printed material consists of announcements, brochures, invitations, exhibition catalogues and checklists, clippings, periodicals, newsletters, reproductions, other printed matter, and monographs. Photographs include black and white prints of portrait shots of Benedict Tatti, Tatti in his studio and with others, video equipment and Tatti's video art; also found are color photographs of Tatti's sculptures and design maquettes.
Arrangement note:
The collection is arranged as 9 series:
Series 1: Biographical Material, 1936-1993 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1945-2008 (Box 1; 0.1 linear feet)
Series 3: Project Files, 1966-2005 (Box 1; 0.1 linear feet)
Series 4: Subject Files, circa 1950s-2008 (Box 1; 0.1 linear feet)
Series 5: Exhibition Files, 1945-1992 (Box 1; 0.1 linear feet)
Series 6: Writings, Notes, and Lists, circa 1940s-2009 (Box 1; 4 folders)
Series 7: Artwork, 1970-circa 1990s (Box 1; 3 folders)
Series 8: Printed Material, 1937-1976 (Boxes 1-2; 0.8 linear feet)
Series 9: Photographs (circa 1936-1970s), circa 1964-2010 (Box 3; 0.4 linear feet)
Biographical/Historical note:
Benedict Tatti (1917-1993) worked in New York as a sculptor, painter, educator, and video artist.
Born in New York in 1917, Tatti began his art education at Haaren High School. He continued his studies at the Roerich Museum with Louis Slobodkin, the Art Students League with William Zorach and Ossip Zadkine, and the Leonardo da Vinci School of Art under Attillio Piccirelli. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City.
Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage sculptures, using bronze metal and other industrial materials. During this period, Tatti spent summers on Monhegan Island in Maine, where he developed his water coloring techniques. In 1963, Tatti was hired to teach sculpture at the High School of Art and Design in New York, a position that he held for fifteen years.
In the 1970s, Tatti, with no previous background in video work developed technology for video imaging. He became an associate member of the Kitchen at the Mercer Arts Center exhibiting his video sculptures along with other early innovators of this new art form. In 1975, he invented a rewind reel adapter device. Despite health problems, Tatti continued to work and exhibit into the 1980s. He assisted his brother, Alexander Tatti and his nephew, Steven Tatti on the restoration of the Statue of Liberty on Ellis Island, which was completed in 1985.
Benedict Tatti received solo and group exhibitions at museums and galleries in the United States and abroad, including the Burr Gallery, Claude Bernard Galleries, Metropolitan Museum of Art, under the Artists for Victory Program, Museum of Modern Art, National Gallery of Art, Northeast Gallery, Pennsylvania Academy of the Fine Arts, and the Roko Gallery. Also, Tatti's work was regularly featured in annual exhibitions of several arts organizations: American Society of Contemporary Artists, Annual Avant Garde Festival, Audubon Artists, Brooklyn Society of Artists, and Painters and Sculptors Society of New Jersey. His awards included the National Soldier Art Competition at the National Gallery of Art (1945); Artist-in-Residence, National Center of Experiments TV, San Francisco, California, (1969); and the Creative Artists Public Service (CAPS), (1972). Tatti's artwork is in the permanent collections of the American Numismatic Society, Art Students League, Dumbarton Oaks, Monhegan Museum, Smithsonian Institution, and the Usdan Center for the Creative and Performing Arts.
Benedict Tatti died on July 30, 1993.
Provenance:
The Benedict Tatti papers were donated by Adele Tatti, widow of Benedict Tatti, in 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Video artists -- New York (State) -- New York Search this
Topic:
Educators -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Genre/Form:
Notes
Awards
Lists
Christmas cards
Photographs
Designs
Sketches
Citation:
Benedict Tatti, 1936-2011, bulk 1945-1993. Archives of American Art, Smithsonian Institution.
The papers of Bill Barrett measure 8.9 linear feet and 2.70 GB and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures, exhibition files, scrapbooks, printed and digital material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.
Scope and Contents:
The papers of Bill Barrett measure 8.9 linear feet and 2.70 GB and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures and a talk, exhibition files, scrapbooks, printed and digital material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.
Biographical material documents Barrett's awards from Audubon Artists and the Hakone Open Air Museum. Also included is an interview with Bill Barrett. Lectures and a talk consist of recordings on five videocassettes. Four lectures by Barrett were presented in conjunction with exhibition installations featuring his work. There is also a talk about public art given to a local community board in Sarasota, Florida. Exhibition files record openings of installations at galleries and the homes of private collectors via nine video cassettes and one digital recording. Nineteen scrapbooks document Barrett's solo and group exhibitions, public and private commissions as well as teaching positions and speaking engagements from circa 1970-2013.
Printed material includes some laminated display cards advertising Barrett's sculptures, a few reproductions of sculptures, and a monograph on the artist's work. Artwork by Bill Barrett consists of five pencil sketches of sculptures and five drawings that were used as preliminary studies for Barrett's paintings. Thirteen sketchbooks mostly contain preliminary studies for Barrett's sculptures; a few of the sketchbooks are annotated. Photographic materials include slides of artwork from 1959-1979 and a portfolio of digital prints of Bill Barrett's sculptures and paintings.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1987-1994 (Boxes 1, 11; 0.1 linear ft.)
Series 2: Lectures and Talk, 1978-1987, 2000-2003 (Box 1; 0.3 linear ft.)
Series 3: Exhibition Files, 1978-2012 (Boxes 1-2; 0.8 linear ft., ER01; 1.08 GB)
Series 4: Scrapbooks, circa 1930-2013 (Boxes 2-7; 6.1 linear ft., ER02; 0.872 GB)
Series 5: Printed Material, circa 1990-2011 (Boxes 7-8, 11; 0.2 linear ft., ER03; 0.746 GB)
Series 6: Artwork, 1971, 1995-2002 (Boxes 8, 11; 0.2 linear ft.)
Series 7: Sketchbooks, circa 1950s-1995 (Boxes 8-9; 1.0 linear ft.)
Series 8: Photographic Materials, 1959-1979, circa 2012-2013 (Box 10; 0.2 linear ft.)
Biographical / Historical:
Bill Barrett (1934-) is a sculptor and painter in New York and New Mexico.
Harry Stanford Barrett IV, known as Bill Barrett was born in Los Angeles, California in 1934. His father, Stan Barrett was a painter and teacher; his mother, Theodora Barrett was a homemaker. Bill Barrett attended the University of Michigan from 1958-1960 receiving a Bachelor of Science in Design, a Master in Science, and a Master of Fine Arts in Sculpture. By the late 1950's, Barrett had gained recognition for his welded sculptural works. His work was included in group shows at the Indiana Art Center and the Detroit Institute of Arts; his sculptures were acquired by museums and universities for their collections. During this period, Barrett held teaching positions at the Cleveland Institute of Art (1963-1964), the University of Michigan (1960-1968), and City College of New York (1970).
Bill Barrett had his first exhibition in New York at the Jason Gallery in 1967. By the 1970's, Barrett had set up a studio in New York City's Tribeca neighborhood and his fabricated aluminum sculptures were featured in the 1970 Whitney Biennial as well as in group exhibitions at the 10 Downtown, Andre Emmerich Gallery, and the Benson Gallery. In the 1980s, Bill Barrett's style evolved from abstract, geometric shapes to more fluid, expressive designs. Also, the Shidoni Foundry in New Mexico was overseeing the fabrication of Barrett's larger sculptural works. He was invited by Debora Hicks, daughter of the Foundry's owner, Tom Hicks to show his work at the Shidoni Sculpture Gardens, and since then, he has been a regular exhibitor at Shidoni. In 1992, Bill Barrett and Debora Hicks married, setting up a home and studio in New Mexico. Influenced by the landscape of New Mexico, Bill Barrett returned to painting and he has had several exhibitions that featured both his paintings and sculptures. In recent years, Barrett also designs jewelry.
Bill Barrett has participated in over 100 exhibitions held at galleries, museums, and other arts venues in the United States, Europe, and Japan. He has received numerous commissions to design both indoor and outdoor sculptures from individuals, corporations, academic institutions, local and state governments. Barrett has served as the President of the Sculptors Guild and he is a member of the Century Club and the National Arts Club. He has been awarded the Audubon Artists Gold Medal of Honor in Sculpture, the Chaim Gross Foundation Award for Audubon Artists, the Hakone Open Air Museum Award in Tokyo, and the Reynolds Memorial Award for Sculpture.
Bill Barrett has two sons and a daughter from a previous marriage. He and Debora Hicks Barrett divide their time between New York and New Mexico.
Provenance:
The collection was donated in 2014 by Bill Barrett.
Restrictions:
Use of original material requires an appointment. 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.
Olympic Games (24th : 1988 : Seoul, Korea) Search this
United States. Department of the Treasury Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Blueprints
Sketchbooks
Awards
Place:
Brooklyn Bridge (New York, N.Y.)
BuschGardens (Williamsburg, Va.)
Date:
1914-1995
Summary:
The Domenico Facci papers are dated 1914 to 1995, with the bulk falling between the years 1950 and 1984. They measure 1.2 linear feet and consist of biographical material, correspondence, artwork relating to sculpture projects, printed material, and photographs. Among the well-documented aspects of Facci's professional career are: his leadership roles in several arts organizations based in New York City, including Audubon Artists, National Sculpture Society, and Artists Equity Association; his work on the United States Treasury's 1988 Olympic Games commemorative coin competition, Brooklyn Bridge 100th Anniversary reliefs, Endangered Species Medal, and Neptune Fountain at Busch Gardens in Williamsburg, VA.
Scope and Content Note:
The Domenico Facci papers are dated 1914 to 1995, with the bulk falling between the years 1950 and 1984. They measure 1.2 linear feet and consist of biographical material, correspondence, artwork relating to sculpture projects, printed material, and photographs. Among the well-documented aspects of Facci's professional career are: his leadership rolses in several arts organizations based in New York City, including Audubon Artists, National Sculpture Society, and Artists Equity Association; his work on the United States Treasury's 1988 Olympic Games commemorative coin competition, Brooklyn Bridge 100th Anniversary reliefs, Endangered Species Medal, and Neptune Fountain at Busch Gardens in Williamsburg, VA.
Biographical material consists of artist's statements; marriage, academic, and military service records; awards; and membership cards and certificates. Correspondence consists mainly of incoming letters related to Facci's activities with arts organizations, among them Audubon Artists, American Society of Contemporary Artists, the Village Art Center, Artists Equity Association, the National Sculpture Society, and Nippon Museum.
Artwork includes two sketchbooks - one for the 1988 Olympic Games commemorative coin competition, and another concerning the Endangered Species Medal. Also found are anatomical study drawings, blueprint plans for the Neptune Fountain project, and miscellaneous sketches.
Printed materials are newspaper clippings, newsletters, exhibition catalogs, programs, press releases, announcements, and brochures. The bulk of this series is comprised of exhibition catalogs from the Audubon Artists, Painters and Sculptors Society of New Jersey, National Arts Club, and National Sculpture Society.
Photographs are of Facci and his work, including completed pieces, the artist at work in his studio and presenting sculpture demonstrations.
Arrangement:
The collection is arranged as 6 series:
Series 1: Biographical Material, 1914-1998 (Box 1; 0.1 linear ft.)
Series 2. Correspondence, 1954-1988 (Box 1; 0.3 linear ft.)
Series 3. Artwork, circa 1930-1985 (Box 1; OV 2-3; 0.3 linear ft.)
Series 4. Printed Material, 1933-1988 (Box 1; 0.3 linear ft.)
Series 5. Scrapbook, circa 1940-1985 (Box 1; 1 folder)
Series 6. Photographs, circa 1940-1985 (Box 1; 0.2 linear ft.)
Biographical Note:
Domenico Facci (1914-1994) worked in New York City and was known primarily for commissioned portraits and public sculpture, and for holding leadership positions in several arts organizations based in New York City.
Domenico (Aurelio) Facci was born to Antonio and Grace Facci in Hooversville, Pennsylvana. on February 2, 1916, where his father, Antonio, was a coal miner. His mother was Grace Facci. When he was 10, the family relocated to Brooklyn, New York.
Facci won a scholarship to Roerich Academy (Master Institute of United Arts) where he studied under Pietro Montana and Louis Slobodkin and graduated in 1936. In 1937 he opened his first studio on Fifth Avenue at 15th Street and was immediately commissioned to do several large pieces for the 1939 World's Fair.
Many public and private commissions were executed by Facci in the New York City area, among them: carvings on the tower façade of St. Thomas's church, St. Rita sculpture in Long Island City, lobby for American Express building, 100 feet of plaques on the Brooklyn Bridge walkway, and bronze sculptures for PS 147 in the Bronx. Facci was also awarded portrait commissions of eminent public figures including: Winston Churchill, Albert Einstein, Bob Hope, Lowell Thomas, James Kilpatrick, and Lynn Redgrave, some of which were executed on live television and at other events. Some important commissions in other locations were: a cartouche for bronze doors for St Peter's Cathedral, Philadelphia, PA; exterior bronze for the Court of Appeals Building, Annapolis, MD; St. Paul sculpture, Fredericksburg, MD; Eagle War Monument, Rome, NY; and St. John Divine in Sewanee, TN.
Facci was the recipient of numerous important awards, including the Proctor Award from the National Academy of Design, the Richards Award from the Allied Artists, and the Liskin Award from the Knickerbocker Artists. He was also elected a fellow of the National Sculpture Society. Solo exhibitions of Facci's work were presented at the Silvermine Guild of Artists and the Village Art Center. He participated in group shows at the Whitney Museum of American Art and the National Academy of Design, Jersey City. Facci exhibited annually at numerous New York artists organization, including the Village Art Center, Knickerbocker Artists, and at the Silvermine Guild.
Facci's work is included in the permanent collections of the Florida Southern College, in Lakeland, FL, the Norfolk Museum, VA, and the Polk Museum, FL.
As an active member of numerous professional artists organizations, Facci served as the president of the Village Art Center for a decade, president of the Audubon Artists for 11 years, and president of the American Society of Contemporary Artists. In addition, he was an officer in other organizations, including: Knickerbocker Artists, Allied Artists, New Jersey Painters and Sculptors, National Sculpture Society, Silvermine Guild of Artists, New York Artists' Equity Association, Sculptors League, Salmagundi Club, National Academy of Design, and the American Society of Contemporary Artists.
In addition to his work as a sculptor, Facci was also a teacher. Between 1939 and 1972, he served on the faculty of City College of New York, the Academy of Art at Florida Southern College, Ridgewood Village Art School in New Jersey, and the Craft Student League in New York.
Domenico Facci was married to Penelope (Felicia/Penny) Facci and they had a son, Robert. Domenico Facci died on November 6, 1994.
Provenance:
Gift of Debby Friedman, 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Audubon Artists records, 1944-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The Audubon Artists records were processed in 2015 with funding provided by the Terra Foundation for American Art
