Search Results

Creator:

Holmes, William Henry 1846-1933  Search this

Author:

Hayden, F. V (Ferdinand Vandeveer) 1829-1887  Search this

Geological and Geographical Survey of the Territories (U.S.)  Search this

Subject:

Holmes, William Henry 1846-1933  Search this

Physical description:

1 volume illustrations, clippings, photographs, letters. 27 cm

Type:

Electronic resources

Place:

Yellowstone National Park

Date:

1870

1870-1932

Topic:

Geology  Search this

Call number:

CT275.H75 A1 v. 3

CT275.H75 A1

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1063467

Author:

San Francisco Museum of Modern Art  Search this

Physical description:

[9] p. : ill. ; 20 cm

Type:

Exhibitions

Place:

California

Date:

1978

C1978

20th century

Topic:

Prints  Search this

Printmakers  Search this

Call number:

NE42.S4 S4

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_145901

Author:

Heavenrich, Samuel  Search this

Morley, Grace 1900-1985  Search this

Long Beach Museum of Art  Search this

Physical description:

1 v. (unpaged) illus. 26 cm

Type:

Exhibitions

Place:

California

Date:

1956

1956?]

20th century

Topic:

Painting, American  Search this

Painters  Search this

Call number:

ND230.C2 L84

ND230.C2L84

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_145929

Author:

California Society of Printmakers  Search this

World Print Council  Search this

Subject:

California Society of Printmakers  Search this

Physical description:

50 p. : ill. ; 22 cm

Type:

Exhibitions

Place:

California

Date:

1984

C1984

20th century

Topic:

Prints, American  Search this

Prints  Search this

Call number:

NE535.C2P77 1984X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_252225

Author:

California Society of Printmakers  Search this

World Print Council  Search this

Subject:

California Society of Printmakers  Search this

Physical description:

50 p. : ill. ; 22 cm

Type:

Exhibitions

Place:

California

Date:

1984

C1984

20th century

Topic:

Prints, American  Search this

Prints  Search this

Call number:

NE535.C2 P77 1984

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_657958

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2016-02-16T17:49:49.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_rtbwoKC_pXw

Author:

Black Panther Party  Search this

Black Panther Party Ministry of Information  Search this

Subject:

Black Panther Party  Search this

Physical description:

volumes illustrations (some color) 45 cm

Type:

Newspapers

Underground newspapers

Place:

California

Oakland (Calif.)

Alameda County (Calif.)

San Francisco (Calif.)

Alameda County

Oakland

San Francisco

Date:

1967

1980

Topic:

African Americans  Search this

Underground press publications  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1158831

Issuing authority:

United States Assay Office of Gold  Search this

Maker:

Humbert, Augustus  Search this

Physical Description:

gold (overall metal)

0 (overall die axis)

0 (overall die axis measurement)

struck (overall production method)

Object Name:

Coin

Place made:

United States: California

Place of issue:

United States: California

Date made:

1852

Date made:

1851

ID Number:

1991.0009.0992

Catalog number:

1991.0009.0992

Accession number:

1991.0009

See more items in:

Work and Industry: National Numismatic Collection

Coins, Currency and Medals

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-7c2e-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1101665

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2021-10-25T16:17:34.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_lHawUkRcr-Q

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2022-02-07T16:43:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_tigzYXtCOuE

Issuing authority:

U.S. Assay Office  Search this

Mint:

United States Assay Office of Gold  Search this

Physical Description:

gold (overall metal)

0 (overall die axis)

0 (overall die axis measurement)

Measurements:

overall: 2.5 cm x 3.7 cm x .4 cm; 31/32 in x 1 15/32 in x 5/32 in

Object Name:

coin

ingot

Place made:

United States: California

Place of issue:

United States: California

Date made:

1853

Associated date:

1853

Credit Line:

Estate of Josiah K. Lilly

ID Number:

NU.68.159.1206

Accession number:

283645

Catalog number:

68.159.1206

See more items in:

Work and Industry: National Numismatic Collection

Josiah K. Lilly Jr. Collection

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-7e7f-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1101669

Issuing authority:

United States Assay Office of Gold  Search this

Mint:

United States Assay Office of Gold  Search this

Physical Description:

gold (overall metal)

0 (overall die axis)

0 (overall die axis measurement)

Object Name:

coin

ingot

Other Terms:

coin; Proofing

Place made:

United States: California

Place of issue:

United States: California

Date made:

1853

Associated date:

1853

Credit Line:

Estate of Josiah K. Lilly

ID Number:

NU.68.159.1204

Accession number:

283645

Catalog number:

68.159.1204

See more items in:

Work and Industry: National Numismatic Collection

Josiah K. Lilly Jr. Collection

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-8b80-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1101982

Associated person:

Humbert, Augustus  Search this

Issuing authority:

United States Assay Office of Gold  Search this

Mint:

United States Assay Office of Gold  Search this

Physical Description:

gold (overall metal)

0 (overall die axis)

0 (overall die axis measurement)

Measurements:

overall: 2.4 cm x 1.9 cm x .2 cm; 15/16 in x 3/4 in x 3/32 in

Object Name:

ingot

Bar

Place made:

United States: California

Place of issue:

United States: California

Date made:

1850s

Associated date:

1853

Credit Line:

Estate of Josiah K. Lilly

ID Number:

NU.68.159.1203

Accession number:

283645

Catalog number:

68.159.1203

See more items in:

Work and Industry: National Numismatic Collection

Josiah K. Lilly Jr. Collection

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ab-3a0a-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1101984

Depicted (sitter):

Reagan, Ronald Wilson  Search this

Physical Description:

fabric (overall material)

ink (overall material)

Measurements:

overall (flat): 21 1/2 in x 15 in; 54.61 cm x 38.1 cm

Object Name:

shirt

Date made:

1984

Subject:

Protest  Search this

Women's History  Search this

Fashion  Search this

Gender  Search this

Punk culture  Search this

Presidents--Election  Search this

ID Number:

2018.0253.01

Accession number:

2018.0253

Catalog number:

2018.0253.01

See more items in:

Culture and the Arts: Musical Instruments

Clothing & Accessories

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-c148-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1899166

Creator:

Archives of American Art  Search this

Type:

Sound recordings

Interviews

Conversations and talks

Podcast

MIME Type:

audio/mpeg

Uploaded:

Fri, 22 Nov 2013 07:00:00 -0500

Topic:

Art  Search this

American  Search this

See more episodes:

Oral History Collection from the Archives of American Art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:podcasts_fd00324f29ffa1853033b072c2d23b0d

Author:

Baird, Spencer Fullerton  Search this

Object Type:

Smithsonian staff publication

Year:

1854

Citation:

Baird, Spencer Fullerton. 1854. "Descriptions of New Birds collected between Albuquerque, N. M., and San Francisco, California, during the Winter of 1853-54, by Dr. C.B.R. Kennerly and H.B. Mollhausen, naturalists attached to the survey of the Pacific R.R. Route, under Lt. A. W. Whipple." Proceedings of the Academy of Natural Sciences of Philadelphia, 7 118–120.

Identifier:

117918

ISSN:

0097-3157

Data source:

Smithsonian Libraries and Archives

EDAN-URL:

edanmdm:slasro_117918

Creator:

Kadish, Reuben, 1913-1992  Search this

Names:

Ashton, Dore  Search this

Cherry, Herman  Search this

Conant, Howard  Search this

De Kooning, Willem, 1904-1997  Search this

Guston, Philip, 1913-1980  Search this

Hiler, Hilaire, 1898-1966  Search this

Langsner, Jules, 1911-1967  Search this

Neininger, Urban  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Pollock, Charles C.  Search this

Pollock, Jackson, 1912-1956  Search this

Siqueiros, David Alfaro  Search this

Tully, Judd  Search this

Extent:

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Date:

1851-1995

bulk 1913-1995

Summary:

This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Scope and Content Note:

The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.

Arrangement:

The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)

Biographical Note:

Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.

Related Material:

Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.

Provenance:

The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.

Restrictions:

The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.

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:

Sculptors -- New York (State) -- New York -- Interviews  Search this

Muralists -- California  Search this

Sculptors -- California  Search this

Genre/Form:

Drawings

Photographs

Citation:

Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kadireub

See more items in:

Reuben Kadish papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8

EDAN-URL:

ead_collection:sova-aaa-kadireub

Creator:

Turner, John F.  Search this

Names:

Arient, Beth, 1946-  Search this

Arient, James, 1946-  Search this

Camp, Jeffrey Thomas, 1944-  Search this

Dickinson, Eleanor, 1931-  Search this

Esman, Rosa  Search this

Finster, Beverly  Search this

Finster, Howard, 1916-2001  Search this

Finster, Pauline  Search this

Ginsberg, Allen, 1926-1997  Search this

Hartigan, Lynda Roscoe  Search this

Hemphill, Herbert Waide  Search this

Jabbour, Alan  Search this

Kind, Phyllis, 1933-2018  Search this

Kirwin, Liza  Search this

Lancaster, Clay  Search this

Nasisse, Andy S., 1946-  Search this

Nutt, Jim, 1938-  Search this

Volkersz, Willem  Search this

Extent:

6.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Photographs

Transcriptions

Video recordings

Date:

circa 1928-2015

bulk 1978-1990

Summary:

The John F. Turner collection of research material on visionary self-taught artist Howard Finster measures 6.9 linear feet and dates from circa 1928 to 2015, with the bulk of the materials dating from 1978 to 1990. John Turner is a California-based curator who compiled this collection in preparation for his book Howard Finster: Man of Visions (1989). Found within the collection are correspondence; numerous interviews with Finster and Finster family members, curators and historians, collectors, and artists; draft manuscripts and research notes; compiled research files on other topics; printed materials and commercial broadcast video recordings; and photographic material, including polaroids annotated by Finster. There is also one series of Howard Finster's papers that include writings by Finster, sound and video recordings of Finster exhibitions and talks by Finster related to those exhibitions, recordings of other speaking engagements, sermons, and other events, a scattering of personal business records that includes a ledger and price list of artwork, and artwork.

Scope and Contents:

The John F. Turner collection of research material on visionary self-taught artist Howard Finster measures 6.9 linear feet and dates from circa 1928 to 2015, with the bulk of the materials dating from 1978 to 1990. John Turner is a California-based curator who compiled this collection in preparation for his book Howard Finster: Man of Visions (1989). Found within the collection are correspondence; numerous interviews with Finster and Finster family members, curators and historians, collectors, and artists; draft manuscripts and research notes; compiled research files on other topics; printed materials and commercial broadcast video recordings; and photographic material, including polaroids annotated by Finster. There is also one series of Howard Finster's papers that include writings by Finster, sound and video recordings of Finster exhibitions and talks by Finster related to those exhibitions, recordings of other speaking engagements, sermons, and other events, a scattering of personal business records that includes a ledger and price list of artwork, and artwork.

Correspondence mostly consists of letters to John Turner from Howard Finster and Finster family members, folklorist Alan Jabbour, Clay Lancaster, Andy Nasisse, and others. There are also letters to Howard Finster from miscellaneous correspondents.

Numerous interviews with and about Howard Finster are found on 47 sound cassettes, and one partial transcript. In addition to interviews conducted by Turner, there are interviews with Finster conducted by Liza Kirwin and Willem Volkerz. Most of the interviews are with others about Finster, including family members, collectors, curators and art historians, and other artists. Interviewees include Jim and Beth Arient, Jeffrey Camp, Eleanor Dickinson, Rosa Esman, Beverly and Pauline Finster, Allen Ginsberg, Lynda Hartigan, Herbert Waide Hemphill, Alan Jabbour, Phyllis Kind, Jim Nutt, and others.

Writings consist of Turner's research notebooks and a typescript draft for his book Howard Finster: Man of Visions. There are some curator's statements and loose notes possibly written by others. Research files include printed material compiled by John Turner on various artists and subjects not directly related to Finster, except for bibliographies.

Papers and other materials created by Howard Finster are arranged into one separate series. These include writings; exhibition files, including video and sound recordings; personal business records; artwork, including album covers and posters; and sound recordings of Finster's public and private talks, sermons, and events. Many of the sound recordings were recorded by Finster himself.

Printed material consists of newspaper and magazine clippings about Howard Finster, exhibition catalogs, announcements, magazines, and art periodicals. There are also 2 videocassettes of commercially released television appearances and music videos.

Photographic material includes photographs, slides, negatives, and transparencies of Howard Finster and his artwork. There are images of Finster and his family, artwork, exhibitions, openings, and events. Some of the images are annotated by Finster.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Correspondence, 1967-2005 (0.3 linear feet; Box 1)

Series 2: Interviews, 1977-circa 1989 (1.5 linear feet; Boxes 1-2)

Series 3: Writings, circa 1980-circa 1989 (0.4 linear feet; Boxes 2-3)

Series 4: Research Files, circa 1971-2015 (0.5 linear feet; Box 3)

Series 5: Howard Finster Files and Sound and Video Recordings, circa 1970-2001 (1.6 linear feet; Boxes 3-5, OV 9, 11)

Series 6: Printed Material, circa 1975-2010 (1.2 linear feet; Boxes 5-6, OV 10)

Series 7: Photographic Material, circa 1928-circa 2000 (1.4 linear feet; Boxes 6-8)

Biographical / Historical:

John F. Turner is a writer and curator who lives in California. Turner has written books on photography and folk art and is an adjunct curator at the San Francisco Craft and Folk Art Museum. He has also worked for NBC news and documented the lives of folk artists for many years.

Turner befriended visionary, self-taught artist and Baptist minister Howard Finster sometime in the late 1970s. The research material in this collection was compiled over a decade for Turner's book Howard Finster: Man of Vision (Alfred A. Knopf, 1989).

Related Materials:

The Archives of American Art also has the Barbara Shissler Nosanow materials relating to Howard Finster, circa 1981; an oral history interview with Howard Finster conducted on June 11, 1984 by Liza Kirwin; and an interview with Howard Finster conducted by James Arient and Howard Finster's own sound recordings of himself from 1981-1982.

Provenance:

The John F. Turner research material on Howard Finster was donated by John F. Turner in 1987 and 2016.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival visual recordings with no duplicate access copy requires advance notice.

Rights:

U-matic videocassette recording Howard Finster exhibition opening: Authorization to quote or reproduce for the purposes of publication requires written permission from John Turner. 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:

Folk artists -- California  Search this

Painters -- Georgia  Search this

Museum curators -- California  Search this

Topic:

Authors -- California  Search this

Folk art  Search this

Self-taught artists  Search this

Genre/Form:

Interviews

Sound recordings

Photographs

Transcriptions

Video recordings

Citation:

John F. Turner research material on Howard Finster, circa 1928-2015, bulk dates 1978-1990. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.turnjohn

See more items in:

John F. Turner research material on Howard Finster

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9369b50b3-a26c-4e8d-bf75-e17a90f122ce

EDAN-URL:

ead_collection:sova-aaa-turnjohn

Collection Creator:

Turner, John F.  Search this

Extent:

1 Videocassettes (U-matic) (Howard Finster exhibition opening, in which Finster discusses his work on the occasion of his one-man show at the Braunstein Gallery in San Francisco, California, April 1981 (23 min.))

Container:

Box 3, Folder 27

Type:

Archival materials

Videocassettes (u-matic)

Date:

1981

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.

Use of archival visual recordings with no duplicate access copy requires advance notice.

Collection Rights:

U-matic videocassette recording Howard Finster exhibition opening: Authorization to quote or reproduce for the purposes of publication requires written permission from John Turner. 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.

Collection Citation:

John F. Turner research material on Howard Finster, circa 1928-2015, bulk dates 1978-1990. Archives of American Art, Smithsonian Institution.

See more items in:

John F. Turner research material on Howard Finster

John F. Turner research material on Howard Finster / Series 5: Howard Finster Files and Sound and Video Recordings / Exhibitions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9be4c827d-5e0f-4c6e-bf31-d744babf343e

EDAN-URL:

ead_component:sova-aaa-turnjohn-ref96

Creator:

Lippard, Lucy R.  Search this

Names:

Addison Gallery of American Art  Search this

Alliance for Cultural Democracy  Search this

Art Workers Coalition  Search this

Heresies Collective, Inc.  Search this

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

Political Art Documentation/Distribution (Organization)  Search this

Printed Matter, Inc.  Search this

Studio International (Firm)  Search this

University of Colorado -- Faculty  Search this

Women's Caucus for Art  Search this

Andre, Carl, 1935-  Search this

Chicago, Judy, 1939-  Search this

Darboven, Hanne  Search this

Edelson, Mary Beth  Search this

Hammond, Harmony  Search this

Henes, Donna  Search this

Johnson, Ray, 1927-  Search this

Judd, Donald, 1928-  Search this

LeWitt, Sol, 1928-2007  Search this

Pearson, Henry, 1914-2006  Search this

Stevens, May  Search this

Extent:

70.5 Linear feet

0.454 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Interviews

Photographs

Date:

1930s-2010

bulk 1960-1990

Summary:

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.

Scope and Contents:

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.

Arrangement:

The collection is arranged as nine series:

Missing Title

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)

Biographical / Historical:

New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.

Provenance:

Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015 and 2021.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:

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

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

Art critics -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Artists -- Political activity  Search this

Art criticism  Search this

Feminism and art  Search this

Women authors  Search this

Women art critics  Search this

Art, Modern -- 20th century  Search this

Conceptual art  Search this

Minimal art  Search this

Women museum curators  Search this

Women educators  Search this

Genre/Form:

Sound recordings

Interviews

Photographs

Citation:

Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.lipplucy

See more items in:

Lucy R. Lippard papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed

EDAN-URL:

ead_collection:sova-aaa-lipplucy