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Taíno Symposium – Session 2 – Deborah Bolnick

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2019-06-04T19:46:41.000Z
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_5V2oKHFj8bk

Oral history interview with Carroll F. Wales, 1992 November 10-1993 February 11

Interviewee:
Wales, Carroll F., 1918-2007  Search this
Wales, Carroll F., 1918-2007  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Stout, George L. (George Leslie)  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Conservation and restoration  Search this
Restorers -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12426
(DSI-AAA_SIRISBib)215153
AAA_collcode_wales92
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215153
Online Media:

Oral history interview with Alice Winchester, 1993 September 17-1995 June 29

Interviewee:
Winchester, Alice, 1907-1996  Search this
Winchester, Alice, 1907-1996  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Webb, Electra Havemeyer  Search this
Keyes, Homer Eaton  Search this
Du Pont, Henry Francis  Search this
Type:
Sound recordings
Interviews
Topic:
Magazine antiques (New York, N.Y. :1928)  Search this
Antiques (New York, N.Y. : 1952)  Search this
Art, American  Search this
Antiques -- Periodicals  Search this
Antiques  Search this
Art publishing  Search this
Record number:
(DSI-AAA_CollID)13081
(DSI-AAA_SIRISBib)216508
AAA_collcode_winche93
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216508
Online Media:

Oral history interview with Donald Windham, 2007 March 12

Interviewee:
Windham, Donald, 1920-2010  Search this
Windham, Donald, 1920-2010  Search this
Interviewer:
Korhauser, Elizabeth  Search this
Type:
Sound recordings
Interviews
Record number:
(DSI-AAA_CollID)13602
(DSI-AAA_SIRISBib)270814
AAA_collcode_windha07
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_270814

Oral history interview with Richard Tuttle, 2016 November 14-17

Interviewee:
Tuttle, Richard, 1941-  Search this
Tuttle, Richard, 1941-  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Type:
Interviews
Sound recordings
Topic:
Artists -- New York (State) -- New York -- Interviews  Search this
Installations (Art)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17419
(DSI-AAA_SIRISBib)384977
AAA_collcode_tuttle16
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_384977

Oral history interview with Alice Winchester

Topic:
Magazine antiques (New York, N.Y. :1928)
Antiques (New York, N.Y. : 1952)
Interviewee:
Winchester, Alice  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Du Pont, Henry Francis, 1880-1969  Search this
Keyes, Homer Eaton, 1875-1938  Search this
Webb, Electra Havemeyer  Search this
Extent:
3 Sound cassettes (Sound recording (3 hrs., 46 min.), analog)
72 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1993 September 17-1995 June 29
Scope and Contents:
Interview of Alice Winchester, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution at Winchester's home in Danbury, CT, September 17, 1993-June 29, 1995.
Winchester speaks of her childhood in the family of a Congregational minister in New England; attending Smith College (BA 1929) as had her mother and sisters; her junior year abroad in France; her clerical employment in New York City; her position as office secretary and then associate editor of "The Magazine Antiques"; working with Homer Eaton Keyes, its founding editor; learning about antiques; meeting many dealers, curators, and collectors (1930-38); her early years as editor of "The Magazine Antiques"; expanding the scope of the magazine, particularly to include articles on folk art and regular features on outstanding public and private collections; her highly specialized, though small, staff, including Helen Comstock; her close associations with important New York dealers, such as Israel Sack and his sons, Harold and Albert, and members of the Ginsburg and Levy firm; her role in establishing the annual Antiques Forum at Colonial Williamsburg; the importance of steady travel to view collections and meet collectors and curators; her several books on antiques; and the wealthy collectors she met, including Electra Havemeyer Webb, of Shelburne, VT. Winchester also recalls Henry Francis Du Pont, Mr. and Mr. and Mrs. Henry Flynt, Marshall and "Petey" Davidson, and Joseph Downs.
Biographical / Historical:
Alice Winchester (1907-1996) was an art editor and author of Danbury, Connecticut. Winchester was editor of the magazine, "Antiques," 1938-1951 and its successor "Antiques," 1951-1972; and curator at the Whitney Museum of American Art, 1972-1974.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 46 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Editors -- New York (State) -- New York  Search this
Antique dealers  Search this
Topic:
Art, American  Search this
Antiques -- Periodicals  Search this
Antiques  Search this
Art publishing  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.winche93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-winche93
Online Media:

Oral history interview with Carroll F. Wales

Interviewee:
Wales, Carroll F., 1918-2007  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Stout, George L. (George Leslie)  Search this
Extent:
9 Items (sound cassettes Sound recording)
203 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1992 November 10-1993 February 11
Scope and Contents:
An interview with Carroll F. Wales conducted 1992 November 10-1993 February 11, by Robert F. Brown, for the Archives of American Art.
Wales discusses his childhood as an orphan in Maine; work as a designer for Cheney silk works, Manchester, Connecticut; World War II service in North Africa and Europe; education at Harvard in fine arts under Chandler Post, Frederick Deknatel, and John Coolidge; art conservation training under Morton Bradley, Frank Gettens, and Richard Buck; fellow students Evan Turner, Elizabeth Jones, John Maxon, and Dore Ashton; first jobs restoring Roman mosaic at Worcester Art Museum, Italian paintings in the Jarvis Collection at Yale, and early 19th century murals at Wesleyan University; extended work (1952-1959) through the Byzantine Institute on Byzantine frescoes in Istanbul, George Stout's work on particularly difficult projects, and the division of preparatory work among Greek Christians (figural paintings) and Turkish Moslems (decorative areas); and friendship with British archaeologist Max Mallowan and his wife, author Agatha Christie, while conserving ivories during excavations at Nimrud, Iraq.
Biographical / Historical:
Carroll F. Wales (1918-2007) was a restorer from Boston, Massachusetts.
General:
Originally recorded on 9 sound cassettes. Reformatted in 2010 as 17 digital wav files. Duration is 12 hr., 20 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958, to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and others.
Occupation:
Art restorers -- Massachusetts -- Boston  Search this
Topic:
Art -- Conservation and restoration  Search this
Restorers -- Massachusetts -- Boston -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wales92
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wales92
Online Media:

Oral history interview with Richard Tuttle

Creator:
Tuttle, Richard, 1941-  Search this
McElhinney, James Lancel, 1952-  Search this
Extent:
3 Items (sound files (4 hrs., 4 min.), digital, wav)
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2016 November 14-17
Scope and Contents:
An interview with Richard Tuttle conducted 2016 November 14 and 17, by James McElhinney, for the Archives of American Art, at Tuttle's home in New York, New York.
Tuttle recalls early memories at the Metropolitan Museum of Art; his mother's influence; family background from Pennsylvania, and Celtic ancestry; discussion of Calvinism; philosophies of art schools; discussion of Japanese language, literature and philosophy; designing book covers for Graham Greene; joining the air force and being honorably discharged; friendship with Agnes Martin; observations about the landscapes and geology of New Mexico and the Lascaux caves; thoughts on Humboldt and other German philosophers, Husserl, Philipp Otto Runge, and others; Travel in Peru, and his recent exhibitions in Lima, Peru; discussion of religion, art, senses; discussion of philosophy: Epicurus, Lucretius. Tuttle speaks of his childhood; he describes his siblings and his brother serving in the Vietnam War; discussion of creativity, education and difficulty with teachers, and being a creative child; influence of his grandparents; influence of religion and German background; teachers and relationship to his childhood schools; discussion of the 2016 elections and comparison to Republican Rome and Julius Caesar; engagement in theater, and writing at Trinity College in Hartford, Connecticut; influence of Sam Wagstaff; Interest in Allan Kaprow; comparing Picasso and Matisse; discussion of the cultural history of Hartford; visiting New York City in high school and college and the encouragement of his high school teacher; early artworks and creation of Paper Cubes; briefly attending Cooper Union; working in the library at the Cooper Hewitt Museum; discussion of Beat poetry and Abstract Expressionism; discussion of Betty Parsons and speaking about the "invisible" in art; thoughts about color and eidos in respect to Gaugin; working at Parsons; the importance of Ad Reinhardt's work; discussion of Romanticism. Tuttle also recalls Betty Parsons, Agnes Martin, Mark Rothko, Sam Wagstaff, A. Everett Austin, Herbert Vogel, Allen Ginsberg and others.
Biographical / Historical:
Richard Tuttle (1941- ) is a postminimalist artist and author in New York, N.Y. James McElhinney (1952- ) is a painter and educator of New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Artists -- New York (State) -- New York -- Interviews  Search this
Installations (Art)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.tuttle16
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tuttle16
Online Media:

Oral history interview with Louise Welch, 1965 January 2

Interviewee:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Interviewer:
Welch, Louise  Search this
Subject:
Federal Writers' Project (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Authors -- New York (State) -- New York -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)11758
(DSI-AAA_SIRISBib)213971
AAA_collcode_welch65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213971

Oral history interview with Winslow Ames

Interviewee:
Ames, Winslow  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Lyman Allyn Museum  Search this
Forbes, Edward Waldo, 1873-1969  Search this
Kirstein, Lincoln, 1907-  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Warburg, Edward M. M.  Search this
Extent:
77 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1987 April 29-June 2
Scope and Contents:
An interview of Winslow Ames conducted 1987 April 29-June 2, by Robert F. Brown, for the Archives of American Art.
Ames speaks of his childhood in New York, his family's early New England and New York antecedents, his education at Columbia College, and studying fine arts at Harvard under Paul Sachs and Edward Waldo Forbes. He reminisces about his friendship with Edward M.M. Warburg and Lincoln Kirstein and their involvement in his purchase of Gaston Lachaise's "Standing Woman"; his work as the first director of the Lyman Allyn Museum, New London, Connecticut; service as a conscientious objector with the Civilian Public Service Corps during World War II; and assisting in the resettlement of European refugees with the American Friends Service Committee. He discusses directing a museum in Springfield, Missouri, researching and writing his, "Prince Albert and Public Taste," and teaching connoisseurship and museum practices at the University of Rhode Island and Brown University.
Biographical / Historical:
Winslow Ames (1907-1990) was a museum director, art historian, collector, conoisseur of drawings, and authority on Victorian art.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 18 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Art teachers -- Rhode Island -- Interviews  Search this
Art teachers -- Rhode Island -- Interviews  Search this
Topic:
Museum directors -- Connecticut -- Interviews  Search this
Museum directors -- Missouri -- Interviews  Search this
Function:
Art museums -- Connecticut -- New London
Art museums -- Missouri -- Springfield
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ames87
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ames87
Online Media:

Oral history interview with Anni Albers

Interviewee:
Albers, Anni  Search this
Interviewer:
Fesci, Sevim  Search this
Names:
Bauhaus  Search this
Klee, Paul, 1879-1940  Search this
Extent:
20 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1968 July 5
Scope and Contents:
An interview of Anni Albers conducted 1968 July 5, by Sevim Fesci, for the Archives of American Art, in New Haven, Connecticut.
Albers speaks of her educational background; Paul Klee as a teacher; color in weaving; techniques and materials; Peruvian and European textiles; her "sound-absorbing" textile designed for the Bauhaus auditorium; and her weaving workshop at Black Mountain College. She reminisces about the Bauhaus in the 1920s.
Biographical / Historical:
Anni Albers (1899-1994) was a weaver from New Haven, Connecticut.
General:
Reformatted in 2010 as 2 digital wav files. Duration is 40 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Art teachers -- Connecticut -- New Haven  Search this
Authors -- Connecticut -- New Haven  Search this
Printmakers -- Connecticut -- New Haven  Search this
Weavers -- Connecticut -- New Haven  Search this
Topic:
Women artists  Search this
Women authors  Search this
Women educators  Search this
Women printmakers  Search this
Women textile artists  Search this
Decorative arts  Search this
Textile fabrics  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.albersa68
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-albersa68
Online Media:

Oral history interview with Louise Welch

Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Interviewee:
Welch, Louise  Search this
Names:
Federal Writers' Project (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 January 2
Scope and Contents:
An interview of Louise Michel Blinken Welch conducted 1965 January 2, by Harlan B. Phillips, for the Archives of American Art New Deal and the Arts Project, in New York, N.Y.
Biographical / Historical:
Louise Michel Blinken Welch (1905-2000) was director of the Federal Writers' Project of the Work Progress Administration for the state of Connecticut. She moved to New York with her husband, William J. Welch in 1941, where she worked as a writer.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 27 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Federal aid to the arts  Search this
Authors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.welch65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-welch65
Online Media:

Susanne Yelin, "Superradiance and Entanglement"

Creator:
Smithsonian Astrophysical Observatory  Search this
Type:
Lectures
YouTube Videos
Uploaded:
2014-03-31T13:47:24.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Astronomy  Search this
See more by:
ITAMPhysics
Data Source:
Smithsonian Astrophysical Observatory
YouTube Channel:
ITAMPhysics
EDAN-URL:
edanmdm:yt_T1DYZhdt01A

Ilse Martha Bischoff papers, 1893-1981

Creator:
Bischoff, Ilse, 1901-1990  Search this
Bischoff, Ilse, 1901-1990  Search this
Subject:
French, Jared  Search this
Cadmus, Paul  Search this
Type:
Sketches
Writings
Photographs
Topic:
Art -- Collectors and collecting  Search this
Women authors  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Government Sponsorship of the Arts  Search this
Record number:
(DSI-AAA_CollID)8447
(DSI-AAA_SIRISBib)210622
AAA_collcode_biscilse
Theme:
Women
Lives of American Artists
Government Sponsorship of the Arts
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210622
Online Media:

Ichnographs from the sandstone of Connecticut River by James Deane

Title:
Memoir upon the fossil footprints and other impressions of the Connecticut River sandstone
Ichnographs of the Connecticut River sandstone
Author:
Deane, James 1801-1858  Search this
Author:
Bouvé, Thomas T (Thomas Tracy) 1815-1896  Search this
Bowditch, Henry I (Henry Ingersoll) 1808-1892  Search this
Field, Roswell 1804-  Search this
Gould, Augustus A (Augustus Addison) 1805-1866  Search this
Hitchcock, Charles H (Charles Henry) 1836-1919  Search this
Smithsonian Institution  Search this
Printer:
Allen and Farnham  Search this
Lithographer:
T. Sinclair's Lith.  Search this
Physical description:
61 pages, 46 [that is, 50] leaves of plates illustrations (some color) 31 cm
Type:
Electronic resources
Photoprints
Place:
Connecticut River Valley
United States
Massachusetts
Date:
1861
Topic:
Footprints, Fossil  Search this
Paleontology  Search this
Call number:
QE845 .D28
QE845.D28 1861
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_942660

Ilse Martha Bischoff papers

Creator:
Bischoff, Ilse, 1901-1990  Search this
Names:
Cadmus, Paul, 1904-1999  Search this
French, Jared, 1905-1988  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Photographs
Date:
1893-1981
Summary:
The papers of illustrator, writer and collector Ilse Martha Bischoff measure 1.2 linear feet and date from 1893-1981. Found are scattered personal and business records, correspondence, pencil and watercolor sketches, notes and writings, printed material and photographs. Correspondence is primarily with family members and colleagues including Paul Cadmus and Jared French. Photographs are of Bischoff, her family, and colleagues including Paul Cadmus and Jared French.
Scope and Content Note:
The papers of illustrator, writer and collector Ilse Martha Bischoff measure 1.2 linear feet and date from 1893-1981. Found are scattered personal and business records, correspondence, pencil and watercolor sketches, notes and writings, printed material and photographs.

Correspondence is primarily with family members and colleagues including Paul Cadmus and Jared French. Artwork includes pencil and watercolor sketches, and notes and writings consist primarily of typescripts of Bischoff's short stories. Printed material includes clippings, exhibition announcements and catalogs, and miscellaneous printed material relating to Bischoff's European travel. Of special interest are photographs of Bischoff, her family, and colleagues including Paul Cadmus and Jared French.
Arrangement:
The collection is arranged as 6 series:

Missing Title

Series 1: Personal Records, 1934-1938, 1955-1968 (Box 1; 3 folders)

Series 2: Correspondence, 1922-1981 (Box 1; 47 folders)

Series 3: Artwork, circa 1920-circa 1959 (Box 1; 1 folder)

Series 4: Notes and Writings, 1929-1975 (Box 1; 33 folders)

Series 5: Printed Material, 1929-1976 (Box 1; 15 folders)

Series 6: Photographs, 1893-1971 (Box 2; 20 folders)
Biographical Note:
Ilse Martha Bischoff was born on November 21, 1901 in New York City, to Adele Maria Timme Bischoff and Ernst Bischoff, founder of the Ernst Bischoff (pharmaceuticals) Company of Ivoryton, Connecticut.

Bischoff began her education at the Horace Mann School, later studying costume design at the Parson's School of Design. At the Art Students League, she studied painting under Frank Du Mond and etching with Joseph Pennell. While at the Art Students League, Bischoff befriended painters Paul Cadmus and Jared French. She also studied art in Paris, France, and Munich, Germany.

From 1928 to 1946, Bischoff illustrated 12 books and wrote two novels about George Washington's Portraitist, Gilbert Stuart: Painter's Coach in 1943, and Proud Heritage in 1949. Her autobiography, Drive Slowly: Six Dogs, was published in 1953. She was also an avid collector of Meissen porcelain.

Bishoff's artwork is represented in the collections of the Metropolitan Museum of Art, the New York Public Library, the Museum of Fine Arts in Boston and the Hood Museum at Dartmouth.

Ilse Martha Bischoff died December 5, 1990, in Hartland, Vermont.
Provenance:
The Ilse Martha Bischoff papers were donated in 1980-1981 by the artist.
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:
Authors -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Collectors -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Women authors  Search this
Genre/Form:
Sketches
Writings
Photographs
Citation:
Ilse Martha Bischoff papers, 1893-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.biscilse
See more items in:
Ilse Martha Bischoff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-biscilse

Nina Howell Starr papers

Creator:
Starr, Nina Howell, 1903-2000  Search this
Names:
International Women's Art Festival  Search this
Museum of American Folk Art  Search this
Photographic Historical Society of New York  Search this
Professional Women's Photographers, Inc.  Search this
Sharon Arts Center  Search this
Southern Regional Council  Search this
Brandt, Helene, 1936-  Search this
Cohen, Stephenie  Search this
Coke, Van Deren, 1921-  Search this
Connor, Linda  Search this
Daitz, Evelyne Z.  Search this
DiSpirito, Henry, 1898-1995  Search this
Evans, Minnie, 1892-  Search this
Evans, Walker, 1903-1975  Search this
Ghent, Henri, 1926-  Search this
Kanaga, Consuelo, 1894-  Search this
Kernan, Margo, 1927-  Search this
Kruger, Louise, 1924-  Search this
Lippard, Lucy R.  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mainardi, Patricia  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Putnam, Wallace, 1899-1989  Search this
Ringgold, Faith  Search this
Rose, Ruth Starr, 1887-1965  Search this
Savage, Naomi, 1927-2005  Search this
Sherwood, Maggie, 1922-1984  Search this
Siskind, Aaron  Search this
Strand, Paul, 1890-1976  Search this
Szarwarski, John  Search this
Uelsmann, Jerry, 1934-  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Date:
circa 1933-1996
Summary:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.
Scope and Contents:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Biographical materials are scattered and include grant and publication applications, curriculum vitae, lists of artwork, and miscellany.

Starr's lectures, writings, and project files are arranged into one series. They include Starr's student writings, a notebook about Civil Rights, files documenting her work on a Florida public housing project, the Southern Regional Council, and the League of Women Voters. A few files of general writings and lectures mostly concern folk artist Minnie Evans and the exhibition Women Photograph Men, held at the International Women's Arts Festival in 1976.

Subject files on artists, art history topics, photographers and photography (including Starr's work), and on folk artist and friend Minne Evans comprise the bulk of the collection. The files are a mix of collated materials and primary sources created by Starr and others and many contain correspondence, notes, photographs, and a few sketches and orginal prints. Also included are materials related to professional and organizational groups in which Starr was involved, including the Professional Women's Photographers, Inc., the Photographic Historical Society of New York, and the Museum of American Folk Art; files on several of Starr's exhibitions; and files on artists that contain printed materials, correspondence, and photographs. The file on Ruth Starr Rose contains prints and drawings. There are also photographs taken by Stephanie Cohen. Particularly rich files are found for Stephanie Cohen; Van Deren Coke, Director of the George Eastman Company; Evelyn Daitz, Director of the Witkin Gallery; Henry DiSpirito; Walker Evans; the Fotofolio printing company; curator Henri Ghent; photographer Consuelo Kanaga and husband Wallace Putnam; Margot Starr Kernan; Lucy Lippard; Stanton Mac-Donald Wright; Sharon Arts Center; photographer Paul Strand; curator John Szarwarski; and photographer Jerry Uelsman.

The collection also documents the friendship between painter Minnie Evans and Starr, and Starr's business dealings on Evans' behalf. There is correspondence about and with Evans, several sound recordings of interviews conducted by Starr and others with Evans, many with transcripts, financial documents, publications about Evans including exhibition catalogs, clippings, journal articles and monographs, two posters, a scrapbook, and one sketch by Evans.

Printed material includes published articles, exhibition catalogs and announcements, and clippings about Starr.

Photographic materials are extensive and include photographs and slides taken by Starr of friends, family, artwork by Minnie Evans, events, exhibition openings, world travels, and folk art, especially roadside. Prominent artists and art historians photographed include: photographers Maggie Sherwood, Naomi Savage, Barbara Morgan, Linda Connor, Aaron Siskind, Consuelo Kanaga, Faith Ringgold, and Walker Evans; sculptors Louise Kruger and Helene Brandt; feminist and art historian Pat Mainardi; and curators Henri Ghent and John Szarkowski. Starr's artistic photographic work is also represented, and includes two silver gelatin prints of Minnie Evans, and subject studies on hands, people, and nature, among others.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Series 1: Biographical material, 1954-circa 1990 (8 folders; Box 1)

Series 2: Writings, Speeches and Projects, 1933-1995 (1.1 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1939-1996 (8.3 linear feet; Boxes 2-10)

Series 4: Minnie Evans, 1962-1996 (3.7 linear feet; Boxes 10-13, 23, OV 24)

Series 5: Printed Material, 1936-1995 (2.7 linear feet; Boxes 13-16, 23)

Series 6: Photographic Material, circa 1939-1993 (5.4 linear feet; Boxes 16-23, OV 24)
Biographical / Historical:
Nina Howell Starr (1903-2000) was a photographer, art dealer, and art historian who worked primarily in New York City. Born in Newark, New Jersey in 1903 as Cornelia Margaret Howell, Starr attended Wellesley College and graduated from Barnard in 1926. Also in 1926, she married Nathan Comfort Starr, an English professor, and, over the years the couple lived in Massachusetts, Maryland, Florida, and New York City.

In 1963, at the age of 60, Starr received the first M.F.A. in photography granted by the University of Florida. Starr exhibited widely in both solo and group exhibitions, including Magic Lantern (Photographer's Gallery, London, 1976), and the Strength of Women (Witken Gallery, 1991), and numerous shows featuring photographs of outsider art. Her "New Yorker" project became an exhibition in 2016. Her work is owned by several prominent museums, including the Metropolitan Museum of Art and the George Eastman House International Museum of Photography.

As art historian, self-proclaimed critic, and civil rights and feminist advocate, Starr lectured widely, wrote articles and letters to editors, and corresponded with many notable art world figures. She became especially interested in outsider and folk art. Starr met outsider artist Minnie Evans in 1962 and became Evans' lifelong friend, advocate, and representative dealer. She wrote about Evans and introduced Evans' works to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated an exhibition of Evans' work in 1975.

Starr was an active member of professional organizations including the Photographic Historical Society of New York, Professional Women's Photographers, Inc., and the Museum of American Folk Art where she served on the Advisory Committee.

Nina Howell Starr died in 2000 in Connecticut at the age of 97.
Provenance:
The Nina Howell Starr papers were donated by Nina Howell Starr in 1996.
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:
Art historians -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Topic:
Folk art  Search this
Civil rights  Search this
African American art  Search this
Folk art -- Photographs  Search this
Women photographers  Search this
Photography  Search this
African American artists  Search this
Genre/Form:
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Citation:
Nina Howell Starr papers, circa 1933-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.starnina
See more items in:
Nina Howell Starr papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-starnina
Online Media:

Harvest of Hope: 6 Victor Montejo

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2013-12-20T14:12:33.000Z
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_CLfez-2SQmk

More vivid places : Victorian photographs of Britain, the Middle East, and Orient : Davison Art Center, Wesleyan University, Middletown, Connecticut, August 29-October 25, 1984 / edited by Ellen G. D'Oench ; with essays by Erica L. Frohman ... [et al.]

Author:
D'Oench, Ellen  Search this
Davison Art Center  Search this
Physical description:
31 p. : ill. ; 28 cm
Type:
Exhibitions
Pictorial works
Place:
Great Britain
Date:
1984
[1984]
19th century
Topic:
Photography--History  Search this
Colonies  Search this
Description and travel  Search this
Call number:
TR57.M83 1984
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_289481

Cleve Gray papers

Creator:
Gray, Cleve  Search this
Names:
Berry-Hill Galleries  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Jacques Seligmann & Co  Search this
Neuberger Museum of Art  Search this
Pratt Institute  Search this
Princeton University  Search this
Rhode Island School of Design  Search this
Barzun, Jacques, 1907-  Search this
Calder, Alexander, 1898-1976  Search this
Davis, Jim, 1901-1974  Search this
Dillenberger, Jane  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Jimmy, 1920-1984  Search this
Gabo, Naum, 1890-1977  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marin, John, 1870-1953  Search this
Pollock, Jackson, 1912-1956  Search this
Richter, Hans, 1888-1976  Search this
Smith, David, 1906-1965  Search this
Villon, Jacques, 1875-1963  Search this
Weber, Nicholas Fox, 1947-  Search this
Extent:
9.2 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Date:
1933-2005
Summary:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Scope and Content Note:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.
Arrangement:
The collection is organized into 8 series:

Missing Title

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)
Biographical Note:
Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.
Separated Material:
Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.
Provenance:
The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Connecticut  Search this
Painters -- Connecticut  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnamese Conflict, 1961-1975 -- Protest Movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grayclev
See more items in:
Cleve Gray papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-grayclev
Online Media:

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