Skip to main content Smithsonian Institution

Search Results

Collections Search Center
106 documents - page 1 of 6

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Creator:
Finch College. Museum of Art  Search this
Varian, Elayne H.  Search this
Names:
Acconci, Vito, 1940-  Search this
Anderson, David K., 1935-  Search this
Benglis, Lynda, 1941-  Search this
Benyon, Margaret, 1940-  Search this
Bochner, Mel, 1940-  Search this
Brooks, James, 1906-1992  Search this
Castelli, Leo  Search this
Chase, Doris, 1923-  Search this
Cross, Lloyd G.  Search this
Davis, Douglas  Search this
Dwan, Virginia  Search this
Feigen, Richard L., 1930-  Search this
Glimcher, Arnold B.  Search this
Gottlieb, Adolph, 1903-1974  Search this
Graham, Dan, 1942-  Search this
Hollander, Irwin  Search this
Insley, Will, 1929-2011  Search this
Jackson, Martha Kellogg  Search this
Janis, Sidney, 1896-1989  Search this
Kirby, Michael  Search this
Levine, Les, 1935-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Mazur, Michael, 1935-2009  Search this
Meyer, Ursula, 1915-  Search this
Nauman, Bruce, 1941-  Search this
O'Doherty, Brian  Search this
Parsons, Betty  Search this
Richter, Hans, 1888-1976  Search this
Siegelaub, Seth, 1941-  Search this
Smith, Tony, 1912-1980  Search this
Sonfist, Alan  Search this
Weiner, Sam  Search this
Wise, Howard  Search this
Extent:
20.9 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Date:
1943-1975
bulk 1964-1975
Summary:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.
Scope and Contents:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)
Biographical / Historical:
The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.
Provenance:
The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Video artists -- New York (State) -- New York  Search this
Museum administrators -- New York (State) -- New York  Search this
Museum curators -- New York (State) -- New York  Search this
Topic:
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Gallery directors  Search this
Gallery owners  Search this
Genre/Form:
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.finccoll
See more items in:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ed5f13a2-eeb3-452a-8735-204ff25576b5
EDAN-URL:
ead_collection:sova-aaa-finccoll
Online Media:

Kitty C. L. Fischer papers relating to Frans Wildenhain, 1940-1981

Creator:
Fischer, Kitty C. L.  Search this
Subject:
Wildenhain, Frans  Search this
Fischer, Hermann G.L.  Search this
Bauhaus  Search this
Citation:
Kitty C. L. Fischer papers relating to Frans Wildenhain, 1940-1981. Archives of American Art, Smithsonian Institution.
Topic:
Ceramics  Search this
Women artists  Search this
Women textile artists  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8175
(DSI-AAA_SIRISBib)210346
AAA_collcode_fisckitt
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210346

Kitty C. L. Fischer papers relating to Frans Wildenhain

Creator:
Fischer, Kitty C. L.  Search this
Names:
Bauhaus -- Students  Search this
Fischer, Hermann G.L.  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
0.2 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1940-1981
Scope and Contents:
Letters, 1940-1981, are primarily from ceramist Frans Wildenhain to Kitty and Hermann Fischer. Thirteen of the letters are illustrated. Also included are a watercolor sketch, undated; 3 clippings and an announcement for Wildenhain's pottery in Putten, Holland; and photographs, 1944-1975, of Wildenhain with his third wife Lili and Fischer's friend Helen Weynerowsky, and of 3 pots by Wildenhain.
Biographical / Historical:
Kitty, a weaver, and Hermann Fischer, an architect, both of Holland, became acquainted with ceramist Frans Wildenhain as fellow students at the Bauhaus. They maintained their friendship throughout World War II via correspondence. Wildenhain established pottery workshops in Putten and Amsterdam, Holland before immigrating to the United States in 1947. After spending three years with the Pond Farm Workshops in Guerneville, California, he became an instructor at the School for American Craftsmen, Rochester Institute of Technology, N.Y. After his divorce from Marguerite Friedlaender Wildenhain in 1955, he was married to Marjorie McIlroy until her death in 1967. His third wife was Elisabeth (Lili) Wildenhain.
Provenance:
Donated 1981 by Kitty C. L. Fischer.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Weavers -- Netherlands  Search this
Architects -- Netherlands  Search this
Topic:
Ceramics  Search this
Women artists  Search this
Women textile artists  Search this
Identifier:
AAA.fisckitt
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f4af6a02-876c-47e3-a87a-631d8d074f1d
EDAN-URL:
ead_collection:sova-aaa-fisckitt

Oral history interview with Ad Reinhardt, circa 1964

Interviewee:
Reinhardt, Ad, 1913-1967  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ad Reinhardt, circa 1964. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA_CollID)12891
(DSI-AAA_SIRISBib)213746
AAA_collcode_reinha64
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213746
Online Media:

Oral history interview with Ad Reinhardt

Interviewee:
Reinhardt, Ad, 1913-1967  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Extent:
53 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Date:
circa 1964
Scope and Contents:
An interview of Ad Reinhardt conducted circa 1964, by Harlan Phillips, for the Archives of American Art.
Reinhardt speaks of his time spent working for the easel division of the WPA; his involvement with the American Abstract Artists (AAA); his admiration for Stuart Davis (despite his lack of involvement with the AAA; his time with the New York School in the forties; his desire for an objective Art History; the under-recognition of the abstract artists during their formative period; his feelings towards political cartoons and the social power/potential of art; his role as editor of the Columbia Jester; his unique position in the art world as an alumni of a liberal arts college rather than arts school; his time spent at the Institute of Fine Art studying under Alfred Salmony; the changing image of the artist as an intellectual (Motherwell, Rothko, Holty, Greene); de Kooning and Pollock's attempts to be the romantic artist; his bad feelings toward German and Italian Expressionists; futurists and some of the Fauve painters; his belief in collage as an anti-art; the position of art as the 'non-useful;' the exploration of meaninglessness by Kierkegaard, Kulick, and Sartre; his writing "Twelve Rules for the New Academy", "The Artist in Search of an Academy", "Art is Art Dogma", "Ten Rules for a Code of Ethics;" the importance of an aesthetic Morality; the Student Peace Movement (James Wexler, Thomas Merton); Artists' Union, American Artists' Congress, and the WPA; disapproval for the art market of the fifties and his preference towards artists with a salary making art for museums; the debate on the part of the Artists' Congress as to whether or not to support the Russian invasion of Finland; his dislike for the Bauhaus and the American carry-overs (Brooklyn Art scene); the article "ABC Art" in Art in America which claimed that he belongs to a whole new geometric ethic of imageless painting; his disapproval of Clement Greenberg's exploitation of the artist; his time spent studying with Francis Kriss; his year in the National Academy; his interest in Islamic art; his disconnect with Hofmann; his association with the Club and the Waldorf Cafeteria; his ideological opposition to de Kooning; the problems of treating art as a living; his feelings towards "The Shape of Time"; the recent mistake of art historians documenting the thirties without fulling embracing the abstract artists; the confusion of fine art and cultural pieces; the idea that Abstract Art is not a vase that you pour meaning into; his belief that the three most important artistic statements in recent years have come from Clive Bell, Focillon, Kubler; the relationship between religion and art; the importance of perseverance despite lack of praise; and his speech at the Club "What's Wrong." The interview is conducted in a way that facilitates more of an artistic statement, rather than a historical/ personal question and answer session.
Biographical / Historical:
Ad Reinhardt (1913-1967) was a painter from New York, N.Y.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 52 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.
Identifier:
AAA.reinha64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e67c16fe-87a7-4b67-ae82-c7c5d30f92d9
EDAN-URL:
ead_collection:sova-aaa-reinha64
Online Media:

Oral history interview with Josef Albers, 1968 June 22-July 5

Interviewee:
Albers, Josef, 1888-1976  Search this
Interviewer:
Fesci, Sevim  Search this
Subject:
Heckel, Erich  Search this
Itten, Johannes  Search this
Kirchner, Ernst Ludwig  Search this
Schmidt-Rottluff, Karl  Search this
Stuck, Franz, Ritter von  Search this
Bauhaus  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Josef Albers, 1968 June 22-July 5. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Die Brücke (Dresden)  Search this
Painters -- Connecticut -- New Haven -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11847
(DSI-AAA_SIRISBib)214202
AAA_collcode_albersj68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214202
Online Media:

Oral history interview with Earl Krentzin, 2002 August 30-31

Interviewee:
Krentzin, Earl, 1929-  Search this
Interviewer:
Yager, Jan, 1951-  Search this
Subject:
Cranbrook Academy of Art  Search this
Wayne State University  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Earl Krentzin, 2002 August 30-31. Archives of American Art, Smithsonian Institution.
Topic:
Metal-workers -- Michigan -- Interviews  Search this
Decorative arts  Search this
Metal-work  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)11615
(DSI-AAA_SIRISBib)238672
AAA_collcode_krentz02
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_238672
Online Media:

Oral history interview with Josef Albers

Interviewee:
Albers, Josef  Search this
Interviewer:
Fesci, Sevim  Search this
Names:
Bauhaus  Search this
Heckel, Erich, 1883-1970  Search this
Itten, Johannes, 1888-1967  Search this
Kirchner, Ernst Ludwig, 1880-1938  Search this
Schmidt-Rottluff, Karl, 1884-1976  Search this
Stuck, Franz, Ritter von, 1863-1928  Search this
Extent:
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1968 June 22-July 5
Scope and Contents:
An interview of Josef Albers conducted 1968 June 22-July 5, by Sevim Fesci, for the Archives of American Art.
This interview was conducted in New Haven, Connecticut. Albers speaks of his childhood in the industrial area of Westphalia, Germany; his father's influence as a house painter and set designer; his young interest in technical toys; his educational history, beginning at the Royal Art School, an art teacher prep school; his education in art history in conjunction with fine arts; his brief experience teaching in public schools; his time studying at the Applied Art School in Essen while living and teaching in Berlin; and the beginning of professional career after having passed his exam in Berlin in 1915.
He discusses the influence of the European movements/artists, Die Brucke; Schmidt-Rottluff, Heckel, and Kirchner; his move to Munich and time spent working with Stuck (the teacher of Kandinsky and Klee); his eventual shift to the Bauhaus working in collage and stained glass under Itten; his refusal to do the traditional apprenticeship at the Bauhaus and surprising success with stained glass while striking out on his own; his initial experiments while working in the new studio for stained glass at the Bauhaus with frosting (a.k.a. thermometer style); his move from collage to montage; his disbelief in the use of past art as a source for current art; his distaste for the concept of art as self-expression; his use of repetitive forms in his painting as a method of "solving the problem;" his belief that the spectator makes the vision of the artist more lively; his belief that he teaches philosophy (how to see) not technique (how to paint); the fine line between influencing students and creating disciples; color as the most relative medium in art and a study of ourselves; his use of squares (the most man-made form), beginning in 1949; the role of art in society to reveal visually the attitude of our mentality; and his belief as to the future of art as being a further consideration of order.
Biographical / Historical:
Josef Albers (1888-1976) was a painter and educator in New Haven, Connecticut.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 11 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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art teachers -- Connecticut -- New Haven -- Interviews  Search this
Collagists  Search this
Stained glass artists  Search this
Topic:
Art, American  Search this
Die Brücke (Dresden)  Search this
Painters -- Connecticut -- New Haven -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.albersj68
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9df07b806-7f25-4144-b4d2-8d490d11428b
EDAN-URL:
ead_collection:sova-aaa-albersj68
Online Media:

Oral history interview with Earl Krentzin

Interviewee:
Krentzin, Earl, 1929-  Search this
Interviewer:
Yager, Jan, 1951-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Wayne State University -- Students  Search this
Extent:
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 August 30-31
Scope and Contents:
An interview of Earl Krentzin conducted 2002 August 30-31, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Grosse Pointe Farms, Michigan.
Krentzin speaks of his family and childhood; the education he received in Detroit, Michigan; attending Wayne State University then Cranbrook Academy of Art; deciding to major in metalwork; being exposed to Dick Thomas at Cranbrook; meeting his wife, Lorraine Wolstein at Wayne; their son Alexander; receiving a Fulbright in 1957 and 1958 and traveling to the Royal College of Art in London; visiting the museums in England and traveling throughout Europe during their time abroad; the different places he has lived in the United States; winning the Founder' Prize at the Michigan Craft Show as well as the Louis Comfort Tiffany Award; the different types of things that he and his wife collect; a gallery manager named Margaret Conzelman; Lawrence Fleischman and his insistence on Krentzin having a show in New York; the James Graham & Sons Gallery and Kennedy Gallery; and the "Young Americans Show" at the American Craft Museum and "Fiber, Clay and Metal" in St. Paul, Minnesota.
He also discusses, his interest in the English magazine, "Country Life;" flea markets in the Detroit area; trades and barters with fellow artists; the 1964 World Crafts Conference at Columbia University, organized by Stanley Lechtzin; the Michigan Silversmiths Guild; the Henry Ford Museum and Detroit Historical Society; how his process has remained the same and his pieces have only gotten a little bit larger; the commission for the Westland Shopping Center in Westland, Michigan; the jewelry he creates; the little figures, he calls "creatures," in his work; Larry Fleischman and his Krentzin collection; the important encouragement from his wife Lorraine; the significance of university training, and his disapproval of students immediately attending RISD or Cranbrook after high school; his fascination with Medieval European metalwork, Japanese metalwork, and the Bauhaus as well; the Archives of American Art and its beginnings in Detriot; he concludes with a discussion about natural objects, such as ivory or exotic woods, and the debate of their usage, then and now. Krentzin also recalls Robert Eaton, Dick Thomas, Lillian Wallick Elliott, Karl Fox, Mike Vizzini, and others.
Biographical / Historical:
Earl Krentzin (1929- ) is a metalsmith from Grosse Pointe Farms, Michigan. Jan Yager is an artist from Phildelphia, Pennsylvania.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 2 hrs., 54 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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Metal-workers -- Michigan -- Interviews  Search this
Decorative arts  Search this
Metal-work  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.krentz02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9892ff6e5-fedc-49bb-b5f5-03a0821b9728
EDAN-URL:
ead_collection:sova-aaa-krentz02
Online Media:

Window Picture

Artist:
Josef Albers, American, b. Bottrop, Germany, 1888–1976  Search this
Medium:
Glass, metal, wire, paint, nails, mesh, imitation pearls, and ink
Dimensions:
13 3/4 x 14 3/4 in. (34.8 x 37.5 cm) without wood frame
Type:
Sculpture
Date:
1921
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972
Accession Number:
72.6
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Geometric Abstraction
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2c52616e9-a1ce-4885-b8f4-c59e7796b137
EDAN-URL:
edanmdm:hmsg_72.6

László Moholy-Nagy

Artist:
Lucia Moholy, 18 Jan 1894 - 17 May 1989  Search this
Sitter:
László Moholy-Nagy, 20 Jul 1895 - 24 Nov 1946  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 24.4cm x 18.6cm (9 5/8" x 7 5/16")
Sheet: 25.3cm x 20.4cm (9 15/16" x 8 1/16")
Type:
Photograph
Date:
c. 1925
Topic:
Costume\Dress Accessory\Eyeglasses  Search this
László Moholy-Nagy: Male  Search this
László Moholy-Nagy: Visual Arts\Artist\Sculptor  Search this
László Moholy-Nagy: Literature\Writer  Search this
László Moholy-Nagy: Visual Arts\Artist\Painter  Search this
László Moholy-Nagy: Visual Arts\Artist\Photographer  Search this
László Moholy-Nagy: Education and Scholarship\Educator\Teacher  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.91.106
Restrictions & Rights:
Usage conditions apply
Copyright:
© Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4fa23f66c-9c1b-485c-8596-7c1cb6c2a04e
EDAN-URL:
edanmdm:npg_NPG.91.106

bauhaus

Manufacturer:
Rasch & Company, 1896  Search this
Medium:
Machine-printed paper
Dimensions:
Overall: 16 x 23.7 x 3.3 cm (6 5/16 x 9 5/16 x 1 5/16 in.)
Type:
Wallcoverings
Sample book
Object Name:
Sample book
Made in:
Germany
Date:
1929–1930
Credit Line:
Gift of Jacqueline Fowler
Accession Number:
1992-2-1
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Wallcoverings Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq48a9bee73-7110-4f28-9b2e-0d5efd62cc19
EDAN-URL:
edanmdm:chndm_1992-2-1

Introduction to modern design its history from the eighteenth century to the present George H. Marcus

Author:
Marcus, George H  Search this
Physical description:
277 pages chiefly color illustrations 27 cm
Type:
Books
History
Date:
2020
Topic:
Design--History  Search this
Decoration and ornament--History  Search this
Design--Histoire  Search this
Décoration et ornement--Histoire  Search this
Decoration and ornament  Search this
Design  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1153773

Furniture in the air the crystal chandelier in Europe Peter Rath, Joseph Holey

Title:
Crystal chandelier in Europe
Author:
Rath, Peter 1939-  Search this
Holey, Josef 1899-1984  Search this
Subject:
Holey, Josef 1899-1984 Private collections  Search this
Physical description:
395 pages illustrations (chiefly color), facsimiles, genealogical table, maps, portraits 27 cm
Type:
Books
History
Place:
Europe
Date:
2020
Topic:
Glass chandeliers--History  Search this
Crystal glass--History  Search this
Crystal glass  Search this
Glass chandeliers  Search this
Private collections  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1153779

Painted Stripe on Pavement Oriented Diagonally

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1963
ID Number:
PG.69.205.02
Catalog number:
69.205.2
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Ray Metzker Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6522-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335869

Man in a Boat

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1961
ID Number:
PG.69.205.03
Catalog number:
69.205.3
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Ray Metzker Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6523-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335871

Abstract Ray K. Metzker Photograph

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1968
ID Number:
PG.69.205.04
Catalog number:
69.205.4
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Ray Metzker Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6524-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335872

Children Walking Beside a Building

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1962
ID Number:
PG.69.205.05
Catalog number:
69.205.5
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Ray Metzker Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6525-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335873

Untitled Ray K. Metzker Photograph

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 10 in x 8 in; 25.4 cm x 20.32 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1964
ID Number:
PG.69.205.06
Catalog number:
69.205.6
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Ray Metzker Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6526-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335874

Traffic Light and Telephone Lines

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 10 in x 8 in; 25.4 cm x 20.32 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1965
ID Number:
PG.69.205.07
Catalog number:
69.205.7
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Ray Metzker Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6527-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335877

Modify Your Search







or


Narrow By