This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Quotes and excerpts must be cited as follows: Oral history interview with Marianna Pineda, 1977 May 26-June 14. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- Massachusetts -- Boston -- Interviews Search this
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Alice Neel papers, 1933-1983. Archives of American Art, Smithsonian Institution.
National Endowment for the Arts. Visual Arts Program Search this
Container:
Box 3, Folder 25-26
Type:
Archival materials
Date:
1976-1977
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
National Endowment for the Arts, Visual Arts Program selected records, 1970-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Papers concerning the arts in the Boston area consisting of letters received as art critic of THE PHOENIX, 1969-1972, notes for interviews and articles, press releases, exhibition announcements, invitations to openings, photographs of artwork and artists, and files, 1962-1974, on the Boston Visual Artists' Union and other Boston art organizations and events.
Biographical / Historical:
Art critic, writer, editor; Boston, Massachusetts and New York, N.Y.
Provenance:
Donated 1972-1979 by Jean B. Grillo.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art critics -- Massachusetts -- Boston Search this
National Endowment for the Arts. Visual Arts Program Search this
Container:
Box 4, Folder 1-13
Type:
Archival materials
Date:
1972-1981
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
National Endowment for the Arts, Visual Arts Program selected records, 1970-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
National Endowment for the Arts. Visual Arts Program Search this
Extent:
13.5 Linear feet (Boxes 1-15)
Type:
Archival materials
Date:
1969-1989
Scope and Contents:
Art organization files contain supporting documents for grants awarded by the National Endowment for the Arts between 1969 and 1989. The main contents of the series includes artist resumes, background information on the various organizations applying for grants, correspondence, photographs, and slides. Among the organizations represented are The Artists Guild of Detroit; Artists Space, New York; Artlink, Fort Wayne, Indiana; Association of Artist-Run Galleries, New York; Asylum Hills Artists' Cooperative, Hartford, Conn.; The Boston Visual Artists Union; Clayworks, Baltimore, Md.; Contemporary Arts Center, New Orleans, La.; The Fabric Workshop, Philadelphia, Pa.; 80 Langton St., San Francisco, Calif.; 1708 E. Main, Richmond, Va.; Sculpture Space, Clinton, N.J.; and others.
Files are arranged alphabetically by name of organization. Some of the files have slides included with the documents, but the vast majority of the slides are in Series 2.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
National Endowment for the Arts, Visual Arts Program selected records, 1970-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Interview of Marianna Pineda, conducted by Robert Brown for the Archives of American Art, Smithsonian Institution, in Brookline, Massachusetts, on June 14 and May 26, 1977.
Pineda speaks of her childhood in Chicago; travels to Europe with her mother; early encounters with sculpture and architecture at the Chicago World's Fair; studying at the Otis Art Institute, Cranbrook, and Columbia University; meeting and marrying her husband Harold Tovish; living and working in Paris, Minneapolis, and Italy; how having children affected her work; teaching at Newton College and Boston University; showing at the Swetzoff Gallery in Boston; sculpting in wood, plaster, wax, and bronze; work with the Boston Visual Artists' Union; and various of her works, including the Oracle series, the Bed series, An Effigy for the Young Lovers, Sleepwalker, and The Dance of Sleep or Death. Pineda also recalls Carl Milles, Ossip Zadkine, William Zorach, David Smith, Simon Moselsio, Oronzio Maldarelli, and others.
Biographical / Historical:
Marianna Pineda (1925-1996) was a sculptor and educator from Boston, Massachusetts. Pineda studied at Cranbrook Academy with Carl Milles, Bennington College with Simon Moselsio, University of California, Berkley, with Raymond Puccinelli, Columbia University with Oronzio Maldarelli, and in Paris with Ossip Zadkine. She met her future husband while studying at Columbia, fellow sculptor Harold Tovish. Pineda exhibited her work in group exhibitions held at Brooklyn Museum, New York, Museum of Modern Art, New York, and the Carnegie Institute, Pennsylvania, and had solo shows at the Honolulu Academy of Art, Hawaii, Walker Art Center, Minnesota, George Washington University, Washington, D.C., and Swetzoff Gallery, Boston. Her public commissions include a 6-foot bronze sculpture, The Spirit of Lili'oukalani, located in Honolulu, Hawaii. Pineda's sculptures are found in the permanent collections of the Boston Public Library, Walker Art Center, Fogg Art Museum, Munson-Williams-Proctor Institute, and others. Pineda was an instructor at Newton College of the Sacred Heart and Boston College, and was an adjunct professor of sculpture at Boston University.
General:
Originally recorded on 1 tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 7 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.
Topic:
Sculptors -- Massachusetts -- Boston -- Interviews Search this
Correspondence; scrapbooks; writings and notes; photographs and slides; art works; videotapes; sketches; awards and certificates; exhibition material; and printed material.
REEL 876: A 1974 portfolio containing 3 sketches and 19 photographs of "Sculpture in New Materials" (plastics), and an 8 page curriculum vitae and statement prepared by Prentiss for the Archives on the development of her art.
UNMICROFILMED: Correspondence; writings and notes; awards and certificates; clippings, bulletins, and newsletters; catalogs, announcements, and other exhibition material; and photographs and slides of exhibitions and of Prentiss's work; correspondence, clippings, a publicity file, notes, reports, photographs and miscellany relating to exhibitions of the Boston Visual Artists Union, 1974-1976; a scrapbook of photographs, clippings, catalogs, reports, letters, relating to Women Exhibiting in Boston, Inc., 1973-1975; and a scrapbook about an art workshop held for Boston Public School teachers, 1961-1962, containing photographs of people involved and art work displayed, and ideas for school art projects.
Scrapbooks, 1954-1974, 11 v. containing correspondence, exhibition notices, catalogs, guest books, clippings, press releases, curricula vita, other printed matter, sketches, notes about her work and impressions of her shows, diary Sept.-Nov. 1972 (notes of daily progress for a one-man show), stencils, and photographs of her friends and works; two videotapes, "Tina Prentiss Show," September 30, 1975, and "Ten Talents at Tufts," October 10, 1975; a script, probably for the "Tina Prentiss Show"; and a taperecording, Tufts University Radio Women's Program, October 28, 1975; eight "symbolic portraits" in oil, including portraits of Admiral Richard Byrd, Albert Schweitzer, and Bradford Washburn, among others; and a painting, "Symbolic Portrait of James Michael Curley." 1956.
Biographical / Historical:
Painter, sculptor; Boston, Massachusetts.
Provenance:
Material on reel 876 lent for microfilming 1974 by Tina Prentiss; unmicrofilmed material donated 1974-1976 by Tina Prentiss. Painting of Curley donated 1978 by Earle Lawrence Prentiss, son of Tina Prentiss.
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.
National Endowment for the Arts. Visual Arts Program Search this
Container:
Box 17, Folder 5
Type:
Archival materials
Slides [31027000528469]
Date:
1977-1981
Scope and Contents:
Boston Visual Artists Union, Inc., 1979-1981,
C.A.G.E., Cincinnati, OH, 1979-1980,
Anne Kingsbury Exhibitions, Milwaukee, WI, 1977-1981,
The Ohio Foundation on the Arts, Columbus, OH, 1980
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
National Endowment for the Arts, Visual Arts Program selected records, 1970-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Biographical material; correspondence, including letters from artists, galleries, museum officials, universities and others, and copies of letters from Tovish to his family, editors, students, and others; manuscripts for lectures; art school course assignments; project files; exhibition announcements and catalogs, 1942-1993 and price lists and checklists for exhibitions, 1974-1986; clippings of reviews, interviews and editorials, 1942-1991; 5 photographs of Tovish and his sculpture; and a small amount of material compiled by Tovish on other artists, such as Rodin; and terms of agreement for commission of a sculpted portrait of Washington University professor, Carl Cori.
REEL 5281: Fourteen photographs and eleven notes and letters between Tovish his wife, Mariana Pineda. Photographs show Tovish at ages 16, 20, 24; Tovish in Paris; Pineda in Paris, Utah and Hawaii, with Nina Tovish, with Harold Tovish, and Pineda immediately after her death. Letters and note cards are mostly personal, reflecting their family life, birthdays, and anniversaries.
Tovish was born in the Bronx to a poor Jewish immigrant family. As a result of his family becoming destitute after Tovish's father's death ca. 1929, he spent most of his childhood at the Hebrew Orphan asylum in Manhattan, where he studied sculpture under Andrew Berger. He worked on various WPA projects in the 1920s, studied sculpture with Oronzio Mandarelli at Columbia University (1940-1943), fought in Europe during WWII, and studied art in Paris under the GI Bill. Tovish married fellow student Marianna Packard Pineda in the late 1940s. After his noted teaching career began at the University of Minnesota (1951-1954), he again studied in Europe, and moved to Boston to teach at the Museum of Fine Arts, Boston in 1957. He served as one of the first Fellows at the Center for Advanced Visual Studies at MIT, and later taught at Boston University (1971-1983). He exhibited widely, became active in anti-Vietnam War activities, and in the Boston Visual Artists Union.
Provenance:
Donated in 1997 and 1998 by Harold Tovish, except for 14 photographs and 11 items of correspondence between Tovish and Pineda which he lent for microfilming in 1997.
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.
By-laws; histories of the organization; a membership list, 1971; testimonials from members; exhibition catalogues; correspondence, press releases, newspaper clippings, newsletters, photographs, material relating to the second American Artists' Congress hosted by the B.V.A.U. in 1975 and to the symposium, "The Law and Visual Artists;" and printed material. Also included is an untranscribed recording (5" reel) of a B.V.A.U. panel discussion, "The Artist: Class Realities, Collective Remedies," December 13, 1973.
Biographical / Historical:
Founded 1970.
Provenance:
Donated by the Boston Visual Artists' Union 1980.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
