David Smith sculpture a catalogue raisonné, 1932-1965 Christopher Lyon, editor ; forewords by Rebecca Smith and Candida Smith ; essays by Michael Brenson, Sarah Hamill, Christopher Lyon, and Marc-Christian Roussel ; chronology by Tracee Ng ; Susan J. Cooke, research editor
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.
The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.
Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)
Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)
Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)
Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)
Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)
Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)
Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)
Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
The papers of art historian Gabriella De Ferrari measure 7.7 linear feet and 0.012 GB and date from 1931-2011, with the bulk of the collection dating from 1975-2011. The collection provides an overview of her activities as an arts administrator, writer, and philanthropist through biographical materials, correspondence, interviews, extensive writings and notes, subject files, printed and digital material, scrapbooks, and photographs.
Scope and Contents note:
The papers of art historian Gabriella De Ferrari measure 7.7 linear feet and 0.012 GB and date from 1931-2011, with the bulk of the collection dating from 1975-2011. The collection provides an overview of her activities as an arts administrator, writer, and a philanthropist through biographical materials, correspondence, interviews, extensive writings and notes, subject files, printed and digital material, scrapbooks, and photographs.
Correspondence with artists, academic administrators, museum directors, curators, literary agents, editors, and publishers is primarily of a social nature, e.g., thank you notes, invitations, and congratulatory letters. Letters include references to De Ferrari's professional activities from circa 1975-circa 2006. There are illustrated letters and handmade birthday cards by De Ferrari, family, and friends. Among the correspondents are Michael Brenson, James Cuno, Francine Du Plessix Gray, Agnes Gund, Alex and Ada Katz, Sol and Carol Lewitt, and Glen Seator.
Writings and notes primarily document Gabriella De Ferrari's career as an author and include numerous drafts and annotated versions of her novels, short stories, memoir, and articles. Subject files include materials chronicling De Ferrari's activities at the Busch-Reisinger Museum, the Institute of Contemporary Art in Boston, and the Pan-American Society of New England. Also documented is her service as a Board of Trustees member, consultant, and advisor to major educational, corporate, and cultural institutions, including the New School University, United Technologies, Inc., and the Wadsworth Atheneum, among others. Interviews of De Ferrari are found on six sound cassettes. Additional audio cassettes and one videocassette are found within her writings.
Photographs are of Gabriella De Ferrari, family members, friends, and colleagues, including Michael Brenson, Leo Castelli, Agnes Gund, Martin Segal, Ingrid Sischy, Sol Lewitt, among others.
Arrangement note:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1947-2003 (Boxes 1, 9; 0.3 linear feet, ER01; 0.001 GB)
Series 2: Correspondence, 1964-2011 (Boxes 1-2; 1.3 linear feet, ER02; 0.001 GB)
Series 3: Interviews, 1990-1996 (Box 2; 3 folders)
Series 4: Writings and Notes, 1950-2010 (Boxes 3-6; 3.6 linear feet, ER03-ER10; 0.011 GB)
Series 5: Subject Files, 1953-2008 (Boxes 6-7; 1 linear feet, ER11; 0.001 GB)
Series 6: Printed Material, 1961-2011 (Box 7; 0.8 linear feet)
Series 7: Scrapbooks, 1974-1981 (Box 9; 0.3 linear feet)
Series 8: Photographs, 1931-circa 2010 (Box 8, 0.4 linear feet)
Biographical/Historical note:
Art historian Gabriella De Ferrari (1941-) has lived and worked in Boston, Massachusetts and New York City.
Born in Tacna, Peru to Italian parents, De Ferrari graduated with a Bachelor of Arts from Saint Louis University in Missouri in 1963. She went on to receive a Master of Arts from the Fletcher School of Law and Diplomacy, Tufts University in 1966, and in 1981, she earned a Masters of Art in Fine Arts from Harvard University. De Ferrari has held administrative and curatorial positions at major museums and art organizations. At the Institute of Contemporary Art, Boston, she was curator of exhibitions before becoming the Director of the Institute in 1975. From 1978-1982, De Ferrari was Assistant Director of Curatorial Affairs and Programs at the Fogg Museum and the Busch-Reisinger Museum, where her responsibilities included exhibition programs for twentieth century art and coordinating programs for corporate and public fundraising. In 1989, De Ferrari moved to New York City, where she established herself as a freelance writer. In 1990, her novel, A Cloud on Sand received a Barnes and Noble Discover Award. Gringa Latina, De Ferrari's memoir about her experience living in two cultures was published in 1994.
She has served on the Boards of Trustees and on the advisory committees of many leading institutions, including Colby College, City University Graduate Center Foundation, Harvard University Museum, the New School, and the Wadsworth Atheneum. From 2000-2006, she was the philanthropic advisor to the chairman and CEO of United Technologies Corporation. In 1996, De Ferrari was awarded the New School Medal for Distinguished Service, and in 2008, she received an Honorary Doctorate in Letters from Colby College.
Gabriella De Ferrari continues to reside in New York City.
Provenance:
The papers were donated to the Archives of American Art by Gabriella De Ferrari, in 2011.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Massachusetts -- Boston Search this
Museum curators -- Massachusetts -- Boston Search this
Museum directors -- Massachusetts -- Boston Search this
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011. Archives of American Art, Smithsonian Institution.
Wrestle : Marieluise Hessel Collection / curated by Tom Eccles and Trevor Smith ; preface by Leon Botstein ; essays by Tom Eccles, Trevor Smith and Ivo Mesquita ; Marieluise Hessel in conversation with Michael Brenson and Tom Eccles
Magdalena Abakanowicz : recent sculpture / [text by Michael Brenson, Magdalena Abakanowicz ; edited by Daniel Rosenfeld, Ann H. Slimmons, Judith A. Singsen]
