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Gyorgy Kepes papers

Creator:
Kepes, Gyorgy, 1906-2001  Search this
Names:
Center for Advanced Visual Studies  Search this
Illinois Institute of Technology  Search this
Saidenberg Gallery  Search this
Triennale di Milano (Milan, Italy)  Search this
Arnheim, Rudolf  Search this
Bertoia, Harry  Search this
Blee, Michael  Search this
Boghosian, Varujan  Search this
Brazdys, Konslancija  Search this
Burgess, Lowry, 1940-  Search this
Burnham, Jack, 1931-  Search this
Calder, Alexander, 1898-1976  Search this
Chermayeff, Serge, 1900-  Search this
Dreyfuss, Henry, 1904-1972  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Egawa, Kazuhiko  Search this
Entwhistle, Clive  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Gropius, Walter, 1883-1969  Search this
Hayter, Stanley William, 1901-1988  Search this
Hélion, Jean, 1904-1987  Search this
Johnson, Philip, 1906-2005  Search this
Kepes, Juliet  Search this
Kowalski, Piotry  Search this
Lynch, Kevin, 1918-1984  Search this
McLuhan, Marshall, 1911-1980  Search this
Mead, Margaret, 1901-1978  Search this
Moholy-Nagy, László, 1895-1946  Search this
Moholy-Nagy, Sibyl, 1905-  Search this
Nusberg, Lev, 1937-  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Piene, Otto, 1928-  Search this
Read, Herbert Edward, Sir, 1893-1968  Search this
Richards, I. A. (Ivor Armstrong), 1893-1979  Search this
Rickey, George  Search this
Saarinen, Eero, 1910-1961  Search this
Sonfist, Alan  Search this
Steinberg, Saul  Search this
Tacha, Athena, 1936-  Search this
Takis, Vassilakis  Search this
Tange, Kenzō, 1913-  Search this
Thiel, Philip  Search this
Tovish, Harold, 1921-2008  Search this
Tsʻai, Wen-ying, 1928-  Search this
Wolff, Robert Jay, 1905-  Search this
Wurster, William Wilson  Search this
Zvilna, Jēkabs, 1913-1997  Search this
Faculty:
Massachusetts Institute of Technology  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Caricatures
Designs
Photographs
Sketchbooks
Sketches
Sound recordings
Place:
Times Square (New York, N.Y.)
Date:
1909-2003
bulk 1935-1985
Summary:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Scope and Contents:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.

Correspondence provides a wide range of documentation on all aspects of Kepes's career including his collaborations and friendships with artists, architects, writers, scientists, and fellow educators including Rudolf Arnheim, Alexander Calder, Henry Dreyfuss, Charles and Ray Eames, Clive Entwhistle, R. Buckminster Fuller, Walter Gropius, S. W. Hayter, Jean Hélion, Laszlo and Sibyl Moholy-Nagy, Lev Nussberg, Robert Osborn, George Rickey, Saul Steinberg, Kenzo Tange, Robert Jay Wolff, and Jekabs Zvilna. Correspondence also documents the evolution of Kepes's vision for the Center for Advanced Visual Studies, which he established in 1967, and his subsequent leadership of CAVS at M.I.T. Records document his collaborations with students and fellows including Lowry Burgess, Jack Burnham, Piotry Kowalski, Margaret Mead, Otto Piene, Alan Sonfist, Athena Tacha, Vassilakis Takis, Philip Thiel, Harold Tovish, and Wen-Ying Tsai. Correspondents also include people who contributed to Kepes's Vision + Value series, including Michael Blee, Kazuhiko Egawa, Jean Hélion, and others. Correspondence includes three motion picture films, including what appears to be an early version of Powers of Ten by Charles and Ray Eames.

Writings include notes and manuscripts for articles and essays in which Kepes explored ideas evident in his books The New Landscape and Language of Vision, and submitted to publications such as Daedalus, Design, Domus, and Leonardo. Writings also include manuscripts for lectures, and draft manuscripts documenting Kepes's collaborative work with fellow M.I.T. professor Kevin Lynch on city planning, which culminated in Lynch's research project "The Perceptual Form of the City."

A small group of "Times Square Project" files documents Kepes's proposal for a lightscape in Times Square that was ultimately not realized.

Teaching files include sound recordings of circa five symposia and discussions held at M.I.T., the Illinois Institute of Technology, and elsewhere, some featuring Kepes and including Philip Johnson, Eero Saarinen and others.

Exhibition files include documentation of three exhibitions, including Light as a Creative Medium (1968) and a Kepes exhibition at Saidenberg Gallery (1968). They also record Kepes's involvement in designing the 1968 Triennale di Milano.

Printed material includes a substantial collection of announcements and catalogs for Kepes exhibitions, lectures, and other events, and includes catalogs and announcements for scattered exhibitions of his wife, artist and illustrator, Juliet Kepes. Clippings from newspapers and magazines include articles about Kepes, and contain some copies of published writings and designs by him. The series also includes sound recordings and motion picture films containing original material for a CBS television series "The 21st Century," probably as part of the episode "Art for Tomorrow," which appear to feature M.I.T. fellows Jack Burnham and Vassilakis Takis. Another motion picture film of an Italian documentary "Operazione Cometa" can also be found here.

Two sketchbooks contain pen and ink and painted sketches by Kepes. Artwork by Kepes includes original poster designs, caricatures, and many pencil, and pen and ink sketches and paintings on paper and board, including designs for stained glass. Artwork by others includes ink on mylar sketches by D. Judelson and Konstancija Brazdys, and a sketch by Harold Tovish. Also found are circa seventeen motion picture films and four sound recordings, the majority of which are untitled and by unidentified artists, but include films by M.I.T. fellows Otto Piene, Vassilakis Takis, Philip Thiel, Harold Tovish, Wen-Ying Tsai, and others.

Photographs are of Kepes, Juliet Kepes, and other family members; students, colleagues, and friends, including R. Buckminster Fuller, Serge Chermayeff, Harry Bertoia, Varujan Boghosian, Alexander Calder, Marchall McLuhan, Margaret Mead, Herbert Read, I. A. Richards, Saul Steinberg, and William Wurster; and of Kepes in his studio. There are also photos of exhibition installations in which Kepes's work appeared or which he designed, and photos of his artwork and of images for publications which he wrote or edited. Photos by others include artwork by established artists and work by students, as well as photographs arranged by subjects such as cityscapes, forms found in nature, light patterns, mechanical devices, and photomicrographs. A collection of lantern slides with similar content to the photos of artwork and photos by subject is also found in this series and includes a lantern slide of Picasso creating a design with light.
Arrangement:
The collection is arranged as eleven series.

Series 1: Biographical Material, circa 1940-circa 1980 (0.25 linear feet; Boxes 1, 28)

Series 2: Correspondence, 1936-1984 (5.7 linear feet; Boxes 1-7, 28 OV 33, FCs 39-41)

Series 3: Interviews and Transcripts, 1954-1970 (4 folders; Box 7)

Series 4: Writings and Notes, 1948-circa 1980s (1.4 linear feet; Boxes 7-8, 28)

Series 5: Times Square Project Files, 1972-1974 (6 folders; Box 9)

Series 6: Teaching Files Sound Recordings, circa 1953-1972 (0.7 linear feet; Box 9)

Series 7: Exhibition Files, 1958-1973 (0.4 linear feet; Boxes 9-10)

Series 8: Printed Material, circa 1922-1989 (3.6 linear feet; Boxes 10-12, 28-29, OVs 35, 37, FCs 42-49)

Series 9: Sketchbooks, circa 1940s-circa 1970s (2 folders; Box 12)

Series 10: Artwork and Moving Images, circa 1924-2003 (2.5 linear feet; Boxes 12, 13, OVs 33-36, 38, FCs 50-62)

Series 11: Photographs, 1909-1988 (10.4 linear feet; Boxes 13-32)
Biographical / Historical:
Painter, designer, art theorist, and educator, Gyorgy Kepes (1906-2001), was born in Selyp, Hungary, and studied at the Royal Academy of Fine Arts, Budapest. He worked with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937.

Kepes taught courses at the New Bauhaus from 1937 to 1945, and published Language of Vision in 1944, summarizing the educational ideas and methods he had developed during his time at the institute. In 1946 he accepted a teaching position at the Massachusetts Institute of Technology (M.I.T.) where he initiated a program in visual design.

In 1956 Kepes published The New Landscape in Art and Science, in which he presented images from nature that were newly accessible due to developments in science and technology, and explored his ideas for a common language between science and the visual arts.

In 1965, these ideas were apparent in Kepes's proposal of an expanded visual arts program at M.I.T., which would "build new as yet undetermined bridges between art and engineering and science," according to the minutes of an M.I.T. Art Committee meeting in March of that year. Kepes's vision dovetailed with M.I.T.'s vested interest in promoting the arts, and faculty and administrators were open to the argument that "The scientific-technical enterprise needs schooling by the artistic sensibilities." In 1967, they appointed Kepes Director of M.I.T.'s Center for Advanced Visual Studies (CAVS).

Kepes retired from the regular faculty at M.I.T. in 1967, to focus on his role as director of CAVS, where he worked to provide artists with opportunities for exploring new artistic forms on a civic scale through a working dialogue with scientists and engineers. Early fellows of the center included Maryanne Amacher, Joan Brigham, Lowry Burgess, Jack Burnham, Piotry Kowalski, Otto Piene, Vassilakis Takis, and Wen-Ying Tsai.

In 1965-1966 Kepes edited a six-volume series entitled Vision + Value, published by George Braziller, Inc. Each volume featured essays that centered around a core theme: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and Man-Made Object. Contributions came from prominent artists, designers, architects, and scientists of the time including Rudolf Arnheim, Saul Bass, Marcel Breuer, John Cage, R. Buckminster Fuller, Johannes Itten, Marshall McLuhan, and Paul Rand.

Kepes experimented widely with photography, producing abstract images through the application of fluids and objects to photographic paper. He also took commercial work throughout his career, producing designs for all kinds of objects, including books and stained glass windows for churches. He returned to painting in the 1950s, and his development as a painter continued throughout his career at M.I.T., where he remained until his retirement in 1974, and beyond. His paintings, which were abstract and often incorporated organic shapes and hints of landscapes, can be found in museums such as the Brooklyn Museum of Art, the Corcoran Gallery of Art, and the Whitney Museum of American Art.

Kepes received many awards during his lifetime, including a Guggenheim Fellowship (1958); the Gold Star Award of the Philadelphia College of Art (1958); the National Association of Art Colleges Annual Award (1968); the California College of Art Award (1968); and the Fine Arts Medal from the American Institute of Architects (1968). In 1973 he was elected into the National Academy of Design as an associate member, and became a full academician in 1978. He was a member of the National Institute of Arts and Letters and Fellow of the American Academy of Arts and Sciences.
Related Materials:
Additional papers of Gyorgy Kepes can be found at Stanford University and the Massachusetts Institute of Technology Center for Advanced Visual Studies Special Collection.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 1211) including ninety-eight letters to Kepes from colleagues, 1946-1974. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Gyorgy Kepes lent papers for microfilming in 1974 and donated material to the Archives of American Art in a series of gifts between 1974 and 1993.
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 copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Philosophy  Search this
Artists' studios--Photographs  Search this
City planning  Search this
Educators--Massachusetts--Cambridge  Search this
Motion pictures (visual works)  Search this
Genre/Form:
Caricatures
Designs
Photographs
Sketchbooks
Sketches
Sound recordings
Citation:
Gyorgy Kepes papers, 1909-2003, bulk 1935-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kepegyor
See more items in:
Gyorgy Kepes papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kepegyor

William Kienbusch papers

Creator:
Kienbusch, William, 1914-1980  Search this
Names:
Clifford, Stanley  Search this
Davis, Stuart, 1892-1964  Search this
Kraushaar, Antoinette M., 1902-1992  Search this
Maitland, Walter McClymonds, 1912-1989  Search this
Poor, Henry Varnum, 1887-1970  Search this
Rattner, Abraham  Search this
Schrag, Karl  Search this
Tam, Reuben  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Drafts (documents)
Visitors' books
Sketchbooks
Notes
Notebooks
Date:
1915-2001
bulk 1936-1980
Summary:
The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.
Scope and Content Note:
The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.

Biographical materials include military records, identification and membership documents, guestbooks, and an album entitled "Book of Friendship" containing short notes written by friends for Kienbusch on the occasion of his 60th Birthday. Also of note is copy of the "In Memoriam" written for Kienbusch by Karl Schrag.

The bulk of the papers consist of family and general correspondence. Family correspondence includes letters from Kienbusch to his parents regarding school, summer camps, travel, and the army. General correspondence includes many letters he sent to his close friend, Stanley Clifford, as well as letters from friends and associates, such as Stuart Davis, Antionette Kraushaar, Walter Maitland, Henry Varnum Poor, Abraham Rattner, Karl Schrag, Reuben Tam, and others.

Writings and notes include scattered notes, lists, and draft writings, as well as three notebooks, including one on casein technique. Printed material includes several armed forces publications and maps from World War II, clippings, and press releases. Photographs are of William Kienbusch, including two snapshots of Kienbusch with friends Dorothy Andrews and Reuben Tam. Also found are numerous travel and nature photographs. Artwork includes drawings created by Kienbusch while on his military tour in Guam and seventeen sketchbooks containting drawings in pencil, ink, and pastel.
Arrangement:
The collection is arranged as 6 series:

Series 1: Biographical Material, 1915-1980 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1920-2001 (Box 1-3; 2.3 linear feet)

Series 3: Writings and Notes, circa 1940s-1970s (Box 3; 0.2 linear feet)

Series 4: Printed Material, circa 1937-1980 (Box 3; 0.2 linear feet)

Series 5: Photographs, circa 1920-1980s (Box 3-5; 1.3 linear feet)

Series 6: Artwork, circa 1930s-1970s (Box 5; 0.8 linear feet)
Biographical Note:
William Kienbusch (1914-1980) was a painter and art instructor in New York, NY, and Cranberry Island, Maine.

Kienbusch was born in New York City and attended boarding school at Hotchkiss Preparatory school, where he was taught painting by Robert Osborn. During the summers of 1934 and 1935, while attending Princeton University, he studied watercolor with Eliot O'Hara at Goose Rocks Beach, Maine. After graduating from Princeton in 1936, he attended the Art Students League, studied with Henry Varnum Poor at the Colorado Springs Fine Arts Center, and spent a year in Paris, studying at the Academie Colarossi. During this time he also had the opportunity to travel throughout Europe before the outbreak of World War II. He returned to New York City in the winter of 1938 and settled in Greenwich Village, at one point living above artist Stuart Davis.

Kienbusch spent the summers of 1940 and 1941 in Stonington, Maine. Here he found his true identity as an abstract expressionist landscape painter. During World War II he served in the Army, teaching camouflage design and making maps in Guam. When he returned to New York in 1946, he began painting in casein rather than oils or watercolor. In 1947 he joined Kraushaar Galleries, which would continue to be his dealer for the remainder of his career. From 1948 to 1969 he taught at the Brooklyn Museum of Art School and spent summers in Maine. Kienbusch lost much of his artwork and personal papers in a 1969 fire at his New York studio apartment. His work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, and the Metropolitan Museum of Art among many others. After several years of poor health, Kienbusch died in 1980.
Related Material:
Also found in the Archives of American Art is the Walter Maitland correspondence with and about William Kienbusch, 1969-1981; the William Kienbusch letters to Francis and Sydney Hamabe, 1958-1977; the Thomas Barrett and Leni Mancuso papers relating to William Kienbusch, 1950-1980; and an oral history interview with William Kienbusch conducted by Forrest Selvig, November 1-7, 1968.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-22) including a scrapbook of clippings, exhibition catalogs, photographs of Kienbusch, letters, writings, and two journals describing his travels in Europe and Asia. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
William Kienbusch lent materials for microfilming in 1970. Other papers were donated by his sisters, Millicent Kelly and Juliana Little, and his friend Stanley Clifford as co-executives of the Kienbusch estate from 1985-1991. Stanley Clifford donated additional materials in 2008 and 2010.
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:
Art teachers -- New York (State) -- New York  Search this
Topic:
Landscape painters -- New York (State) -- New York  Search this
Painting, Abstract -- United States  Search this
Painting, American  Search this
World War, 1939-1945  Search this
Painting -- Technique  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Drawings
Drafts (documents)
Visitors' books
Sketchbooks
Notes
Notebooks
Citation:
William Kienbusch papers, 1915-2001, bulk 1936-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kienwill
See more items in:
William Kienbusch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kienwill

Reuben Tam papers

Creator:
Tam, Reuben  Search this
Names:
Alan Gallery (Charles Alan)  Search this
Brooklyn Museum of Art  Search this
Coe Kerr Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
John Simon Guggenheim Memorial Foundation  Search this
Skowhegan School of Painting and Sculpture  Search this
Andrews, Dorothy, 1918-2008  Search this
Kienbusch, William, 1914-1980  Search this
Nesjar, Carl, 1920-  Search this
Solomon, Hyde, 1911-  Search this
Extent:
9.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Date:
1931-2006
Summary:
The papers of landscape painter and educator Reuben Tam measure 9.2 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks.

There is a 1.1 linear foot unprocessed addition to the collection donated in 2020 that includes 34 sketchbooks, circa 1940-1974, by Tam from his time in New York, Hawaii, Connecticut, Massachusetts, Oregon, Alaska and Canada.
Scope and Contents:
The papers of landscape painter and educator Reuben Tam measure 9.2 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks. There is a 1.1 linear foot unprocessed addition to the collection donated in 2020 that includes 34 sketchbooks, circa 1940-1974, by Tam from his time in New York, Hawaii, Connecticut, Massachusetts, Oregon, Alaska and Canada.

Biographical material includes school documents, records of his tenure as an instructor at the Brooklyn Museum of Art School, artwork consignment and sales records, and slides and accompanying audio cassette recording of the "Reuben Tam Show" about his work as an artist on Monhegan Island, Maine.

Correspondence is with family, fellow artists, including William Kienbusch and Hyde Solomon, as well as art organizations, schools, and museums, such as Brooklyn Museum of Art School, Guggenheim Memorial Foundation, Maine Coast Artists group, and the Skowhegan School of Painting and Sculpture. Also found is correspondence with the three galleries which represented his work: Downtown Gallery, Alan Gallery, and Coe Kerr Gallery.

The collection includes five bound diaries as well as diary entries written by Reuben Tam on loose sheets of paper, primarily documenting the 1940s. Other writings include drafts of poetry, one notebook, miscellaneous notes, and essays by others.

Printed material consists of school publications, exhibition catalogs and announcements for solo and group shows, brochures, flyers, magazines, bulletins, and news clippings. Eight scrapbooks found in this collection also include newspaper clippings, exhibition announcements and catalogs, as well as event invitations, membership cards, and letters, documenting 40 years of Reuben Tam's career.

Photographs are of Reuben Tam, Tam with friends and family, and artwork. One photograph album contains photographs from Tam's visits to Maine from 1946 to 1948, and includes photographs of fellow artists Hyde Solomon, Carl Nesjar, Dorothy Andrews, and William Kienbusch. Artwork in the collection includes prints, drawings, and watercolors as well as seventeen large sketchbooks documenting the coastal landscape of Monhegan Island, Maine.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Material, 1934-1993 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1931-2006 (Box 1-4; 3.5 linear feet)

Series 3: Diaries, 1932-1974 (Box 4-5; 0.4 linear feet)

Series 4: Writings, 1939-1987 (Box 5; 7 folders)

Series 5: Printed Material, 1935-1997 (Box 5-6, 9; 1.2 linear feet)

Series 6: Photographs, circa 1930-1990 (Box 6-7, 9; 1.0 linear foot)

Series 7: Artwork, circa 1936-1975 (Box 7, 9-10, OV 11; 0.7 linear feet)

Series 8: Scrapbooks, 1938-1978 (Box 7-8; 0.9 linear feet)

Series 9: Unprocessed Addition, circa 1940-1974 (Box 12, OV13; 1.1 linear feet)
Biographical / Historical:
Reuben Tam (1916-1991) was a landscape painter and educator in New York, Maine, and Hawaii. Tam was born in Kapaa, Hawaii, in 1916. He received a degree in education in 1937 from the University of Hawaii and was briefly a public school teacher before attending graduate courses at the California School of Fine Arts. In 1941 he moved to New York and took courses in art history and philosophy at the New School for Social Research and Columbia University. Tam became affiliated with the Downtown Gallery in 1945 and was a prolific exhibitor in national and regional shows, winning critical praise as an abstract landscape painter. In 1948 he was awarded a Guggenheim Fellowship and first exhibited in the National Academy's annual exhibition in 1947.

Tam was an instructor at the Brooklyn Museum of Art School from 1946 to 1974. While there he taught advanced studies in painting and was chairman of the graduate painting department. He also served as a visiting professor at Oregon State University, Haystack, and Queens College, CUNY.

Beginning in 1948, Tam and his wife, Geraldine, spent summers at their home and studio on Monhegan Island, Maine. Tam's work was deeply influenced by coastal landscapes both in Maine and in his native Hawaii. In 1981 he and his wife moved back to Kapaa, Hawaii, where he continued to paint and exhibit his new works until his death in 1991.
Related Materials:
Reuben Tam papers, 1958-1966, are also located at Syracuse University.
Provenance:
Scrapbooks were lent for microfilming in 1970 by Reuben Tam and were subsequently donated in 2009 along with additional papers by Geraldine King Tam, Reuben Tam's widow. 34 additional sketchbooks were donated in 2020 by the Geraldine King Tam Trust, via Cindy King, trustee and niece of Geraldine King Tam.
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.
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:
Painters -- Maine  Search this
Painters -- Hawaii  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Educators -- Hawaii  Search this
Educators -- Maine  Search this
Educators -- New York (State)  Search this
Genre/Form:
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Citation:
Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tamreub
See more items in:
Reuben Tam papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tamreub
Online Media:

Charles Farley papers

Creator:
Farley, Charles, b. 1892  Search this
Names:
Luks, George Benjamin, 1867-1933  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1909-1978
Scope and Contents:
Correspondence, photographs, work of art and printed material concerning Charles Farley's career as a painter.
Correspondence includes personal and professional correspondence including a letter from George Luks. Photographs are of Farley. Works of art include two pen and ink sketches by Farley as well as 12 pen and ink sketches by Farley from the series The Brooklyn Museum Concerts. Printed material includes two exhibition catalogs and newspaper clippings.
Biographical / Historical:
Charles Farley (1892- ) was a painter in New York, N.Y. He studied with Robert Henri and George Luks.
Provenance:
Donated 1976 by Marian Dennis and in 2009 by The Brooklyn Museum of Art.
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:
Painters -- New York (State) -- New York  Search this
Identifier:
AAA.farlchar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-farlchar

Dorothea A. Dreier papers

Creator:
Dreier, Dorothea A., 1870-1923  Search this
Names:
Cooperative Mural Workshop  Search this
Women's Trade Union League of America  Search this
Bartlett, Agnes Willard  Search this
Bartlett, Mary F.  Search this
Bartlett, Maud W.  Search this
Davis, Charles H. (Charles Harold), 1856-1938  Search this
Dreier, Ethyl Eyre Valentine  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dreier, Mary E. (Mary Elisabeth), 1875-1963  Search this
Forbes, Rebecca  Search this
Gogh, Elisabeth du Quesne van, 1859-1936  Search this
Kuhn, Walt, 1877-1949  Search this
Mahan, Ellen Kuhn  Search this
Robins, Margaret Dreier  Search this
Robins, Raymond, 1873-1954  Search this
Schetter, Charlotte  Search this
Shirlaw, Walter, 1838-1909  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Pamphlets
Sketchbooks
Photographs
Broadsides
Date:
1881-1941
bulk 1887-1923
Summary:
The papers of artist and art patron Dorothea A. Dreier measure 2.6 linear feet and date from 1881-1941, with the bulk of the material dating from 1887-1923. The papers document the life and work of Dorothea Dreier and also contain the papers of and about members of her immediate family, particularly her sisters, Mary and Katherine Dreier, and Margaret Dreier Robins. Found are correspondence, printed materials, legal and financial records, photographs, and one sketchbook by Dreier.
Scope and Content Note:
The papers of the painter Dorothea A. Dreier measure 2.6 linear feet and date from 1881 to 1941, with the bulk of the materials dating from 1887-1923. These papers document not only her life and work as an artist, but also the activities of her distinguished family in the realms of social reform, women's suffrage, and politics, through correspondence, newspaper clippings, pamphlets, broadsides, exhibition catalogs, publications, photographs, ephemera, a sketchbook, and legal and financial records.

Biographical materials include official documents, childhood writings, notes, ephemera, membership cards, invitations, programs, notes, lists, and legal and financial records.

Measuring 1.2 linear feet, correspondence is the largest and most extensive series and consists of letters from family and close friends as well as business correspondence. Although the letters in this series span from 1881-1925, a large number stem from Dorothea's 1913-1916 stay at Saranac Lake for treatment of her tuberculosis.

Family correspondents consist of members of Dorothea's immediate family as well as more distant relations, including those who resided in her parent's native Germany. Letters from her sisters Mary E. Dreier, and Margaret (Gretchen) Dreier Robins, her sister-in-law Ethyl Eyre Valentine Dreier and brother-in-law Raymond Robins provide some insight into the varied social reform and political movements, such as women's suffrage and the Bull Moose Party, with which they were allied. Additionally both Mary and Margaret were active in the Women's Trade Union League, Margaret having served as the League's president from 1907-1922. Therefore their correspondence is a rich resource for scholars interested in women's history and the history of the Progressive Era in the United States.

Due to their shared interest in the arts, her sister Katherine S. Dreier's letters provide information about her own work as an artist, particularly when she was studying abroad, exhibitions in which she participated or visited, and the Cooperative Mural Workshop, a combination art school and workshop that she ran from 1914-1917 with Walt Kuhn, with substantial financial help from Dorothea.

Additionally through her Brooklyn neighborhood, art classes, and support of numerous social causes, Dorothea had a large circle of friends. Frequent correspondents include the Bartlett sisters, Agnes, Mary, and Maud, Rebecca Forbes, Ellen Kuhn Mahan, and Charlotte Schetter. Notable art world correspondents include Vincent van Gogh's sister Elisabeth du Quesne van Gogh, the American Tonalist landscape painter Charles Harold Davis and Dreier's painting instructor and close friend, the painter Walter Shirlaw.

Printed materials reflect the varied interests and activities of Dorothea Dreier and select members of her immediate family through exhibition announcements, catalogs, including a numbered copy of the The Dorothea A. Dreier Exhibition from the memorial exhibition of her work at the Brooklyn Museum of Art in 1925, newspaper clippings relating to her career, the activities of other members of the Dreier family, art and politics; as well as pamphlets, broadsides, brochures and blank postcards.

Photographs include both studio portraits and informal snapshots of Dorothea and Katherine Dreier; group photographs including Dorothea; travel photographs, many of which appear to have been taken in the Netherlands; and photographs of Teddy Roosevelt giving a speech at a railway station. Artworks include a sketchbook by Dreier, five sketchbooks by friend and teacher, Walter Shirlaw, and an unidentified artist, a pencil drawing by Shirlaw, an engraving by Huquier and an etching by Ernest D. Roth.
Arrangement:
The collection is arranged into 5 series:

Series 1: Biographical Material, 1884-1923 (Box 1; 0.75 linear feet)

Series 2: Correspondence, 1881-1925 (Boxes 1-2; 1.2 linear feet)

Series 3: Printed Material, 1883-1916 (Boxes 2-3; 0.5 linear feet)

Series 4: Photographs, circa 1900-1923 (Box 3; 7 folders)

Series 5: Artwork, circa 1885-1941 (Boxes 3-4; 9 folders)
Biographical Note:
Dorothea A. Dreier was born on December 8, 1870, in Brooklyn, New York to German immigrant parents. The second of five children in a close knit, socially progressive family, her siblings include the social reformers and suffragettes Mary E. Dreier and Margaret Dreier Robins. However she was closest to her youngest sister, Katherine S. Dreier, fellow artist, patron of modern art and cofounder of the Société Anonyme, an organization dedicated to the promotion of modern art in the United States. Her sole brother, H. Edward Dreier, followed his father into business and managed the family investments.

Of all the Dreier sisters, Dorothea is the least well-known and there is scant information about her artistic career. It appears that she began her formal art training with John Twachtman and William Merritt Chase, although accounts disagree as to whether it took place at the Art Students League or the National Academy of Design. In 1904 Dorothea and her sister Katherine began studying with the painter Walter Shirlaw, with whom they developed a close friendship. Both sisters also traveled abroad frequently as the family maintained close ties with their German relatives and they combined these visits with trips to museums and galleries throughout Europe where they studied the works of the Old Masters as well as more contemporary artists. As evidenced by her series of oil paintings of Dutch weavers of 1908, Dorothea was greatly influenced by Van Gogh's early paintings of rural Dutch peasant life and she spent long periods abroad living and painting in Laren, The Netherlands. Her later paintings depicted landscapes, both in The Netherlands and the Adirondacks, as well as a series of New York street scenes.

Unfortunately, during a 1913 sojourn in Laren, Dorothea contracted tuberculosis. She remained at Saranac Lake, a renowned treatment center in the Adirondacks from late December 1913 to sometime in 1916. During her convalescence, Dorothea remained actively involved in the arts as she continued to paint and draw and supported her sister Katherine's work at the Cooperative Mural Workshop, a short-lived combination art school and workshop that focused on the decorative arts.

In 1920, Dorothea supported Katherine's decision to champion modern art and made generous financial contributions toward the establishment of the Société Anonyme, where Dorothea's first solo exhibition took place in 1921. This was her only solo exhibition prior to her untimely death in 1923. In the spring of 1925, Christian Brinton of the Brooklyn Museum of Art organized a memorial exhibition for which Katherine Dreier privately published a limited edition catalogue.
Related Material:
The papers of Katherine S. Dreier related to the Société Anonyme Archives are located at the Beinecke Rare Book and Manuscript Library at Yale University.

The Schlesinger Library at the Radcliffe Institute of Harvard University holds the papers of Mary E. Dreier
Provenance:
The bulk of the collection was donated to the Archives of American Art in 1959 by Mrs. Peter Voorhees, Dorothea A. Dreier's neice. Additional materials were donated in 2007 by Theodore and Barbara Dreier, Dreier's great-nephew and great-neice.
Restrictions:
The bulk of this collection has been digitized and is available online via the Archives of American Art's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Women -- Suffrage  Search this
Suffragists  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Pamphlets
Sketchbooks
Photographs
Broadsides
Citation:
Dorothea A. Dreier papers, 1881-1941, bulk 1887-1923. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dreidoro
See more items in:
Dorothea A. Dreier papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dreidoro
Online Media:

Joan Semmel papers

Creator:
Semmel, Joan, 1923-  Search this
Names:
Bernstein, Judy  Search this
Edelson, Mary Beth  Search this
Golden, Eunice  Search this
Grossman, Nancy  Search this
Hammond, Harmony  Search this
Hardy, John  Search this
Markson, David  Search this
Nieto, José Antonio  Search this
Schapiro, Miriam, 1923-2015  Search this
Sleigh, Sylvia  Search this
Stevens, May  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Illustrations
Photographs
Date:
1949-2013
bulk 1960-2013
Summary:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist, and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.
Scope and Contents:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.

Among the biographical materials are awards, educational records,and audiovisual recordings about Joan Semmel and her work.

Professional correspondence concerns exhibitions, publication permissions, panel discussions, symposia, and visiting artist and summer school appointments. Also included are letters of recommendation for colleagues and students. A scattering of personal letters are from novelist David Markson and José Antonio, both of whom had personal relationships with Semmel. There are also a few letters from friends of a purely social nature and a few letters concerning routine personal affairs.

There are two interviews with Joan Semmel on video recordings, one was conducted for a television broadcast and the other is unidentified.

Writings by Semmel include the manuscript, illustrations, research material, and letters relating to her unpublished book about women's erotic art. Also found are articles, artist's statements, and notes for talks about her work. The writings about Semmel consist of several student papers.

Project files relate to two exhibitions curated by Semmel, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds (2000). One file is related to a project in which Semmel was involved to document the role and status of women in the arts.

Scattered teaching files concern a course about contemporary women artists developed and taught by Semmel for the women's studies program at Rutgers University, circa 1978. Also documented are summer programs at Skowhegan and Sommerakademie in Austria where Semmel served as an instructor.

Binders (now unbound) of printed materials were compiled by Semmel consisting of exhibition catalogs and announcements for solo and group shows, reviews, posters, and miscellaneous printed matter.

Photographs of people include Joan Semmel, friends and colleagues. Among the individuals pictured are: writer David Markson, painter John Hardy, José Antonio Nieto; and feminist artists: Judy Bernstein, Mary Beth Edelson, Eunice Golden, Nancy Grossman, Harmony Hammond, Miriam Schapiro, Sylvia Sleigh, and May Stevens. There are slides, photographs, color photocopies and digital images of Semmel's paintings. Of particular interest are photographs, photocopies of photographs, and digital images that served as source material for paintings, including portrait commissions.
Arrangement:
The collection is arranged in 8 seres:

Series 1: Biographical Materials, 1949-2013 (Box 1; 0.6 linear feet)

Series 2: Correspondence, 1973-2013 (Boxes 1-2; 1.2 linear feet)

Series 3: Interviews, circa 1970s-1986 (Box 2; 0.2 linear feet)

Series 4: Writings, 1970s-2009 (Box 3; 0.7 linear feet)

Series 5: Project Files, 1972-2000 (Box 3; 3 folders)

Series 6: Teaching Files, 1970s-2000 (Box 3; 0.4 linear feet)

Series 7: Printed Material, circa 1960s-2013 (Boxes 4-6, OV 8; 2.2 linear feet)

Series 8: Photographic Materials, circa 1965-2013 (Boxes 6-7; 0.6 linear feet)
Biographical / Historical:
Joan Semmel (1932- ) is an abstract painter working in New York City and Easthampton, N. Y. Semmel's work explores erotic themes and the female body. She taught painting at the Mason Gross School of the Arts at Rutgers University from 1978-2000.

Born in New York City in 1932, Joan Semmel studied at the Cooper Union, the Art Students League of New York, and received her BFA in 1963 and MFA in 1972 from Pratt Institute. Semmel moved to Spain in 1963 and exhibited her abstract expressionist work in galleries and museums there before returning to New York in 1970.

Upon Semmel's return to New York, she became involved in the feminist art movement. One of the original Guerrilla Girls, Semmel was involved with several feminist activist art groups devoted to gender equality in the art world. Semmel spent years researching a book about women's erotic art. At the same time, her painting style shifted to incorporate more figurative imagery and she began working on series that explored the themes of the female body, desire, and aging. Each series consisted of 10-30 paintings, produced over several years, among them First and Second Erotic Series, Self Images, Portraits, Figure in Landscape, Gymnasium, Locker Room, Overlays, and Mannequins.

In addition to her teaching career at Rutgers University as a tenured Professor of Painting, Semmel taught briefly at the Brooklyn Museum Art School, Skowhegan, and the Summer Academy of Fine Arts in Salzburg, Germany. Over the years she served as a visiting artist, critic, and lecturer at many colleges, and participated in numerous symposia, panel discussions and conferences. She has received several grants and awards including Macdowell Colony and Yaddo residencies.

Semmel has exhibited widely and prolifically in the United States, Spain, the Netherlands, and South America, in addition to curating two exhibitions, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds - Art in General (2000). Her work is represented in the permanent collections of many museums including the Brooklyn Museum of Art, Chrysler Museum, Guild Hall, Museum of Women in the Arts, Parrish Art Museum, and Vassar College Museum.

Joan Semmel continues to live and work in New York City and Easthampton, NY.
Provenance:
Donated by Joan Semmel in 2014.
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:
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women and erotica  Search this
Women artists  Search this
Painting, Abstract  Search this
Feminism and art  Search this
Erotica  Search this
Art -- Political aspects  Search this
Genre/Form:
Interviews
Video recordings
Illustrations
Photographs
Citation:
Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.semmjoan
See more items in:
Joan Semmel papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-semmjoan
Online Media:

Ivan C. Karp papers and OK Harris Works of Art gallery records

Creator:
Karp, Ivan C., 1926-2012  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Names:
Baeder, John  Search this
Butterfield, Deborah, 1949-  Search this
Castanis, Muriel, 1926-  Search this
Celender, Don, 1931-2005  Search this
Clarke, John Clem, 1937-  Search this
De Andrea, John, 1941-  Search this
Dufresne, Leonard, 1941-  Search this
Goings, Ralph  Search this
Grinder, Robert  Search this
Hanson, Duane  Search this
Kacere, John C., 1920-1999  Search this
Karp, Marilynn Gelfman  Search this
McLean, Richard Thorpe, 1934-  Search this
Rohm, Robert  Search this
Salt, John, 1937-  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
80.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Diaries
Date:
1960-2014
Summary:
The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artist files, printed material and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Aso included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.
Scope and Contents:
The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artists' files, printed material, and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Also included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Correspondence, both professional and personal, is with museums, galleries, art dealers, art collectors, and graduate students. Artists John Baeder, Deborah Butterfield, John Clem Clarke, John DeAndrea, Jim Dine, Leonard Dufresne, Robert Ginder, Ralph Goings, Duane Hanson, Richard McLean and Tom Wesselmann are among the correspondents.

Admininstrative files concern the daily operation of OK Harris Works of Art. Included are instructions regarding administrative functions and forms for routine activities to enable employees to conduct business in Ivan Karp's absence. Along with files about other items occasionally sold at the gallery, there are files about projects of interest to the Karps, sample announcements, invitations, and advertisements.

Exhibition files document group shows, collectibles and antique exhibitions, summer invitationals, and special event exhibitions at OK Harris Works of Art. The files include photographs and slides, schedules, lists of titles and prices, artists' resumes, installation layouts, reviews and publicity materials, and other items.

Artist files constitute the largest series in the collection at 34 linear feet, and document the gallery's relationships with artists throughout its 45 year history. Files are comprised of biographical information, correspondence, notes, publicity and other printed material (including a few items pre-dating the gallery). Among the many transactions recorded are arrangements for and documentation of solo exhibitions at OK Harris. There are photographs, slides and color transparencies of individual works, and some views of exhibition installations. John Baeder, Muriel Castanis, Don Celender, Ralph Goings, John Kacere, Richard McLean, Robert Rohm and John Salt are among the most extensively documented artists.

Printed material produced by OK Harris Works of Art includes exhibition catalogs, exhibition announcements, invitations, checklists, price lists posters, and notices of gallery sponsored events and activities. Printed material from other sources consists of exhibition reviews, articles about Ivan and Marilynn Karp, OK Harris Works of Art, and the gallery's artists. These appeared in art and mainstream periodicals, newspapers, exhibition catalogs, and books. Also found are posters, reproductions of artwork, and miscellaneous printed items. Artwork consists of 40 prints by artists affiliated with OK Harris. Most are signed; 2 are black and white prints, the remainder are color lithographs. Included is Radical Realism I, a set of 6 prints issued by Mother Lode Editions, 1972.

Thirty-two linear feet of photographs, negatives, slides, transparencies and digital images are of artwork by OK Harris artists, exhibition installation views, and miscellaneous subjects. Photographs of artwork by 59 OK Harris artists are found in binders called "Artists' Photo Books." Installation views of exhibitions held at OK Harris Works of Art during its 45 year history fill 61 binders. Miscellaneous subjects include OK Harris office space, galleries and staff. Also found are photographs of group shows, art fairs, and gallery artists' exhibitions at other venues.

The Ivan C. Karp personal papers include obituaries from print and internet sources along with other biographical information, published versions of brief interviews conducted for various purposes, writings, a few materials relating to business and academic activities, and some personal photographs. Journals, 1950-2012 (bulk 1991-2012) record travel, daily activities, and reflections.
Arrangement:
This collection is arranged in 8 series:

Series 1: Correspondence, 1960-2013 (Boxes 1-2B; 2.4 linear feet)

Series 2: Administrative Files, 1969-2014 (Box 3; 0.7 linear feet)

Series 3: Exhibition Files, 1969-2014 (Boxes 3-4; 1.2 linear feet)

Series 4: Artist Files, 1967-2014 (Boxes 4-38, 80; 34 linear feet)

Series 5: Printed Material, 1963-2014 (Boxes 38-44, 80, OV 88 - OV 90; 5.2 linear feet)

Series 6: Artwork, 1970s-circa 1980 (Box 44, OV 81-OV 87; 0.8 linear feet)

Series 7: Photographic Materials, 1960s-2014, bulk 1969-1999 (Boxes 44-76; 32 linear feet)

Series 8: Ivan C. Karp Personal Papers, 1961-2012 (Boxes 76-79; 4 linear feet)
Historical note:
OK Harris Works of Art specialized in a wide range of contemporary art and was known for its early support of Photo-realism. When it opened in 1969, the gallery was one of the first to operate in the SoHo area of Manhattan and its presence helped shape the neighborhood's development into a vibrant arts district.

Ivan C. Karp (1926-2012), the founder of OK Harris Works of Art, established a reputation in the art world while co-director of Leo Castelli Gallery from 1959-1969. He is credited with launching the careers of Pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, John Chamberlain, Tom Wesselmann, and Claes Oldenburg. Karp wrote, published, and lectured extensively on art and the art business. He was the author of a romantic novel about New York life, Doobie Doo (published in 1965, front cover by Roy Lichtenstein, back cover by Andy Warhol) and his short stories were published in literary reviews. Karp was actively involved in architectural preservation efforts in New York City. As President of the Anonymous Arts Recovery Society, he rescued and stored cornices, capitals, portals, columns and other architectural fragments of historical and aesthetic interest from demolition sites. Many are displayed in his Anonymous Arts Museum, Charlotteville, NY and some became part of a sculpture garden that Karp donated to the Brooklyn Museum of Art.

While Leo Castelli Gallery was closed for summer vacations in 1963 and 1964, Karp ran his own contemporary art gallery in Provincetown. He named it OK Harris, a name he thought suggestive of a colorful, very American character. A few years later, Karp opened OK Harris Works of Art in SoHo where a portrait of a bearded man titled "Oscar Klondike Harris" hung in his office. "Mr. Harris" frequently assumed blame for delays, rejections and other unwelcome news or decisions. OK Harris Works of Art (first at 469 West Broadway and later at 383 West Broadway) was a 10,000 square foot ground-floor space where as many as six concurrent solo exhibitions were presented every six weeks. The goal was "to exhibit the broadest spectrum of the most adventuresome art being offered" and the focus was on emerging artists, many of them unknown. In addition to being at the forefront of the Photo-realist movement in 1969, OK Harris Works of Art was the first gallery to exhibit the work of Duane Hanson, Deborah Butterfield, Manny Farber, Richard Pettibone, Robert Cottingham, Robert Bechtle, Marilyn Levine, Nancy Rubins, Malcolm Morley, Luis Jiminez, Jake Berthot, Jack Goldstein, Porfirio DiDonna, and Al Souza.

An approachable, friendly man who enjoyed sharing his knowledge, Karp usually sat at the gallery's front desk and was available to all. Unlike many dealers, he was willing to look at and discuss artists' slides, offered encouragement, and often followed up with studio visits.

At his request, Marilynn Gelfman Karp became gallery director after her husband's death in 2012. She ran the business with gallery staff including Ivan's oldest son, Ethan. Following Ivan's guidelines, OK Harris Works of Art closed with a gala celebration 2014 for all the gallery's artists, collectors and friends.
Related Materials:
Also found in the Archives of American Art are oral history interviews with Ivan C. Karp conducted by Richard Brown Baker, 1963 October 18; by Paul Cummings, 1969 March 12; and by Ronny Cohen, 1986 April 17-1988 October 18. The Marilynn Gelfman Karp Collection of Ephemera owned by the New-York Historical Society includes OK Harris printed material, prints, and posters.
Provenance:
Marilynn Karp, wife of Ivan C. Karp, donated scattered papers in 2011 and 2013, and the bulk of the collection in 2014.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. 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.
Topic:
Photo-realism  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Prints
Diaries
Citation:
Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.okharr
See more items in:
Ivan C. Karp papers and OK Harris Works of Art gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-okharr
Online Media:

Gene Davis papers

Creator:
Davis, Gene, 1920-1985  Search this
Names:
White House (Washington, D.C.)  Search this
Baro, Gene  Search this
Colby, Carl  Search this
Davis, Douglas  Search this
Davis, Florence  Search this
Greenberg, Clement, 1909-1994  Search this
McGowin, Ed, 1938-  Search this
Naifeh, Steven, 1952-  Search this
Nordland, Gerald  Search this
North, Percy, 1945-  Search this
Seitz, William Chapin  Search this
Thomas, Alma  Search this
Wall, Donald  Search this
Extent:
17.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Date:
1920-2000
bulk 1942-1990
Summary:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Scope and Contents:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)
Biographical / Historical:
Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.
Provenance:
Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.
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:
Reporters and reporting -- Washington (D.C.)  Search this
Video artists -- Washington, D.C.  Search this
Conceptual artists -- Washington, D.C  Search this
Painters -- Washington (D.C.)  Search this
Collagists -- Washington, D.C  Search this
Topic:
Color-field painting  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davigene
See more items in:
Gene Davis papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-davigene
Online Media:

Dotty Attie papers

Creator:
Attie, Dotty, 1938-  Search this
Extent:
2.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
circa 1950s-2014
Summary:
The papers of New York City painter and printmaker Dotty Attie measure 2.5 linear feet and date from circa 1950s to 2014. Her papers include scattered biographical material, professional files, notes, personal business records, photographs, artwork, and 12 sketchbooks.
Scope and Contents:
The papers of New York City painter and printmaker Dotty Attie measure 2.5 linear feet and date from circa 1950s to 2014. Her papers include scattered biographical material, professional files, notes, personal business records, photographs, artwork, and 12 sketchbooks.

Scattered biographical materials include identification cards, an address book, artist statements and biographies, a few personal letters, and interviews.

Professional files document exhibitions, residencies, and fellowships. Contents of files vary and may include letters and invitations, letters from colleagues and admirers of her work, inventory lists, interviews, loan agreements, travel itineraries, printed materials, photographs, and miscellany. Notes include pages from a notebook that includes both technical instruction and personal notes. There is written text that Attie wrote to be incorporated into her artwork. One file of personal business records contains loan agreements, shipping receipts, and membership fees.

Photographs are of Attie, artwork, and friends and family. Photographs of artwork include exhibition views, single works, and collages. Photographs of Attie include contact sheets and prints of the artist throughout her life, including some copy prints of Attie as a child. Some images of Attie are self-portraits. Photographs of family and friends include her husband, children, A.I.R. Gallery members, and copy prints of relatives.

Artwork and sketchbooks include artists' books, sketches on tracing paper, and 12 sketchbooks.
Arrangement:
The collection is arranged as 6 series

Series 1: Biographical Material, circa 1974-circa 2006 (0.1 linear foot; Box 1)

Series 2: Professional Files, circa 1970s-2014 (.9 linear feet; Box 1)

Series 3: Notes, circa 1970s-1990s (.2 linear feet; Box 2)

Series 4: Personal Business Records, 1982-2013 (.1 linear foot; Box 2)

Series 5: Photographs, circa 1960s-1990s (.3 linear feet; Box 2-3)

Series 6: Artwork and Sketchbooks, circa 1950s-1970s (.7 linear feet; Box 2-3)
Biographical / Historical:
Dotty Attie, née Laibow (1938- ), is an American painter and printmaker based in New York City who has been exhibiting in museums and galleries since the 1960s. As a co-founder of Artists in Residence (A.I.R.) Gallery, one of the first all-female cooperative galleries in the United States, Attie has had a considerable impact on the art world prejudices against women artists.

Born in Pennsauken, New Jersey, Attie pursued her interest in art at the Philadelphia College of Art, and received her BFA in 1959. In 1962, she married the photographer David Attie and they had two children. Throughout the 1960s, Attie continued her education through fellowships at the Brooklyn Museum of Art School and the Art Students League.

In 1972, Attie and five other women founded A.I.R. Gallery, setting the example of the women's cooperative gallery that would be followed across the country. Attie was a member of A.I.R. Gallery until 1988 and during that time exhibited her own work, curated and co-curated several exhibitions of women artists, organized panels on subjects of interest to women artists, and worked to make the art world more inclusive to women.

Attie gained national and international recognition through her involvement with A.I.R. Gallery and has received numerous fellowships, grants, residencies, as well as exhibitions in galleries and museums nationally and internationally. Attie has also served as faculty at the Cooper Union and Rhode Island School of Design.
Related Materials:
Also found in the Archives of American Art are the Artist in Residence (A.I.R.) Gallery records.
Provenance:
Donated in 2015 by Dotty Attie.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Photographs  Search this
Interviews  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Citation:
Dotty Attie papers, circa 1950s-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.attidott
See more items in:
Dotty Attie papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-attidott

John I.H. Baur papers

Creator:
Baur, John I. H. (John Ireland Howe), 1909-1987  Search this
Names:
Whitney Museum of American Art  Search this
Extent:
3.4 Linear feet
13 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1946-1979
Scope and Contents:
Writings, talks, lectures, and contributions to publications, notably his work on the book, NEW ART IN AMERICA; correspondence, writings, memos, and clippings concerning museums (other than the Whitney Museum of American Art), galleries, colleges, the American Federation of Arts, and others; correspondence, printed material, and miscellany relating to committees and organizations, such as the American Studies Association and the International Association of Art Critics; correspondence and printed material concerning exhibition jury service; and miscellany.
ADDITION: Artists' files, photographs, correspondence, notes, writings, including an annotated draft for Baur's book, REVOLUTION & TRADITION IN MODERN AMERICAN ART.
Biographical / Historical:
Museum curator, museum director, and writer; New York, N.Y. Curator Brooklyn Museum of Art, 1936-1952; curator, director, and director emeritus, Whitney Museum of American Art, 1952-1987. Author of several books on American art.
Provenance:
Donated 1989 by Louise C. Bauer, the widow of the artist, John I. H. Baur.
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 historians  Search this
Museum directors  Search this
Museum curators  Search this
Identifier:
AAA.baurjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baurjohn

Louis and Annette Kaufman papers

Creator:
Kaufman, Louis, 1905-1994  Search this
Kaufman, Annette  Search this
Names:
Avery, Milton, 1885-1965  Search this
Avery, Sally  Search this
Burliuk, David, 1882-1967  Search this
Kokoschka, Oskar, 1886-  Search this
Lebduska, Lawrence, 1894-1966  Search this
Levine, Jack, 1915-2010  Search this
Léger, Fernand, 1881-1955  Search this
Pach, Walter, 1883-1958  Search this
Rosenberg, Paul, 1881-1959  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
282 Items ((on 2 microfilm reels))
0.4 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1931-2000
Scope and Contents:
Correspondence, financial papers, and printed materials.
REEL 1119: Correspondence; financial papers relating to house repairs; exhibition announcements, invitations, and other printed material relating to Fernand Leger, Walter Pach, Milton Avery, David Burliuk, and Abraham Walkowitz; and three photographs of Paul Rosenberg, Milton and Sally Avery, Louis and Annette Kaufman at the Rosenberg Gallery during a 1945 Avery exhibition.
REEL 1189: Letters to the Kaufmans from Sally, Milton, and March Avery, David Burliuk, Oskar Kokoschka, Lawrence Lebduska, Jack Levine, and Walter Pach. Also included is a clipping concerning Louis Kaufman's career as a concert violinist, 1976.
ADDITION: Research material on Milton Avery, David Burliuk, and Louis Eilshemius (photocopies of newspaper and magazine articles); Avery exhibition catalogs (1961-2000), including Milton Avery Revisited: Works from the Louis and Annette Kaufman Collection, Syracuse University Art Collection (1999-2000); two magazines, Art Bulletin (1932) and Color and Rhyme (1940); and book, Milton Avery: Prints and Drawings, 1930-1964, Brooklyn Museum of Art, 1966.
Biographical / Historical:
Collectors; Los Angeles, Calif. Noted American violinist, Louis Kaufman (1905-1994) , He attended Institute of Music Art (Julliard), New York at age of 13 to study with violinist Franz Kneisel. His wife, Annette (née Leibole), a gifted pianist and fellow student at the Institute, met Kaufman in 1932. They married a year later and she went on his to be his accompanist for more than fifty years. Settling in Los Angeles, Kaufman became active as a studio performer for more fourteen years in the film industry. The Kaufmans amassed a significant collection when they were still in New York of prints and early 20th century modern art which they have given to major institutions including the National Gallery of Art, Syracuse University, and University of Wisconsin. Among their close artist friends were Milton and Sally Avery, David Burliuk, Mark Rothko, and Louis M. Eilshemius. Their correspondence was donated to the Library of Congress along with his music archives.
Provenance:
Material on reels 1119 and 1189 was lent for microfilming 1976-1977 by the Kaufmans. In 2002, an additional 0.4 ft. was donated by Annette Kaufman; the donation does not include material previously lent.
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.
Addition: Unmicrofilmed; use requires an appointment and is limited to AAA's Washington, D.C. office.
Topic:
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Identifier:
AAA.kaufloui
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kaufloui

Oral history interview with Naomie Kremer, 2001 Mar. 16

Interviewee:
Kremer, Naomie, 1953-  Search this
Interviewer:
Karlstrom, Paul J  Search this
Type:
Sound recordings
Interviews
Topic:
Artists' models -- California -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11698
(DSI-AAA_SIRISBib)226266
AAA_collcode_kremer01
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_226266
Online Media:

Oral history interview with Teresa Carbone

Interviewee:
Carbone, Teresa A.  Search this
Interviewer:
Gillespie, Benjamin, 1988-  Search this
Names:
Pandemic Oral History Project  Search this
Extent:
1 Item ((22 min.), digital, mp4)
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
2020 September 9
Scope and Contents:
An interview with Teresa Carbone conducted 2020 September 9, by Benjamin Gillespie, for the Archives of American Art's Pandemic Oral History Project, at Carbone's home in Germantown, New York.­
Biographical / Historical:
Teresa Carbone is a curator, art historian, and arts administrator in Germantown, New York. Carbone was curator of American art at the Brooklyn Museum of Art, Brooklyn, New York and is program administrator of American art for the Henry Luce Foundation, New York, New York.
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:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Arts administrators -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Pandemics  Search this
COVID-19 (Disease)  Search this
Genre/Form:
Interviews
Video recordings
Identifier:
AAA.carbon20
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carbon20
Online Media:

Oral history interview with Naomie Kremer

Interviewee:
Kremer, Naomie, 1953-  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Extent:
23 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 Mar. 16
Scope and Contents:
An interview of Naomie Kremer conducted 2001 Mar. 16, by Paul Karlstrom, for the Archives of American Art, in Kremer's home, in Oakland, Calif.
Kremer discusses her experience as an artists' model from 1974 as a student in London to more recent times in California. She discusses issues of posing nude, something that was not fully accepted at the time; her interest in having that experience; her appreciation, after years of life drawing, of the contribution of the model; a photo session with Judy Dater at the Djerassi Foundation artist retreat; and the connection to her own current work about desire and tension. She explained how she is attracted to the "unfolding of impulse," both in posing and in painting.
Biographical / Historical:
Naomie Kremer (1953-) is an artist's model from Oakland, Calif. Born in Tel Aviv, Israel, Kremer grew up in Brooklyn where she took art classes at The Brooklyn Museum of Art. After a career in advertising and design, Kremer went back to school at California College of Arts and Crafts in Oakland, where she now teaches painting and life drawing.
General:
Originally recorded on 1 sound cassettes. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 2 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. Funding for the transcription of this interview provided by the Pasadena Art Alliance.
Topic:
Artists' models -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kremer01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kremer01

Claudia DeMonte and Ed McGowin papers

Creator:
DeMonte, Claudia, 1947-  Search this
McGowin, Ed, 1938-  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
1960-2018
Summary:
The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.
Scope and Contents:
The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Correspondence includes letters and postcards to and from family, friends, colleagues, and art institutions.

Writings includes a file of poetry written by DeMonte, manuscripts of books written by DeMonte, and a series of notebooks. Some of the notebooks are a combination of notes and sketches.

Scrapbooks consist of eight scrapbooks consisting of mixed material such as notes, photographs, sketches, and printed material.

Professional material consists of awards and certificates, a large number of calendars, commision work including an art project for the University of Northern Iowa completed by both DeMonte and McGowin, and a number of VHS and Betamax cassettes documenting DeMonte's career and interviews in connection with her Women of the World exhibition.

Printed material consists of newspaper clippings, magazine articles, exhibition announcements and catalogs, exhibition posters, and newsletters.

Artwork consists of a file of drawings and some sketchbooks.

Photographic material consists of photographs and slides of DeMonte, her artwork, and some of her exhibitions. There is also a file of photographs of DeMonte and McGowin at the White House with First Lady Laura Bush, and there are personal photographs of DeMonte and McGowin traveling and with family and friends.
Arrangement:
The collection is arranged into seven series.

Series 1: Correspondence, 1967-2013 (1.7 linear feet; Boxes 1-2)

Series 2: Writings, 1975-2013 (0.5 linear feet; Boxes 2-3)

Series 3: Scrapbooks, 1967-2009 (1.0 linear feet; Box 3, 9-10)

Series 4: Professional Activity Files, 1964-2013 (1.7 linear feet; Boxes 3-5, 9)

Series 5: Printed Material, 1960-2018 (1.9 linear feet; Boxes 5-7)

Series 6: Artwork, circa 1973 (0.1 linear feet; Box 7)

Series 7: Photographic Material, circa 1977-2010 (0.3 linear feet; Boxes 7-8)
Biographical / Historical:
Claudia DeMonte (1947- ) was born and raised in Astoria, New York City. She has more than 100 one-person shows and 600 group exhibitions nationally and internationally, including exhibitions at the Corcoran Museum, Modern Art Museum of Fort Worth, Mississippi Museum, Tucson Museum, Flint Institute of Art, Museum of the Southwest, etc.

Her work is in numerous museum permanent collections, including the Brooklyn Museum of Art, Stamford Museum, Boca Raton Museum, and in major corporate collections such as those of Hyatt Regency Hotels, Exxon, Citibank and Siemens. Her public commissions have come from the New York City Department of Cultural Affairs, Brooklyn Library System, Queens Supreme Court, Prudential Life Insurance, the State of New Mexico, and New York City School Construction Authority.

DeMonte is also the curator of "Women of the World: A Global Collection of Art." This traveling exhibition, with accompanying books, includes works of women from 177 countries dealing with the images of women.

DeMonte's work is heavily influenced by her travels to over 80 countries, her interest in the roles of women in contemporary society and Outsider Art, a collection compiled with her husband, artist Ed McGowin.

For 33 years, DeMonte has served on the faculty of the University of Maryland, where she was named Distinguished Scholar Teacher and Professor Emerita. In 2006, She was awarded an Honorary Doctorate from the College of Santa Fe.

DeMonte presently lives with her husband in New York City and Kent, Connecticut.

Ed McGowin (1938- ) was born in 1938 in Hattiesburg, Mississippi and grew up in Mississippi and Alabama, receiving the M.A. from the University of Alabama. He has had one-person exhibitions at the Corcoran Gallery in Washington, D.C.; the Baltimore Museum; and the Museum of Modern Art of the City of Paris, France. Since 1979, McGowin has executed major outdoor commissions for numerous public and private organizations, often collaborating with his wife, Claudia DeMonte.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Claudia DeMonte conducted by Liza Kirwin between February 13 and April 24, 1991; and the Ed McGowin papers, 1962-1998.
Provenance:
The Claudia DeMonte and Ed McGowin papers were donated in 1994 by Claudia DeMonte and in 2020 by Claudia DeMonte and Ed McGowin.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Women artists -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Citation:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.democlau
See more items in:
Claudia DeMonte and Ed McGowin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-democlau

Robert Kushner papers

Creator:
Kushner, Robert, 1949-  Search this
Names:
98 Green St. Loft  Search this
Clocktower Gallery  Search this
Kitchen, The  Search this
Paula Cooper Gallery  Search this
St. Mark's Church in-the-Bowery (New York, N.Y.)  Search this
Goldin, Amy  Search this
Solomon, Holly  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Video recordings
Place:
SoHo (New York, N.Y.)
Date:
1967-2011
Summary:
The papers of the artist Robert Kushner measure 4.6 linear feet and date from 1967 to 2011. The collection documents primarily the early career of Robert Kushner through performance videos and other media artworks, correspondence, notes, lab records, inventories, an exhibition proposal, and subject files regarding critic Amy Goldin.
Scope and Contents:
The papers of the artist Robert Kushner measure 4.6 linear feet and date from 1967 to 2011. The collection documents primarily the early career of Robert Kushner through performance videos, other media artworks, correspondence, notes, lab records, inventories, an exhibition proposal, and subject files regarding critic Amy Goldin.

Performances and artworks comprise the bulk of the collection and include video recordings, sound recordings, and motion picture films documenting works by Robert Kushner created between circa 1967 and 1982. Most of the video footage documents live performances of Kushner's pageants and fashion shows that took place between 1972 and 1981, primarily in art spaces in the SOHO district of New York City. In addition to live performance documentation, videos and films include four moving image artworks, recorded music used in performances, and publicity including a television news magazine segment featuring Kushner and his edible costumes. Paper documentation of Kushner's video recordings includes correspondence, notes, lab records, performance programs, edit worksheets, and inventories of Kushner's performance videos. An exhibition file contains documentation of the development of a proposed exhibition from 1999-2000 entitled "Pret-a-porter: Robert Kushner, performance and fashion, 1970-1980."

Subject files compiled by Robert Kushner regarding critic Amy Goldin (1926-1978), Kushner's former teacher and close friend, contain mainly photocopies and a few original documents. Included are published and unpublished writings, letters to and from Goldin, photographs, and biographical material. A small amount of original primary sources related to Goldin are also found.
Arrangement:
Collection is arranged in 3 series:

Series 1: Performances and Artwork, 1967-1988 (Boxes 1-4, FC 6-7; 3.7 linear feet)

Series 2: Video Documentation and Exhibition Proposal, 1988-2002 (Box 4; 0.2 linear feet)

Series 3: Research Material on Amy Goldin, 1971-2011 (Boxes 4-5; 0.7 linear feet)
Biographical / Historical:
Robert Kushner (1949- ) is a New York, N.Y.-based painter of the Pattern and Decoration movement and an installation artist who began his career as a performance artist.

Kushner was born in Pasadena, California in 1949 and studied visual arts at the University of California at San Diego, La Jolla in the late 1960s and early 1970s. Kushner met and worked closely with the critic Amy Goldin at UCSD, and his work was strongly influenced by her scholarship and thinking about non-Western visual cultures, particularly regarding Islamic decorative art.

Kushner began his work with fashion, costume, and performance in the early 1970s in New York City. He performed and exhibited in the many SOHO art spaces that emerged at that time supporting avant garde and experimental art, such as the 98 Greene Street Loft, the Kitchen, The Clocktower, St. Mark's Church, and Paula Cooper Gallery. The work evolved from the creation of soft sculptures using found materials, to the creation of costumes and fashion "lines" with nontraditional materials, including fresh food, which he presented in the performance genres of pageants and fashion shows, using models to exhibit his works before live audiences. In 1973, art dealer Holly Solomon became a champion of his work. He was a founding member of the Pattern and Decoration movement beginning in the mid-1970s, and his performance, costume, and paintings are strongly associated with that movement.

Kushner has exhibited his work widely, with major exhibitions at the Whitney Museum of American Art, the Brooklyn Museum of Art, and the Philadelphia Institute of Contemporary Art. Kushner's work is included in the permanent collections of the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the National Gallery of Art, among many others. He is represented in New York by the DC Moore Gallery.
Provenance:
Donated 2013 by Robert Kushner.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Topic:
Painters -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Pattern and decoration (Art movement)  Search this
Genre/Form:
Sound recordings
Video recordings
Citation:
Robert Kushner papers, 1967-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kushrobe
See more items in:
Robert Kushner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kushrobe

Oral history interview with Teresa Carbone, 2020 September 9

Interviewee:
Carbone, Teresa A.  Search this
Interviewer:
Gillespie, Benjamin, 1988-  Search this
Subject:
Pandemic Oral History Project  Search this
Type:
Interviews
Video recordings
Topic:
Pandemics  Search this
COVID-19 (Disease)  Search this
Record number:
(DSI-AAA_CollID)22008
AAA_collcode_carbon20
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_22008

Downtown Gallery records, 1824-1974, bulk 1926-1969

Creator:
Downtown Gallery (New York, N.Y.)  Search this
Subject:
Stella, Joseph  Search this
Stieglitz, Alfred  Search this
Storrs, John Henry Bradley  Search this
Sunami, Soichi  Search this
Spencer, Niles  Search this
Stasack, Edward  Search this
Steichen, Edward  Search this
Steig, William  Search this
Van Vechten, Carl  Search this
Varian, Dorothy  Search this
Walters, Carl  Search this
Webb, Electra Havemeyer  Search this
Tam, Reuben  Search this
Tannahill, Robert Hudson  Search this
Tseng, Yu-ho  Search this
Valente, Alfredo  Search this
Pippin, Horace  Search this
Pattison, Abbott L. (Abbott Lawrence)  Search this
Rattner, Abraham  Search this
Pollet, Joseph C.  Search this
Osborn, Robert Chesley  Search this
Pascin, Jules  Search this
Crawford, Ralston  Search this
Shahn, Ben  Search this
Sheeler, Charles  Search this
Siporin, Mitchell  Search this
Siegel, Adrian  Search this
Reynal, Kay Bell  Search this
Ray, Man  Search this
Saklatwalla, Beram K.  Search this
Rockefeller, Abby Aldrich  Search this
O'Keeffe, Georgia  Search this
Zorach, William  Search this
Zorach, Marguerite  Search this
Zerbe, Karl  Search this
Zajac, Jack  Search this
Yavno, Max  Search this
Wilde, Isabel Carleton  Search this
Weber, Max  Search this
Adams, Ansel  Search this
Breinin, Raymond  Search this
Broderson, Morris  Search this
Laurent, Robert  Search this
Brook, Alexander  Search this
Bry, Doris  Search this
Burlin, Paul  Search this
Carlen, Robert  Search this
Cikovsky, Nicolai  Search this
Coleman, Glenn O.  Search this
Klein, Carl  Search this
Kuniyoshi, Yasuo  Search this
Karfiol, George  Search this
Karolik, Maxim  Search this
Lawrence, Jacob  Search this
Lea, Wesley  Search this
Lane, William H.  Search this
Lewandowski, Edmund  Search this
Marin, John  Search this
Levi, Julian E. (Julian Edwin)  Search this
Levine, Jack  Search this
Nakian, Reuben  Search this
Newman, Arnold  Search this
Maya, Otto  Search this
Morris, George L. K.  Search this
Dove, Arthur Garfield  Search this
Dole, William  Search this
Doi, Isami  Search this
Davis, Stuart  Search this
Fredenthal, David  Search this
Felix Landau Gallery  Search this
Halpert, Samuel  Search this
Halpert, Edith Gregor  Search this
Guglielmi, Louis  Search this
Garbisch, Edgar  Search this
Karfiol, Bernard  Search this
Demuth, Charles  Search this
Hartley, Marsden  Search this
Cahill, Holger  Search this
Hart, George Overbury  Search this
Harnett, William Michael  Search this
Our Gallery (New York, N.Y.)  Search this
American Folk Art Gallery  Search this
Boris Mirski Gallery  Search this
Ernest Brown & Phillips  Search this
Type:
Video recordings
Photographs
Motion pictures (visual works)
Topic:
Art dealers -- New York (State) -- New York  Search this
Fraktur art  Search this
Art -- Collectors and collecting -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Printmakers -- United States  Search this
Sculptors -- United States  Search this
Art, Modern -- 20th century -- United States  Search this
Artists -- United States  Search this
Weather vanes  Search this
Chalkware  Search this
Figureheads of ships  Search this
Folk art  Search this
Record number:
(DSI-AAA_CollID)6293
(DSI-AAA_SIRISBib)221206
AAA_collcode_downgall
Theme:
African American
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_221206
Online Media:

Living Self-Portrait: Vernon Jordan

Producer:
National Portrait Gallery, Smithsonian Institution  Search this
VideoArt Productions  Search this
Sitter:
Vernon E. Jordan Jr., born 15 Aug 1935  Search this
Interviewer:
Marc Pachter  Search this
Medium:
Video recording
Dimensions:
Duration: 1 hr., 16 min.
Type:
Time-Based Media
Date:
April 9, 2012
Topic:
Vernon E. Jordan Jr.: Male  Search this
Vernon E. Jordan Jr.: Society and Social Change\Reformer\Activist\Civil rights activist\Civil rights leader  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution: Audio/Visual Special Collection
Object number:
AV.2012.EDU.1
Restrictions & Rights:
Usage conditions apply
Copyright:
© 2012 NPG, SI
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm49e99ab2c-5ba1-45bc-8256-70db5ced24a9
EDAN-URL:
edanmdm:npg_AV.2012.EDU.1

Reuben Tam papers, 1931-2006

Creator:
Tam, Reuben, 1916-1991  Search this
Subject:
Andrews, Dorothy  Search this
Nesjar, Carl  Search this
Kienbusch, William  Search this
Solomon, Hyde  Search this
Alan Gallery (Charles Alan)  Search this
Coe Kerr Gallery  Search this
Brooklyn Museum of Art  Search this
John Simon Guggenheim Memorial Foundation  Search this
Downtown Gallery (New York, N.Y.)  Search this
Skowhegan School of Painting and Sculpture  Search this
Type:
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Topic:
Painters -- New York (State) -- New York  Search this
Educators -- Hawaii  Search this
Educators -- Maine  Search this
Educators -- New York (State)  Search this
Record number:
(DSI-AAA_CollID)8481
(DSI-AAA_SIRISBib)210657
AAA_collcode_tamreub
Theme:
Asian American
Lives of American Artists
Sketches & Sketchbooks
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210657
Online Media:

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