Arnoldi just bronze : November 3 through December 13, 1987 : an exhibition organized by the Museum Studies Certificate Program, University Art Museum, California State University, Long Beach / edited by Constance W. Glenn with Jane K. Bledsoe
Author:
Glenn, Constance W (Constance White) 1933- Search this
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection Search this
Extent:
77 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2013 February 4-5
Scope and Contents:
An oral history interview with Steve Martin conducted 2013 February 4-5, by James McElhinney, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Martin's home, in Beverly Hills, California.
Interviewee Steve Martin (1945- ) is an art collector, comedian, actor, musician, and author in Beverly Hills, Calif. Interviewer James McElhinney (1952- ) is a painter and educator of New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- California -- Beverly Hills -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by Barbara Fleischman.
An interview of Robert Irwin conducted 2013 February 9-May 11, by Matthew Simms, for the Archives of American Art's U.S. General Services Administration, Design for Excellence and the Arts oral history project, at Irwin's home in San Diego, California.
Biographical / Historical:
Interviewee Robert Irwin (1928- ) is an installation artist from southern California. Interviewer Matthew Simms (1967- ) is a professor of Art History at the California State University, Long Beach in Long Beach, California.
General:
Originally recorded as 17 sound files. Duration is 11 hr., 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.
Restrictions:
For information on how to access this interview contact Reference Services.
Correspondence documents Wortz's appointments at California State University, Long Beach, and California State College, San Bernardino, as well as commissions for the publication Arts Magazine in the 1970s. Also documented are some of Wortz's professional activities outside of UCI, including serving on various advisory boards, commissions, and juries; lecturing and consulting work; and loans of her personal art collection.
Correspondence includes scattered letters and postcards from artists including Eleanor Antin, Christo and Jean Claude, John Coplans, David French, Craig Kauffman, Cork Marchesi, Jim Risser, Eve Sonneman, Hap Tivey, Marc Van Der Marck, and Elsa Warner; and historians and curators including Sandy Ballatore and Susan Larsen. One folder, which retains the original label, "Artist and Other Special Cards," includes multiple postcards from Lena Handschy and Martha Rosler, and mail art from Daniel Barber.
Also documented is a trip to Europe, primarily Paris and Milan, in 1978-1979, funded by a critic's grant from the National Endowment for the Arts, during which Wortz conducted research for a book on light and space, and visited the collection of Count Panza in Milan.
The series includes a sound cassette of an Ellen Lampert performance, and three sound cassettes of an unidentified symposium/panel discussion.
Arrangement:
General correspodence files in rough chronological order are followed by correspondence arranged by subject.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Support for the processing of this collection was provided by the Smithsonian's Collections Care Pool Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
This subseries contains documentation about the "L. A. Art Index," a project coordinated in 1980 by California State University, Long Beach, to compile an index of artists and art groups (including architects and photographers) working in Los Angeles in the 1930s. Esther McCoy conducted research and compiled information for this project. Found here are correspondence, a portion of a draft index (stops at Gh-), and the "Master File" containing photocopies of a card file used for the index.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
Printed material produced by OK Harris Works of Art includes a complete set of exhibition announcements. Scattered among the announcements are a small number of invitations to gallery events including receptions, openings, a sock hop, a few performances, concerts, and parties. Although OK Harris presented as many as six concurrent exhibitions every six weeks, the number of exhibition catalogs and posters is very small, reflecting the tight schedule. Earlier printed material is particularly creative and unique, each announcement carving out an attention getting and occasionally humorous approach, some with modest shock value. The graphics are usually interesting as are the materials used. Over time, OK Harris's printed items became more traditional with postcard style announcements predominating.
Printed material produced by others consists of periodicals, books, exibition catalogs, guidebooks and clippings. Most are about or mention Ivan Karp, Marilyn Karp, gallery artists and exhibitions. Exhibition catalogs feature works by OK Harris artists and works loaned by the gallery; also included are catalogs of shows for which Karp was a juror. Miscellaneous items relate to events with Karp as a speaker or juror. Scattered throughout is general information about SoHo and Photo-realism. Exhibition Posters are: "Amerikanske Realister," Randers Kunstmuseum; "Ivan C. Karp Photographs," California State University, Long Beach; "Los Angeles Heute," Amerika Haus; and "Ivan Karp: The Face of Contemporary Art," Hong Kong Institute for Promotion of Chinese Culture. Miscellaneous posters are: "Walt Disney" by W. Fawcett, "Marihuana" (sic), "Artist being Booked for Exhibiting Without Talent," "Biscuits" by Manuel Hughes, and "Davis Cone."
Arrangement:
Additional printed items generated by OK Harris Works of Art and other sources are found among administrative files (Series 2), artists' files (Series 3), and the Ivan C. Karp papers (Series 8).
This series is arranged as 2 subseries:
5.1: Produced by OK Harris Works of Art, 1969-2014
5.2: Produced by Others, 1963-2012
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014. Archives of American Art, Smithsonian Institution.
Merlino, Maxine Ollie Seelbinder, 1912- Search this
Names:
California State University, Long Beach -- Faculty Search this
Extent:
1.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1928-2003
Summary:
The papers of illustrator, muralist, theatrical set designer, and professor Maxine Seelbinder Merlino papers measure 1.1 linear feet and date from 1928-2003. The collection includes correspondence; newspaper clippings and reviews of artist's work; sketches for stage and set designs and mural decorations; federal commission contracts; exhibition brochures; theater playbills and announcements; photographs; original art work, including drawings and sketches; original lithographs; and material on the dedication of the Merlino Gallery at California State University, Long Beach.
Scope and Content Note:
The papers of illustrator, muralist, theatrical set designer, and professor, Maxine Seelbinder Merlino papers measures 1.1 linear feet and date from 1928-2003. The collection includes correspondence; newspaper clippings and reviews of artist's work; sketches for stage and set designs and mural decorations; federal commission contracts; exhibition brochures; theater playbills and announcements; photographs; original art work, including watercolor sketches; original lithographs; and material on the dedication of the Merlino Gallery at California State University, Long Beach.
Documenting Merlino's work on New Deal federal government programs are letters sent to her in the early 1940s from the Public Buildings Administration and the Section of Fine Arts of the Federal Works Agency in Washington, D.C. as well as three photographs of a mural executed by Merlino for the Recorder of Deeds Building in Washington, D.C. that depicts Benjamin Banneker, a pioneering African-American surveyor, inventor, and astronomer.
Representing Merlino's early New York period are brochures of group exhibitions and her one-woman show in a theater gallery. Among the original works of art are two original lithographs: Franco's Destruction, which was reproduced in a 1938 issue of New Masses, and Hearst's Empire, which appeared in the April 1938 edition of The Fight magazine.
Arrangement:
The collection is arranged as five series:
Series 1: Biographical, 1929-2003 (Box 1; 5 folders)
Series 2: Letters, 1936-2001 (Box 1; 6 folders)
Series 3: Projects, 1927-2002 (Box 1-2; 26 folders)
Series 4: Printed Material, 1939-1969 (Box 1-2; 13 folders)
Series 5: Works of Art, 1932-1957 (Box 1, 3, OV 4; 21 folders)
Biographical Note:
Maxine Ollie Seelbinder Merlino was born in Portland, Oregon in 1912. She trained at the Portland Art Museum School before venturing to New York City where she took classes at the Art Students' League with, among others, Will Barnet, Anton Refregier, Adolph Gottlieb, Hans Hofmann, and Harry Sternberg. Maxine Merlino worked in New York from 1936 to 1943 as a free-lance illustrator, muralist, and theatrical set designer.
In 1940 and 1942, Merlino won mural commissions for the United States Department of Interior Section of Fine Arts program. She designed and executed murals for the S.S. Garfield, and painted a mural that graced the Recorder of Deeds Building in Washington, D.C., one of seven murals in the building celebrating the contributions of African Americans.
Relocating to Long Beach, California in 1943, she worked as a scientific illustrator for the Army Air Force during the Second World War and subsequently as a stage, set and costume designer for theater and film producer Preston Sturges. From the early 1950s until her retirement in 1976, she was affiliated with California State University, Long Beach where she served as a Professor of Art and Theater Design and then as Dean of the Art Department. In recognition of Dr. Merlino's contributions to the department, the university dedicated an art gallery in her name, in February 2003.
Provenance:
Dr. Merlino donated her papers in 2003.
Restrictions:
The collection is open for research. Use 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.
Topic:
Mural painting and decoration -- 20th century -- California Search this
Merlino, Maxine Ollie Seelbinder, 1912- Search this
Container:
Box 1, Folder 11
Type:
Archival materials
Date:
1952-2001
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Maxine Seelbinder Merlino papers, 1928-2003. Archives of American Art, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
Use of original papers 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.
One box of correspondence with Michael Dorris and Louise Erdrich and one box of correspondence with Robert Fichter are ACCESS RESTRICTED; use requires written permission.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Eileen Cowin papers, 1961-2015. Archives of American Art, Smithsonian Institution.
California State University, Long Beach Search this
Extent:
17.1 Linear feet
6.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Video recordings
Date:
1960s-2014
Summary:
The papers of writer, art historian, and curator Constance Glenn measure 17.1 linear feet and 6.88 GB and date from the 1960s to 2014. The material documents Glenn's career through correspondence, writings, book project files, exhibition documentation, professional records, research files, printed and digital material, and some photographs. Also well documented is Glenn's tenure as Museum Director and educator at California State University, Long Beach.
Scope and Contents:
The papers of writer, art historian, curator and museum director Constance Glenn measure 17.1 linear feet and 6.88 GB and date from the 1960s to 2014. The papers consist of material related to Glenn's writings and book projects, curated exhibitions, professional associations, research, involvement with California State University, Long Beach, and printed and digital material. Exhibition openings, panel discussions, and interviews are present in the format of sound and video recordings. Also included are correspondence, photographs, and a small series related to Glenn's interest and experience in art collecting, including price lists, inventories, and provenance records.
Series 2: Correspondence, 1972-2014 (Box 1-2, 0.8 linear feet)
Series 3: Writings, 1981-2011 (Box 2-4, 2 linear feet)
Series 4: Book Projects, 1984-1999 (Box 4-6, 2.5 linear feet)
Series 5: Artist Files, 1976-2005 (Box 6-7, 1 linear feet, ER02-ER05; 2.54 GB)
Series 6: Exhibition Files, 1979-2003 (Box 7-10, 2.1 linear feet, ER06-ER07; 3.53 GB)
Series 7: Professional Files, 1979-2007 (Box 11-12, 1.3 linear feet)
Series 8: California State University, Long Beach, Files, 1975-2001 (Box 12-13, 1.8 linear feet, ER08; 0.051 GB)
Series 9: Art Inventory and Sales Records, circa 1960s-1980s (Box 13-14, 1 linear feet)
Series 10: Printed Material, 1960s-2014 (Box 14-15, 1.8 linear feet)
Series 11: Photographs, circa 1960s-2000s (Box 16-17, 2 linear feet)
Biographical / Historical:
Constance Glenn (1933-) is an art historian, writer, and curator in California. Glenn was the founding director of the University Art Museum at California State University, Long Beach. She received her Bachelor of Fine Art from the University of Kansas in 1955, and completed her Masters of Arts in Fine Art from California State University as she simultaneously founded the University Art Museum at CSULB in 1973. During her career at CSULB, the University Art Museum grew from a small gallery-sized exhibition space to a nationally-celebrated contemporary art museum. Glenn also founded the Graduate Certificate Program in Museum Studies at CSULB, and taught art history and museum studies courses at the university.
Exhibitions curated by Glenn include Frances Benjamin Johnson: Women of Status and Station (1979); Eric Fischl: Scenes Before the Eye (1986-1987); James Rosenquist: Time Dust/The Complete Graphics (1962-1992); The Great America Pop Art Store: Multiples of the Sixties (1997); and Candida Hofer: Architecture of Absence (2004). In addition, Glenn served as a consulting curator for A Happening Place (2003), curated by Cheryl Harper for the Gershman Y in Philadelphia, Pennsylvania.
As an art historian and writer, Glenn participated in lectures and panel discussions as well as published essays, articles, and books. Glenn was an editor and feature writer for Antiques & Fine Art, Angeles Magazine, and Architectural Digest; contributed biographical articles to the Dictionary of Art and Encyclopedia Americana; and was involved with professional associations such as the J. Paul Getty Trust Fund for the Visual Arts, Art/LA, Association of Art Museum Directors, and the Archives of American Art.
Glenn was married to art dealer Jack Glenn (1933-2014).
Provenance:
The collection was donated by Constance Glenn in 2016.
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.
Constance Glenn papers, 1960s-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
California State University, Long Beach files document Constance Glenn's tenure as an educator and museum director at CSULB. Glenn helped found the university's museum, the University Art Museum, in 1973 as she was completing her M.A. in Fine Art. She initiated CSULB's Graduate Certificate in Museum Studies, and taught courses on art and museum studies. The papers mostly include administrative records such as correspondence, performance review files, and resumes. Also included are research files and manuscript drafts that were compiled for an M.A. thesis regarding art collector Marcia Weisman. Glenn served as a supervisor for this project.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Constance Glenn papers, 1960s-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
