Search Results

Creator:

Stable Gallery  Search this

Names:

New York School of poets and painters  Search this

Groh, Alan, 1923-1996  Search this

Scull, Robert, 1917-1986 -- Art collections  Search this

Ward, Eleanor, 1912-1984  Search this

Extent:

2.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Video recordings

Sketchbooks

Sound recordings

Photographs

Date:

1916-1999

bulk 1953-1970

Summary:

The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, and personal papers and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

Scope and Content Note:

The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, personal papers, and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

The Stable Gallery's administrative records includes both general correspondence and copious letters from Eleanor Ward to Alan Groh, her assitant regarding gallery business, lists, floor plans, financial records, printed matter, and photographs of unidentified artwork and exhibition installations. There are also reminiscences by gallery owner Eleanor Ward and Alan Groh, a cassette recording of Eleanor Ward, and a film recording of a 1973 Sotheby auction of works from the Robert C. Scull collection. Additional Stable Gallery administrative and financial information, as well as related printed matter is included with the artist files.

Artist files contain biographical notes, correspondence, price lists, printed matter, and photographs of artists and artwork. The correspondence includes memoranda regarding payments to artists and sales information. Among the printed matter is documentation of the Stable Gallery and other exhibitions, reviews, and miscellaneous articles. Unfortunately, no records about the famous Stable Annuals held between 1953 and 1957 survive.

Artwork consists of 4 sketchbooks and loose sheets with charcoal drawings by unidentified artist(s).

The Eleanor Ward papers include miscellaneous personal papers and records concerning her estate. Photographs in the series are of Eleanor Ward, friends and family, parties, and the interior and exterior of Ward's Connecticut house.

Arrangement:

The collection is arranged as four series:

Missing Title

Series 1: Administrative Records, 1955-1986 (0.5 linear feet; Boxes 1, 4, 5)

Series 2: Artist Files, 1952-1997 (1.6 linear feet; Boxes 1-2)

Series 3: Artwork, circa 1955-1970 (3 folders; Box 4)

Series 4: Eleanor Ward Papers, 1916-1999 (0.5 linear feet; Boxes 2-4, 5)

Historical Note:

Established in 1953 by Eleanor Ward (1911-1984), the Stable Gallery derived its name from its first home, a former livery stable on Seventh Avenue at West 58th Street, New York City. Long interested in art and recognized for her "good taste" and "flair," Mrs. Ward had vaguely considered the idea of opening her own gallery for some time and received encouragement from Christian Dior, with whom she had worked in Paris. In 1952, opportunity arose to lease a suitable building that would later become a gallery. At first, Ward and a friend sold mannequins and made the large, empty space available for fashion photography; in December, she operated a Christmas boutique for a few weeks.

The Stable Gallery opened in 1953 with an exhibition of work by Ward's friend Mike Mishke, a commercial artist. She then arranged for the Stable Gallery to host a sequel to the 1951 Ninth Street Show (the initial show, organized by the Club with financial assistance from Leo Castelli, was held in an empty store on Ninth Street). The New York Artists Annual, better known as the Stable Annual, was selected by the artists themselves; this well-attended, widely-reviewed, and influential exhibition continued until 1957. Participating artists included Philip Guston, Franz Kline, Willem deKooning, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, Richard Stankiewicz, and Jack Tworkov.

The Stable Gallery soon became a gathering place for artists, including some not in Stable's "stable." Over the years, the Stable Gallery presented the first one-man shows of Robert Indiana, Cy Twombly, and Andy Warhol. Among the artists closely associated with the gallery were: Joseph Cornell, Edward Dugmore, John Ferren, Alex Katz, Conrad Marca-Relli, Marisol, Joan Mitchell, Isamu Noguchi, Richard Stankiewicz, Cy Twombly, Jack Tworkov, and Wilfred Zogbaum. The gallery was known for dramatic, somewhat theatrical installations, and occasionally presented exhibitions beyond its usual focus (photographs by Hans Namuth and pre-Columbian sculpture, which personally interested Ward).

When the block where the Stable Gallery stood was razed in 1960 to make way for a high rise apartment building, Mrs. Ward moved her gallery to 33 East 74th Street, where she was able to maintain an apartment for herself upstairs. Quite abruptly, Ward closed the Stable Gallery in 1970, noting changes in the art scene, growing commercialization, and a loss of enthusiasm that made the gallery merely a business for her. Alan Groh (1923-1996), who started as Eleanor Ward's assistant in 1956 and was eventually named gallery director, became director of A. M. Sachs Gallery. Mrs. Ward traveled widely and acted as an art consultant to selected clients.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Eleanor Ward conducted by Paul Cummings, February 8, 1972.

Provenance:

The Stable Gallery records were the gift of the Estate of Eleanor Ward. In 1984, artist files were received from Alan Groh, executor of Ward's estate and her assistant at the Stable Gallery. Additional records were donated in 1997 by Buzz Miller on behalf of the Estate of Eleanor Ward; Mr. Miller was Alan Groh's partner and executor of his estate. Another addition was received in 1999 from Paul Gardner, executor of the Estate of Buzz Miller. A final addition of 0.2 liner feet was donated in 2019 by Nancy Berner, Alan Groh's niece.

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. 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:

New York school of art  Search this

Art, Modern -- 20th century -- Exhibitions  Search this

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Drawings

Video recordings

Sketchbooks

Sound recordings

Photographs

Citation:

Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Lichtenstein Foundation.

Identifier:

AAA.stabgall

See more items in:

Stable Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw991ac322b-59f8-40f3-8b7a-926e8ffb653b

EDAN-URL:

ead_collection:sova-aaa-stabgall

Creator:

Fabri, Ralph, 1894-  Search this

Subject:

Artists for Victory, Inc.  Search this

American Watercolor Society  Search this

Today's art  Search this

Society of American Etchers  Search this

Type:

Photographs

Christmas cards

Scrapbooks

Video recordings

Drawings

Diaries

Watercolors

Sketches

Sketchbooks

Illustrated letters -- Local

Citation:

Ralph Fabri papers, circa 1870s-1975, bulk 1918-1975. Archives of American Art, Smithsonian Institution.

Topic:

Painters -- New York (State) -- New York  Search this

Art -- Study and teaching -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Educators -- New York (State) -- New York  Search this

Art criticism -- New York (State) -- New York  Search this

Painting, American -- New York (State) -- New York  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8896

(DSI-AAA_SIRISBib)211081

AAA_collcode_fabrralp

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211081

Creator:

Kent, Rockwell, 1882-1971  Search this

Names:

American Artists' Congress  Search this

Artists League of America  Search this

Artists' Union (New York, N.Y.)  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

International Workers Order  Search this

Macbeth Gallery  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

Boyesen, Bayard  Search this

Chamberlain, J. E.  Search this

Chase, William Merritt, 1849-1916  Search this

Cleland, T. M. (Thomas Maitland), 1880-1964  Search this

Daniel, Charles, 1878-1971  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Fitzgerald, James, 1899-1971  Search this

Freuchen, Peter, 1886-1957  Search this

Gellert, Hugo, 1892-1985  Search this

Gottlieb, Harry, 1895-  Search this

Hartley, Marsden, 1877-1943  Search this

Hays, Lee, 1914-1981  Search this

Henri, Robert, 1865-1929  Search this

Jones, Dan Burne  Search this

Keller, Charles, 1914-2006  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Nearing, Helen  Search this

Nearing, Scott, 1883-1983  Search this

Pach, Walter, 1883-1958  Search this

Phillips, Duncan, 1886-1966  Search this

Rasmussen, Knud, 1879-1933  Search this

Reeves, Ruth, 1892-1966  Search this

Robeson, Paul, 1898-1976  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Ruggles, Carl, 1876-1971  Search this

Seeger, Pete, 1919-2014  Search this

Stefansson, Vilhjalmur, 1879-1962  Search this

Untermeyer, Louis, 1885-1977  Search this

Wildenstein, Felix, 1883-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

88 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Sketches

Business records

Photographs

Drawings

Date:

circa 1840-1993

bulk 1935-1961

Summary:

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Scope and Content Note:

The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.

Arrangement:

The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)

Biographical Note:

Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Provenance:

In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.

Restrictions:

The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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:

Painters -- New York (State)  Search this

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

Art, Modern -- 20th century -- United States -- Political aspects  Search this

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Function:

Labor unions

Genre/Form:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kentrock

See more items in:

Rockwell Kent papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a

EDAN-URL:

ead_collection:sova-aaa-kentrock

Interviewee:

Kent, Rockwell, 1882-1971  Search this

Interviewer:

Cummings, Paul  Search this

Names:

American Artists Group  Search this

Art Students League (New York, N.Y.)  Search this

Armitage, Merle, 1893-1975  Search this

Chase, William Merritt, 1849-1916  Search this

Henri, Robert, 1865-1929  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

1 Sound tape reel (Sound recording: (3 hours 30 min.), 7 in.)

40 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1969 Feb. 26-27

Scope and Contents:

An interview of Rockwell Kent conducted 1969 Feb. 26-27, by Paul Cummings, for the Archives of American Art. Kent speaks of his family background; his early interest and talent in art; studying painting with Robert Henri and William Merritt Chase; his early studies and work in architecture; Kenneth Hayes Miller as a teacher; experiences which influenced him and inspired him; his travels and explorations; his work in book design and illustration; mural commissions; the American Artists Group; his political life and public affairs. He recalls Merle Armitage and Carl Zigrosser.

Biographical / Historical:

In addition to being a successful painter, printmaker, illustrator, designer, and commercial artist, Kent pursued careers as a writer, professional lecturer, and dairy farmer. He travelled extensively, and was a political activist who supported the causes of organized labor, civil liberties, civil rights, anti-Fascism, and peace and friendship with the Soviet Union.

Provenance:

These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Transcript: Patrons must use microfilm copy.

Topic:

Book design  Search this

Illustration of books  Search this

Mural painting and decoration  Search this

Printmakers -- New York (State) -- Interviews  Search this

Illustrators -- New York (State) -- Interviews  Search this

Landscape painters -- New York (State) -- Interviews  Search this

Muralists -- New York (State) -- Interviews  Search this

Painters -- New York (State) -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kent69

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw945e08dc3-ea19-4a00-9417-53bea9ad55f1

EDAN-URL:

ead_collection:sova-aaa-kent69

Interviewee:

Knowles, Alison, 1933-  Search this

Interviewer:

Richards, Judith Olch  Search this

Creator:

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Names:

California Institute of the Arts -- Faculty  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Middlebury College -- Students  Search this

Pratt Institute. Art School -- Students  Search this

Albers, Josef  Search this

Brecht, George  Search this

Callahan, Harry M.  Search this

Chicago, Judy, 1939-  Search this

De Kooning, Willem, 1904-1997  Search this

Duchamp, Marcel, 1887-1968  Search this

Gordon, Coco, 1938-  Search this

Gottlieb, Adolph, 1903-1974  Search this

Hamilton, Richard, 1922-  Search this

Hendricks, Jon  Search this

Higgins, Dick, 1938-1998  Search this

Johnson, Ray, 1927-1995  Search this

Jones, Joe, 1909-1963  Search this

Kaprow, Allan  Search this

Kuehn, Kathy  Search this

Lauf, Cornelia  Search this

Lindner, Richard, 1901-1978  Search this

Mac Low, Jackson  Search this

Maciunas, George, 1931-1978  Search this

Moorman, Charlotte  Search this

Ono, Yōko  Search this

Paik, Nam June, 1932-  Search this

Pollock, Jackson, 1912-1956  Search this

Rauschenberg, Robert, 1925-2008  Search this

Saito, Takako, 1929-  Search this

Schapiro, Miriam, 1923-2015  Search this

Schneemann, Carolee, 1939-  Search this

Schöning, Klaus  Search this

Shiomi, Mieko, 1909-1948  Search this

Silverman, Gilbert  Search this

Spoerri, Daniel, 1930-  Search this

Teitelbaum, Richard  Search this

Tenney, James  Search this

Waśko, Ryszard  Search this

Extent:

86 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2010 June 1-2

Scope and Contents:

An interview of Alison Knowles conducted 2010 June 1-2, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project, at Knowles' home and studio, in New York, N.Y.

Knowles speaks of her family background; her father's (an English professor) influence on her education; her love of nature and isolation as a young girl; her French studies at Middlebury College; her transfer to Pratt Institute to study art; the social and academic environment at Pratt; her inclinations towards abstraction; her first marriage to Jim Ericson; her first studio at 423 Broadway; her early jobs as a commercial artist; her first gallery show at Nonagon, in 1958, and how she subsequently burned the paintings in that show; her second marriage to Dick Higgins in 1960; her Judson Gallery Show in 1962 and how she subsequently discarded those works; her involvement in the Fluxus group; her involvement with the "Cage class," and its early performances; her collaboration with John Cage on the book, "Notations" (1968); her collaboration with Marcel Duchamp on a print (1967); the circumstances surrounding her performance piece, "Make a Salad" (1962), her travels through Europe with Higgins; the birth of her twins; her computerized poetic piece and installation, "House of Dust" (1967) and how it was later vandalized; her move to Los Angeles to teach at CalArts; the rebuilding of "House of Dust" at CalArts; her move back to New York; the processes leading up to several projects and collaborations including "Loose Pages," "Big Book," "Bread and Water," and more; where she finds her inspiration; her thoughts on performance art; her studio environment in Barrytown, N.Y.; the influence and support of Germany on her work and Fluxus in general; her recent work, including "Identical Lunch"; and current challenges she faces as an artist.

She recalls Richard Lindner, Adolph Gottlieb, Willem de Kooning, Jackson Pollock, Judy Chicago, Josef Albers, Dorothy Podber, Ray Johnson, Dick Higgins, Robert Rauschenberg, John Cage, Klaus Schöning, Jon Hendricks, Gilbert Silverman, George Maciunas, George Brecht, Jack Mac Low, Yoko Ono, Mieko Shiomi, Takako Saito, Joe Jones, Marcel Duchamp, Daniel Spoerri, Richard Hamilton, Nam June Paik, Charlotte Moorman, Helmut Becker, Coco Gordon, Jim Tenney, Cornelia Lauf, Rirkrit Tirvanija, Allan Kaprow, Simone Forte, Carolee Schneemann, Richard Teitelbaum, Miriam Schapiro, Miguel Abrau, James Fuentes, Cyrilla Wozenter, Kathy Kuehn, Ryszard Wasko.

Biographical / Historical:

Alison Knowles (1933- ) is an artist and a founding member of Fluxus in New York, N.Y. Judith Olch Richards (1947- ) is a former director of iCI in New York, N.Y.

General:

Originally recorded on 5 mini discs. Duration is 5 hr., 45 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.

Occupation:

Conceptual artists -- New York (State) -- New York  Search this

Topic:

Fluxus (Group of artists)  Search this

Women artists  Search this

Women performance artists  Search this

Performance art  Search this

Function:

Artists' studios

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation.

Identifier:

AAA.knowle10

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98f89c1d9-b4ed-49cb-8fac-4f5e5dedfa4e

EDAN-URL:

ead_collection:sova-aaa-knowle10

Interviewee:

De Rivera, José Ruiz, 1904-1985  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with José de Rivera, 1968 February 24. Archives of American Art, Smithsonian Institution.

Topic:

Hispanic American artists  Search this

Sculpture, American  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Sculptors -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12594

(DSI-AAA_SIRISBib)212627

AAA_collcode_derive68

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212627

Interviewee:

Harari, Hananiah, 1912-2000  Search this

Interviewer:

Stavitsky, Gail, 1954-  Search this

Subject:

Davis, Stuart  Search this

Emanuel, Herzl  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Hananiah Harari, 1992 Sept. 24-Oct. 15. Archives of American Art, Smithsonian Institution.

Topic:

Political cartoons  Search this

Commercial art  Search this

Mural painting and decoration -- 20th century -- United States  Search this

Painters -- New York (State) -- New York -- Interviews  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Record number:

(DSI-AAA_CollID)12622

(DSI-AAA_SIRISBib)214897

AAA_collcode_harari92

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_214897

Interviewee:

Knowles, Alison, 1933-  Search this

Interviewer:

Richards, Judith Olch, 1947-  Search this

Subject:

Albers, Josef  Search this

Brecht, George  Search this

Callahan, Harry M.  Search this

Chicago, Judy  Search this

De Kooning, Willem  Search this

Duchamp, Marcel  Search this

Gordon, Coco  Search this

Gottlieb, Adolph  Search this

Hamilton, Richard  Search this

Hendricks, Jon  Search this

Higgins, Dick  Search this

Johnson, Ray  Search this

Jones, Joe  Search this

Kaprow, Allan  Search this

Kuehn, Kathy  Search this

Lauf, Cornelia  Search this

Lindner, Richard  Search this

Maciunas, George  Search this

Mac Low, Jackson  Search this

Moorman, Charlotte  Search this

Ono, Yōko  Search this

Paik, Nam June  Search this

Pollock, Jackson  Search this

Rauschenberg, Robert  Search this

Saito, Takako  Search this

Schapiro, Miriam  Search this

Schneemann, Carolee  Search this

Schöning, Klaus  Search this

Silverman, Gilbert  Search this

Shiomi, Mieko  Search this

Spoerri, Daniel  Search this

Tenney, James  Search this

Teitelbaum, Richard  Search this

Waśko, Ryszard  Search this

California Institute of the Arts  Search this

Middlebury College  Search this

Pratt Institute. Art School  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Alison Knowles, 2010 June 1-2. Archives of American Art, Smithsonian Institution.

Topic:

Fluxus (Group of artists)  Search this

Women artists  Search this

Women performance artists  Search this

Performance art  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)15822

(DSI-AAA_SIRISBib)290220

AAA_collcode_knowle10

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_290220

Interviewee:

Sanger, I. J. (Isaac J), 1899-1986  Search this

Interviewer:

Pennington, Estill Curtis  Search this

Names:

American Institute of Graphic Arts  Search this

Columbia University -- Students  Search this

University of Virginia -- Students  Search this

YMCA of the USA  Search this

Dow, Arthur W. (Arthur Wesley), 1857-1922  Search this

Heckman, Albert  Search this

Pins, Jacob, 1917-  Search this

Von Groschwitz, Gustave, 1906-1991  Search this

Extent:

16 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1981 November 17

Scope and Contents:

Interview of I.J. (Isaac) Sanger, conducted 1981 November 17, by Estill Curtis "Buck" Pennington, for the Archives of American Art, in New York, N.Y.

Sanger speaks of his first encounters with art as a child growing up in rural Virginia, and of his first industrial art classes, taken at the University of Virginia in Charlottesville while he was still attending high school in Free Union. After graduating, he received what he describes as his first real training in art while working for the carpentry shop at Columbia University in New York in the early 1920s. While attending Columbia, he found work as a furniture designer for the YMCA [Young Men's Christian Association]. Sanger also worked for his professor Albert Heckman, doing linoleum cuts for "Aesop's Fables," which Heckman was illustrating. He explains that it was Heckman who encouraged him to continue practicing print making. Until then, he had been working in oil and water color while studying "Art Structure" with Arthur Dow.

When the Depression hit in 1929, Sanger lost his position with the YMCA and worked odd jobs until Albert Heckman introduced him to Gustave von Groschwitz, who brought him on to the WPA. During the 1930s, he received widespread recognition for his work; his prints were selected by the American Institute of Graphic Arts for their "50 Prints of the Year" show in 1928 and 1929. Following his work with the WPA, Sanger served the army in World War II at Camp Kearns in Utah. He explains how he continued expanding his portfolio throughout the War, and once it was over, spent 25 years as a commercial artist. He relocated to Washington, D.C. in 1951 and became a member of the Washington Print Society while Prentiss Taylor was secretary. In D.C., he was a graphic designer for the Department of Health, Education and Welfare, but kept up his own private work, which Jacob Pins featured at the Smithsonian Castle. After formally retiring in 1966, Sanger decided to dedicate his time to travel, but adds that he still makes print making, painting, and furniture design a priority.

Biographical / Historical:

I. J. Sanger (1899-1986) was a painter and printmaker of Marlow Heights, Md.

General:

Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 6 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 others.

Occupation:

Furniture designers -- New York (State) -- New York  Search this

Topic:

Painters -- Maryland -- Interviews  Search this

Painting, Modern  Search this

Printmakers -- Maryland -- Interviews  Search this

Prints  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.sanger81

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90ccde882-8ce2-4d68-a03a-12d87b79700f

EDAN-URL:

ead_collection:sova-aaa-sanger81

Interviewee:

De Rivera, José Ruiz, 1904-1985  Search this

Interviewer:

Cummings, Paul  Search this

Extent:

60 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1968 February 24

Scope and Contents:

An interview of José de Rivera conducted 1968 February 24, by Paul Cummings, for the Archives of American Art. De Rivera recalls his childhood on sugar plantations in Louisiana; his early work in New Orleans and Chicago as a mechanic; his training as a commercial artist at Chicago's Studio School and taking life drawing classes with John Norton. He talks about freelancing as a commercial artist in Chicago; his military service during World War II; traveling in Europe and Egypt and relocating to New York. Cummings and de Rivera discuss de Rivera's sculpture in some depth, as well as de Rivera's interest in artists such as Brancusi and Mondrian.

Biographical / Historical:

José de Rivera (1904-1985) was a sculptor in New York, New York.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 9 min.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. Funding for the interview was provided by the New York State Council on the Arts.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Hispanic American artists  Search this

Sculpture, American  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Sculptors -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.derive68

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9148a900b-c944-4ccc-bd3b-3e9443035dfd

EDAN-URL:

ead_collection:sova-aaa-derive68

Interviewee:

Harari, Hananiah, 1912-2000  Search this

Interviewer:

Stavitsky, Gail, 1954-  Search this

Names:

Davis, Stuart, 1892-1964  Search this

Emanuel, Herzl, ca. 1915-  Search this

Extent:

2 Sound cassettes (Sound recordings (3 hours))

76 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1992 Sept. 24-Oct. 15

Scope and Contents:

An interview of Hananiah Harari conducted 1992 Sept. 24-Oct. 15, by Gail Stavitsky, for the Archives of American Art. Harari discusses his work as he shows examples to the interviewer; mural sketches he completed for the WPA (1936-1941); his background; the N.Y. art scene in the 1930s; his political cartoons; writing a monthly column in the magazine THE NEW MASSES entitled "On Safari with Harari"; his commercial artwork; being blacklisted as a commercial artist during the McCarthy Era; how his views on Communism have changed; his early training; studying in Paris and traveling around Europe for several years in the early 1930s; his teaching career at The School of Visual Arts, N.Y. (1974-1991) and at the Art Students League. He recalls Stuart Davis and Herzl Emanuel.

Biographical / Historical:

Hananiah Harari (1912-2000) was a painter, cartoonist, muralist, commercial artist, and educator from New York. Born in Rochester, NY. Taught at the School of Visual Arts in Manhattan from 1974-1990 and at the Art Students League from 1984-1999. Died July 19, 2000.

General:

Sound quality is poor in parts of the interview.

Provenance:

These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Horace Goldsmith Foundation.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Commercial artists -- New York (State) -- New York -- Interviews  Search this

Topic:

Political cartoons  Search this

Commercial art  Search this

Mural painting and decoration -- 20th century -- United States  Search this

Painters -- New York (State) -- New York -- Interviews  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.harari92

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f649893e-87ea-4dca-8d7d-2c0137fe235b

EDAN-URL:

ead_collection:sova-aaa-harari92

Interviewee:

Antonakos, Stephen, 1926-2013  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Subject:

Droll, Donald E.  Search this

Fischbach, Marilyn Cole  Search this

Lippard, Lucy R.  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Stephen Antonakos, 1975 May 9. Archives of American Art, Smithsonian Institution.

Topic:

Neon sculpture -- New York (State) -- New York  Search this

Sculpture, Modern -- 20th century -- United States  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12023

(DSI-AAA_SIRISBib)212217

AAA_collcode_antona75

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212217

Interviewee:

Antonakos, Stephen, 1926-2013  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Droll, Donald E.  Search this

Fischbach, Marilyn Cole, 1931?-2003  Search this

Lippard, Lucy R.  Search this

Extent:

125 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1975 May 9

Scope and Contents:

An interview of Stephen Antonakos conducted 1975 May 9, by Paul Cummings, for the Archives of American Art.

Antonakos speaks of his family and educational background; his work as a commercial artist; the influence of Ben Shahn and David Martin; his association with the Allan Stone Gallery, Fischbach Gallery, and John Weber Gallery; and his collages, pillow assemblages and mail art projects. He discusses his neon sculpture, including electrical wiring and timing devices, selection of colors, glass tubing, installation problems and the cost of electricity. He discusses the aesthetic and conceptual development of his work with neon and mail art. He recalls Donald E. Droll, Marilyn Cole Fischbach and Lucy Lippard.

Biographical / Historical:

Stephen Antonakos (1926-) is a sculptor from New York, New York.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hrs., 30 min.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Topic:

Neon sculpture -- New York (State) -- New York  Search this

Sculpture, Modern -- 20th century -- United States  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.antona75

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95bbc35e1-37e4-4cb4-9df4-6c2e2fefd376

EDAN-URL:

ead_collection:sova-aaa-antona75

Interviewee:

Fuller, Sue, 1914-  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Carnegie Institute of Technology -- Students  Search this

Columbia University. Teachers College -- Students  Search this

Society of American Etchers  Search this

Albers, Josef  Search this

Arms, John Taylor, 1887-1953  Search this

D'Amico, Victor, 1904-1987  Search this

Dewey, John, 1859-1952  Search this

Hofmann, Hans, 1880-1966  Search this

Lejwa, Madeleine Chalette, 1913-1996  Search this

Matta, 1912-2002  Search this

Rattner, Abraham  Search this

Schaefer, Bertha, 1895-1971  Search this

Schanker, Louis, 1903-1981  Search this

Thurn, Ernest  Search this

Extent:

6 Items (Sound recording: 6 sound files, digital, wav file)

94 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Place:

Europe -- description and travel

Japan -- Description and Travel

Date:

1975 April 24-May 8

Scope and Contents:

Interview of Sue Fuller, conducted on April 24, 1975, April 30, 1975, and May 8, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution, at the home of Sue Fuller, in Southampton, New York.

Fuller speaks of her family and childhood in Pittsburgh, including art teachers and friends; her childhood painting lessons; her education in prep school, at Carnegie Tech, and at Columbia Teachers' College; her travels to Europe and Japan; her use of plastics; her work as a teacher, commercial artist, and assistant in Bill Hayter's studio; the influence of John Dewey's philosophy on her teaching style; training with Ernest Thurn, Hans Hofmann, Josef Albers; learning printmaking and calligraphy; the Society of American Etchers; the influence of science and mathematics on her work; and her thoughts on contemporary computer art. Fuller also recalls Bertha Schaefer, Victor D'Amico, Madeleine Lejwa, John Taylor Arms, Abraham Rattner, Louis Schanker, Roberto Matta, and others.

Biographical / Historical:

Sue Fuller (1914-2006) was a sculptor and printmaker from Southampton, New York.

Provenance:

These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Occupation:

Printmakers -- New York (State) -- Southhampton  Search this

Sculptors -- New York (State) -- Southhampton  Search this

Topic:

Art -- Study and teaching  Search this

Calligraphy -- Study and teaching  Search this

Computer Art  Search this

Painting -- Study and teaching  Search this

Prints -- Technique -- Study and teaching  Search this

Women artists  Search this

Women sculptors  Search this

Women printmakers  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.fuller75

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c0a4475b-644c-4b1f-9850-fd4e83e70b88

EDAN-URL:

ead_collection:sova-aaa-fuller75

Creator:

Shahn, Ben, 1898-1969  Search this

Names:

Baskin, Leonard, 1922-2000  Search this

Delano, Jack  Search this

Evans, Walker, 1903-1975  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Rivera, Diego, 1886-1957  Search this

Robbins, Jerome  Search this

Soyer, Raphael, 1899-1987  Search this

Extent:

25.1 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Sketchbooks

Video recordings

Drawings

Sound recordings

Interviews

Date:

1879-1990

bulk 1933-1970

Summary:

The papers of social realist painter, photographer, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Scope and Contents note:

The papers of social realist painter, photographer, illustrator, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Biographical material and family records include a 1924 passport for Shahn and his first wife, Tillie, biographical sketches of Shahn, and award certificates received by him.

Letters are primarily written to Shahn from family members, artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Notable correspondents include Leonard Baskin, Alexander Calder, Dorothea Lange, Walker Evans, Joseph Hirsch, Leo Lionni, John Bartlow Martin, George and Marian Nakashima, Clifford Odets, Charles Olson, Robert Osborn, Diego Rivera, Jerome Robbins, Selden Rodman, James Thrall Soby, Raphael Soyer, and William Carlos Williams. A small number of scattered letters from Shahn can also be found throughout the series.

Project files document approximately twenty-one of Shahn's commissions, including murals for the community center at Jersey Homesteads, the Bronx Central Annex Post Office, the Social Security Building in Washington D.C. , and the William E. Grady Vocational High School. The files also document his involvement in the Franklin Delano Roosevelt Memorial in Roosevelt, in addition to projects for schools, temples and private homes.

Financial and legal records include consignment records, loan agreements, royalty statements and receipts for artwork sold.

Notes and writings are by Shahn and others including Alan Dugan, W. H. Ferry, Theodore Gusten, and John Bartlow Martin. They include lists of artwork, many of which are annotated.

Artwork includes a sketchbook and several unbound sketches and lettering by Shahn, in addition to drawings and prints by others including Shahn's children, Mario Casetta and Stefan Martin.

Source files contain printed material and photographs relating to topics depicted by Shahn in his artwork such as children, dams, farming, houses, industry, mines and miners, slums, war and workers. These files also contain scattered photographic prints by FSA and OWI photographers including Shahn, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Marion Post Wolcott, Arthur Rothstein, and John Vachon.

Printed material includes news clippings covering Shahn and his career as well as subjects of interest to Shahn. Also found are exhibition catalogs and announcements for exhibitions for Shahn and others, and reproductions of Shahn's artwork including publications illustrated by him.

Photographs are of Shahn, his family and friends and colleagues including Alexander Calder, Jerome Robbins, Charles Sheeler, David Smith and William Zorach. Also included are photographs taken by Shahn of New York City and for the FSA in the 1930s, as well as photographs of artwork by Shahn. Photographs by others include one photo each by Walker Evans, Dorothea Lange, Russell Lee and Arthur Rothstein.

The collection also contains transcripts of eight radio, television and motion picture interviews of Shahn and a reel of 16mm motion picture film from the BBC-TV program "Monitor," in addition to sound recordings of interviews of Shahn by Tony Schwartz and Arlene Francis. Artifacts include a Christmas greeting in the form of a sock.

Arrangement note:

The collection is arranged as 12 series:

Missing Title

Series 1: Biographical and Family Records, 1879-1984 (Box 1, OV 36; 0.2 linear ft.)

Series 2: Letters, 1929-1990 (Boxes 1-25, 35, 43, OVs 36-38; 14.5 linear ft.)

Series 3: Project Files, 1933-1975 (Boxes 25-26; OVs 36-37; 1.03 linear ft.)

Series 4: Financial and Legal Records, 1934-1988 (Boxes 26-27, 35; 0.81 linear ft.)

Series 5: Notes and Writings, circa 1933-1988 (Boxes 27-28, 43; 1.72 linear ft.)

Series 6: Artwork, circa 1930s-1965 (Boxes 28, 35; 11 folders)

Series 7: Source Files, circa 1900s-1960s (Boxes 28-30, 35; 1.81 linear ft.)

Series 8: Printed Material, 1912-1988 (Boxes 30-33, 35, OV 39; 3.22 linear ft.)

Series 9: Photographs, circa 1900-1969 (Boxes 33-35; 0.86 linear ft.)

Series 10: Interview Transcripts, 1943-1968 (Box 34; 0.25 linear ft.)

Series 11: Audio and Video Recordings, 1959-1968 (Box 34; 0.25 linear ft.)

Series 12: Artifacts, circa 1930s-circa 1960s (Box 34; 2 items)

Biographical/Historical note:

Ben Shahn (1898-1969) was a social realist painter, muralist, printmaker, photographer, illustrator, and educator who worked primarily in Brooklyn, New York and New Jersey. He was most active in the 1930s through the 1950s and worked on several federally funded arts projects, including the Farm Security Administration's photographic documentation project of rural America during the Depression.

Ben Shahn was born in Kovno, Lithuania and immigrated with his family to the United States in 1906 where he settled in Brooklyn, and later Roosevelt, New Jersey, after becoming a naturalized citizen in 1918.

Following an apprenticeship as a lithographer from 1913-1917, Shahn studied at New York University, the City College of New York, and the National Academy of Design from 1919-1922. He married Tillie Goldstein in 1922 and they had two children, Judith and Ezra.

Two years after Shahn's first solo exhibition at the Downtown Gallery in 1930, his Passion of Sacco and Vanzetti, a series of 23 gouaches about the Sacco and Vanzetti trial of the 1920s, was exhibited at the Downtown Gallery to critical and public acclaim. The exhibition marked the beginning of Shahn's reputation as one of the most important social realist painters in America. Shahn's commitment to social and political justice found a natural outlet in mural painting when, in 1933, he was hired to assist Diego Rivera on the labor and industry mural Man at the Crossroads, for New York City's Rockefeller Center. The mural was destroyed amid controversy in 1933 before it was completed, but Shahn had learned much about the art of fresco painting during the project and was inspired by the potential of the mural as a unique art form for presenting life's struggles and stories to a large public audience. Between 1933 and 1937 Shahn worked on various murals for other buildings, including New York's Central Park Casino (circa 1934) and Riker's Island Prison (1934), none of which saw completion. In 1937, however, the Farm Security Administration (FSA) commissioned Shahn to execute a mural for the Community Center in the town of Jersey Homesteads, later Roosevelt, New Jersey, which Shahn completed in 1938. Shahn settled in Jersey Homesteads the following year and remained there for the rest of his life. Other important mural commissions followed for the Bronx Central Post office (1939) and the Social Security Building in Washington DC (1942).

One of Shahn's assistants on the Jersey Homesteads mural was Bernarda Bryson, whom he had met in 1933 when she came to New York to interview Rivera about the Rockefeller Center mural controversy for an Ohio newspaper. Shahn and Bryson became lifetime companions and had three children, Susanna, Jonathan and Abigail, although they did not marry until shortly before Shahn's death in 1969. Shahn and Tillie Goldstein were divorced in 1944.

Shahn had enrolled with the federal Public Works of Art Project in 1934, and between 1935 and 1938 he and Bryson travelled across country as Shahn photographed poverty-stricken areas and documented rural life for the Farm Security Administration (FSA) and the Resettlement Agency. Shahn's interest in photography developed in the early 1930s when, encouraged by his friendship with Walker Evans, he began photographing street scenes and people in New York City. He later used the images as the basis for many of his prints and paintings.

In 1942 Shahn began working for the Office of War Information (OWI) and was instructed to produce posters and pamphlets explaining to citizens the necessities of wartime, such as the need for secrecy and food rationing. Ultimately, only two of Shahn's posters were ever used; the rest were rejected as being too harsh for their intended audience. Shahn later worked for the Congress of Industrial Organization Political Action Committee (CIO-PAC), producing posters for the 1944 campaign to re-elect Roosevelt, who he believed in deeply. He was promoted to director of the CIO's Graphic Arts Division for the 1946 congressional campaign following Roosevelt's death, but that job ended when the election went poorly for the Democratic party.

Shahn returned increasingly to painting and a retrospective of his work was held at the Museum of Modern Art in 1947. He also became more active in academia as an accomplished writer, teacher and lecturer. He received honorary doctorates from Princeton University and Harvard University, and become the Charles Eliot Norton professor at Harvard in 1956. Shahn's Norton lectures were collected and published as the influential The Shape of Content in 1957. He also began to work as a commercial artist for a variety of companies and publications including CBS, Time, Harper's, and the Container Corporation of America. Shahn believed, however, that the artist's ideas and integrity must always be reflected in his commercial art. He refused to compromise on this point and was very selective in his choice of commercial commissions. Shahn illustrated many books and articles, designed sets for stage productions such as New York Export: Opus Jazz, choreographed by Jerome Robbins, and designed mural mosaics for synagogues, universities and private homes.

Since the 1930s Shahn had been represented by Edith Halpert at the Downtown Gallery, but his relationship with her was always contentious on the subject of payments Shahn received for commercial work, and became increasingly so as his income from such sources increased. Finally, in 1968, Shahn wrote to Halpert telling her that after ten years of "an accumulation of ill-feeling, discomfort and recrimination between us" he felt compelled to end their dealer-artist relationship.

By the time of Shahn's break with Halpert his health had begun to fail. He died of a heart attack following surgery in a New York City hospital on March 14, 1969.

Related Archival Materials note:

The Archives of American Art holds four oral history interviews with Ben Shahn: 1964 Apr. 14 interview conducted by Richard K. Doud for the Archives of American Art New Deal and the Arts Project in which Shahn speaks of his travels and work for the Farm Security Administration (FSA) and the American image as portrayed by FSA; 1965 Jan. 17 interview; 1965 Oct. 3. interview conducted by Harlan Phillips for the Archives of American Art New Deal and the Arts Project; and 1968 Sept. 27 interview conducted by Forrest Selvig. Most of these interviews have transcripts available online.

The Archives also holds the Bernarda Bryson Shahn papers, circa 1947-2005, and two oral history interviews with Bernarda Bryson Shahn: 1983 Apr. 29 and 1995 July 3.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming (reel N70-6) including addresses and essays by Shahn, seven royalty statements, and three letters from publishers. Many of the writings found on this reel were included in subsequent donations. All other lent material was returned to the lender and is not described in the collection container inventory.

Provenance:

The Ben Shahn papers were donated to the Archives of American Art in several installments between 1967-1991 by Shahn's widow, Bernarda Bryson Shahn who also lent materials for microfilming in 1969. Jean Shahn, Ben Shahn's daughter-in-law and estate representative, donated additional material in 2018 and 2021.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact 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 Jersey -- Roosevelt  Search this

Painters -- New York (State) -- Brooklyn  Search this

Photographers -- New York (State) -- Brooklyn  Search this

Photographers -- New Jersey -- Roosevelt  Search this

Printmakers -- New Jersey -- Roosevelt  Search this

Printmakers -- New York (State) -- Brooklyn  Search this

Educators -- New York (State) -- Brooklyn  Search this

Educators -- New Jersey -- Roosevelt  Search this

Muralists -- New York (State) -- Brooklyn  Search this

Muralists -- New Jersey -- Roosevelt  Search this

Topic:

Social realism  Search this

Genre/Form:

Motion pictures (visual works)

Sketchbooks

Video recordings

Drawings

Sound recordings

Interviews

Citation:

Ben Shahn papers, 1879-1990, bulk 1933-1970. 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

Identifier:

AAA.shahben

See more items in:

Ben Shahn papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw983b06d9b-dd51-45bc-9b11-09b06a88f6c6

EDAN-URL:

ead_collection:sova-aaa-shahben

Interviewee:

Kent, Rockwell, 1882-1971  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Subject:

Armitage, Merle  Search this

Chase, William Merritt  Search this

Henri, Robert  Search this

Miller, Kenneth Hayes  Search this

Zigrosser, Carl  Search this

American Artists Group  Search this

Art Students League (New York, N.Y.)  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Rockwell Kent, 1969 Feb. 26-27. Archives of American Art, Smithsonian Institution.

Topic:

Book design  Search this

Illustration of books  Search this

Mural painting and decoration  Search this

Printmakers -- New York (State) -- Interviews  Search this

Illustrators -- New York (State) -- Interviews  Search this

Landscape painters -- New York (State) -- Interviews  Search this

Muralists -- New York (State) -- Interviews  Search this

Painters -- New York (State) -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12106

(DSI-AAA_SIRISBib)212453

AAA_collcode_kent69

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212453

Interviewee:

Fuller, Sue, 1914-2006  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Subject:

Albers, Josef  Search this

Arms, John Taylor  Search this

D'Amico, Victor  Search this

Dewey, John  Search this

Hofmann, Hans  Search this

Lejwa, Madeleine Chalette  Search this

Matta  Search this

Rattner, Abraham  Search this

Schaefer, Bertha  Search this

Schanker, Louis  Search this

Thurn, Ernest  Search this

Carnegie Institute of Technology  Search this

Columbia University. Teachers College  Search this

Society of American Etchers  Search this

Type:

Interviews

Sound recordings

Place:

Europe -- description and travel

Japan -- Description and Travel

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Sue Fuller, 1975 April 24-May 8. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching  Search this

Calligraphy -- Study and teaching  Search this

Computer Art  Search this

Painting -- Study and teaching  Search this

Prints -- Technique -- Study and teaching  Search this

Women artists  Search this

Women sculptors  Search this

Women printmakers  Search this

Record number:

(DSI-AAA_CollID)13068

(DSI-AAA_SIRISBib)212685

AAA_collcode_fuller75

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212685

Creator:

Fabri, Ralph, 1894-1975  Search this

Names:

American Watercolor Society  Search this

Artists for Victory, Inc.  Search this

Society of American Etchers  Search this

Today's art  Search this

Extent:

26 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Christmas cards

Scrapbooks

Video recordings

Drawings

Diaries

Watercolors

Sketches

Sketchbooks

Illustrated letters

Date:

circa 1870s-1975

bulk 1918-1975

Summary:

The Ralph Fabri papers measure 26.0 linear feet and are dated circa 1870s-1975, with the bulk of the material dated 1918-1975. Biographical information, correspondence, subject files, writings, art work, financial records, miscellaneous records, scrapbooks, printed material, a videotape of Fabri in his studio, and photographs document the professional career and personal life of the painter, printmaker, commercial artist, writer, and teacher.

Scope and Content Note:

The Ralph Fabri papers measure 26.0 linear feet and are dated circa 1870s-1975, with the bulk of the material dated 1918-1975. Biographical information, correspondence, subject files, writings, art work, financial records, miscellaneous records, scrapbooks, printed material, and photographs document the professional career and personal life of the painter, printmaker, commercial artist, writer, and teacher.

Biographical information includes awards and certificates, educational records, passports and travel documents.

Almost one-half of the collection consists of Fabri's correspondence. There is correspondence with friends and relatives, as well as professional correspondence. Much of the early correspondence with friends and family is written in Hungarian and also include small watercolors by Fabri that he used as postcards to send messages to family members. A number of later letters are illustrated with drawings by Fabri and other artists. Extensive correspondence - often daily missives - records romantic liaisons with Mabel Farrar, Mina Kocherthaler, Elly von Marczell, and Mavis Elizabeth Peat, as well as the travels and careers of Hungarian opera singer Maria Samson and composer and impresario Laszlo Schawrtz. In addition, there are large numbers of Christmas cards, many with original artwork, from artist friends and former students. Professional correspondence concerns teaching, writing and publishing, commercial work, exhibitions and sales.

Subject files relate mainly to organizations and institutions in which Fabri was active, and include his correspondence and some official records (minutes, reports, financial records), and printed material. Among the organizations and institutions are: Allied Artists of America, Inc., Artists for Victory, Inc., Audubon Artists of America, Inc., National Academy of Design, and Society of American Etchers. Other subject files concern the schools where Fabri taught and publications with which he was associated.

Among the writings by Fabri are drafts and completed manuscripts of articles, books (including two unpublished titles), music and lyrics, and a few poems. Diaries (75 vols.) covering the period 1918-1975, contain almost daily entries that record in varying degrees of detail his professional and personal activities, special and mundane events, and opinions. Prior to 1939, the diaries are in Hungarian or partially in Hungarian. Heavily illustrated notes from his studies at the Royal Academy of Fine Arts survive, along with other miscellaneous notes and 7 notebooks containing lists of concerts, operas, and plays attended by Fabri between 1912 and 1974.

Writings by other authors include the manuscript of Pastel Painting published by Stephen Csoka, said to have been written by Fabri.

Art work by Fabri includes student work, early commercial work, drawings and sketches, a few early watercolor paintings, and two sketchbooks. Work by other artists consists of a watercolor by his uncle Miklos Fabri, a pencil drawing by Laszlo Schwartz, a gouache painting by Paul Mommer, and an ink drawing by Marantz.

Financial records mainly concern banking transactions and taxes. In addition there are receipts for personal and business expenses and packages sent to family in Hungary.

Included among the miscellaneous records and artifacts are art sales and donations, six medals awarded to Fabri, and guest books. A videotape (SONY Helical Scan recording) of Fabri in his studio, made by Jerome Bona and Rick Brown that aired on NYC public access television station Channel C in 1973, is also included.

Scrapbooks (10 vols.) contain reproductions of Fabri's early commercial work, clippings, printed material, and a few photographs documenting his career.

Printed material by Fabri includes articles, books, commercial designs, reproductions, and works translated by Fabri for publication in Hungarian. Also included are issues of Today's Art containing signed and unsigned articles and editorials by Fabri, and some pieces he wrote using pseudonyms. Exhibition related items include catalogs, announcements, and invitations for Fabri's group and solo exhibitions and exhibitions of other artists. Also included are posters, and prospectuses.

Photographs are of art work, people, places, and miscellaneous subjects. People pictured are Ralph Fabri, his family (including a few ancestors), friends, and unidentified individuals and groups. Places documented include exterior views of Pension Villa-Fabri in Hungary (the family's restaurant and hotel), as well as photographs of foreign lands visited by Fabri or sent to him by friends. An item of note filed with miscellaneous subjects is a parade float titled "Give a Thought to Music," designed and constructed by Fabri. Included in ten photograph albums are views of paintings and commercial work by Fabri, various friends, his studio, the Dreiser estate in Mt. Kisco, N.Y., and group portraits of City College of New York faculty.

Arrangement:

The collection is arranged into 10 series::

Missing Title

Series 1: Biographical Information, 1919-1973, undated (Box 1, OV 31; 0.2 linear ft.)

Series 2: Correspondence, 1904-1975, undated (Boxes 1-12; 11.0 linear ft.)

Series 3: Subject Files, 1941-1975, undated (Boxes 12-14, 25; 2.1 linear ft.)

Series 4: Writings, 1911-1975, undated (Boxes 14-17; 3.8 linear ft.)

Series 5: Art Work, circa 1903-1970s, undated (Boxes 17, 26; 0.4 linear ft.)

Series 6: Financial Records, 1923-1973, undated (Box 18; 0.6 linear ft.)

Series 7: Miscellaneous Records and Artifacts, 1931-1975, undated (Box 18; 0.4 linear ft.)

Series 8: Scrapbooks, 1911-1971 (Boxes 27-30; 1.3 linear ft.)

Series 9: Printed Material, 1910s-1973, undated (Boxes 19-23, OV 32; 4.8 linear ft.)

Series 10: Photographs, circa 1870s-1973, undated (Boxes 23-25; 1.4 linear ft.)

Biographical Note:

Painter and printmaker, commercial artist, writer, and teacher Ralph Fabri was born Fabri Reszo in Hungary in 1894. He was educated in Budapest, first studying architecture at the Royal Institute of Technology from 1912 to 1914. He then enrolled in the Royal Academy of Fine Arts, from which he graduated in 1918 with a Professor's Diploma (M.A.) "for teaching drawing, painting and geometry - including descriptive and projective geometry - in schools of higher education."

Fabri arrived in New York City in 1921 and soon adopted the anglicized version of his name, Ralph Fabri. He began doing commercial design work and during the academic year of 1923/24 was enrolled as an evening student at the National Academy of Design. After becoming an American citizen in 1927, he traveled extensively in Europe. Upon returning to New York that same year, Fabri decided his financial situation was stable enough to allow him to focus his attention on fine art.

During the Great Depression, Fabri's already inadequate portrait commissions and art sales further declined and he returned to commercial work. He established a workshop known as the Ralph Fabri Studios, that designed theatrical and movie sets, window displays, and retail interiors. But Fabri found the workshop dirty and distasteful, and eventually was able to concentrate on advertising work which could be done from home. The largest clients for his pen and ink drawings were The Stamp and Album Co. of America, Inc. (for which he designed covers for stamp albums and produced illustrations for envelopes housing sets of stamps sold to collectors), Geographica Map Co., and Joseph H. Cohen & Sons (for whom he designed and illustrated mail order catalogs). Another source of income during this period was the design and construction of an addition to "Iroki," Theodore Dreiser's estate in Mt. Kisco, N.Y., for which Fabri acted as architect and contractor.

Soon after arriving in the United States, Fabri began writing art reviews and articles on art and other topics for publication in Hungarian newspapers, and began submitting similar pieces to American newspapers and periodicals. Between 1949 and 1951 Pictures on Exhibit published a series of twenty articles by Fabri on materials and techniques, and from 1952 through 1961 he was a critic for that publication. Fabri contributed many articles on a variety of topics to Today's Art, starting in 1953, the year the magazine was established. In 1961, Fabri became associate editor of that monthly periodical and was named its editor in 1970, a position he held for the remainder of his life. During his tenure, every issue of Today's Art included signed and unsigned articles and editorials by Fabri, as well as some pieces written under pseudonyms. He also worked as a book reviewer for American Artist and art editor of Funk & Wagnall's New Encyclopedia.

Fabri may be best known for his books in the how-to-do-it vein, some of which were distributed through art supply stores. Among his many books are: Learn to Draw (1945), Oil Painting: How-to-Do-It! (1953), A Guide to Polymer Painting (1966), Sculpture in Paper (1966), Color: A Complete Guide for Artists (1967), Complete Guide to Flower Painting (1968), The First Hundred Years: History of the American Watercolor Society (1969), Painting Outdoors (1969), Painting Cityscapes (1970), and Artist's Guide to Composition (1971).

For nearly three decades, Fabri taught art in New York City. He was an instructor in the life and still life classes at the Parson's School of Design from 1947 through 1949. In 1951, Fabri was appointed associate professor at City College of New York, where he taught painting and art history until retiring in 1967. In addition, he was on the faculty of School of the National Academy of Design, teaching painting, drawing, and graphics from 1964 until his death.

Fabri was an active member of many artists' organizations. He was president of the National Society of Painters in Casein, Inc., an organization founded by Fabri in 1953 (it later became the National Society of Painters in Casein and Acrylic, Inc.); he also served as president of the Audubon Artists and the Allied Artists of America, Inc. As historian of The American Watercolor Society, Fabri wrote a book length history of that organization published on the occasion of its centennial. He was the secretary and treasurer of the National Academy of Design, as well as serving on many of its committees.

Paintings and prints by Ralph Fabri have been exhibited widely in solo and group exhibitions throughout the United States and, to a lesser extent, in Europe. A frequent lecturer, his painting demonstrations were quite popular. Fabri received numerous honors and awards, and his work is included in the permanent collections of the Metropolitan Museum of Art, the Library of Congress, the New York Public Library, the National Academy of Design, the Norfolk Museum of Art and Science, Smithsonian Institution, the Museum of Fine Arts, the National Gallery in Budapest, and many other public and private collections.

Ralph Fabri died in New York City in February 1975.

Related Material:

Ralph Fabri donated his correspondence with Theodore and Helen Dreiser, 1929-1955, to the University of Pennsylvania, where it is now part of the Theodore Dreiser papers.

Provenance:

The Ralph Fabri papers were donated by Ralph Fabri, 1971-1974. Additional papers were the gift of his estate, 1975-1976.

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.

Occupation:

Art critics -- New York (State) -- New York  Search this

Topic:

Painters -- New York (State) -- New York  Search this

Art -- Study and teaching -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Educators -- New York (State) -- New York  Search this

Art criticism -- New York (State) -- New York  Search this

Painting, American -- New York (State) -- New York  Search this

Function:

Arts organizations -- New York (State)

Genre/Form:

Photographs

Christmas cards

Scrapbooks

Video recordings

Drawings

Diaries

Watercolors

Sketches

Sketchbooks

Illustrated letters -- Local

Citation:

Ralph Fabri papers, circa 1870s-1975, bulk 1918-1975. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.fabrralp

See more items in:

Ralph Fabri papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9564a098b-2173-4db5-8205-05059cd4e37f

EDAN-URL:

ead_collection:sova-aaa-fabrralp

Creator:

Love, C. Waldo (Charles Waldo), 1881-1967  Search this

Extent:

0.6 Linear feet ((on 3 microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1887-1975

Scope and Contents:

Personal and professional correspondence between Love, the Love family, and colleagues including artists, Lawrence Murphy, Dudley Carpenter, E. Corwin, James Harvey, and others; photographs of Love, his studio, family and works; sketches and preliminary drawings; etchings; monoplate prints; illustrations and a portfolio containing examples of Love's work as a commercial artist; scrapbook; financial accounts; exhibition material; articles and notes by Love; transcript of a taped interview with Love, 1966; printed material; clippings; and miscellaneous items.

Biographical / Historical:

Painter, commercial artist; New York, N.Y. Charles Waldo Love; Waldo; Wal; b. Wash., D.C.; lived in Calif., London, Denver, Col., NYC, Paris, and Chicago and Indiana; d. Dec. 16, 1967, Denver, Co.

Provenance:

Material on reels 967-969 donated 1975 by Mary Cornish, daughter of Love, except letters written by Love, letters written to Love by his wife Orilla, and artwork, which Cornish lent for microfilming, 1975.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- New York (State) -- New York  Search this

Topic:

Painting, American  Search this

Identifier:

AAA.lovechar

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f213b65a-ce26-46d2-990d-8b4a5d6e7735

EDAN-URL:

ead_collection:sova-aaa-lovechar

Creator:

Antonakos, Stephen, 1926-2013  Search this

Names:

Allentown Art Museum  Search this

Ethniko Mouseio Synchronēs Technēs (Greece)  Search this

Fischbach Gallery  Search this

Galerie Bernier  Search this

Galleria Bonomo  Search this

Galleriaforma  Search this

Ileana Tounta Contemporary Art Center  Search this

John Weber Gallery  Search this

Kalfayan Galleries  Search this

Konrad Fischer Gallery  Search this

La Jolla Museum of Contemporary Art  Search this

Lori Bookstein Fine Art  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Mouseio Benakē  Search this

Rose Art Museum  Search this

Savannah College of Art and Design  Search this

The Drawing Room  Search this

Ādo furondo gyararī  Search this

Adler, Sebastian  Search this

Bladen, Ronald, 1918-1988  Search this

Kitagawa, Fram, 1946-  Search this

Kokkinos, George  Search this

Koshalek, Richard  Search this

Marzona, Egidio  Search this

Spector, Naomi  Search this

Extent:

24.2 Linear feet

1.73 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Transcripts

Interviews

Photographs

Sketchbooks

Drawings

Blueprints

Obituaries

Date:

1932-2014

bulk 1960-2014

Summary:

The papers of American sculptor Stephen Antonakos measure 24.2 linear feet and 1.73 GB and date from 1932-2014, with the bulk of the material dating from 1960-2014. The collection documents Antonakos's pioneering work in neon, through biographical material, correspondence, writings and notes, project files, exhibition files, printed and digital material, and photographs.

Scope and Contents:

The papers of American sculptor Stephen Antonakos measure 24.2 linear feet and 1.73 GB and date from 1932-2014, with the bulk of the material dating from 1960-2014. The collection documents Antonakos's pioneering work in neon, through biographical material, correspondence, writings and notes, project files, exhibition files, printed and digital material, and photographs.

Biographical material comprises biographical statements and resumes, transcripts of 5 interviews, copies of obituaries, and other records relating to Antonakos's memorial service in 2013.

Correspondence is primarily professional, with scattered personal correspondence, and provides suppemental documentation of all aspects of the artist's career, including gifts, sales, loans, and consignments to galleries and museums such as Fischbach Gallery; John Weber Gallery; Lori Bookstein Fine Art; Galleria Bonomo, Bari; Art Front Gallery, Tokyo; Galerie Bonnier, Stockholm; Galerie Bernier, Athens; Kalfayan Gallery, Athens; Galerie Citronne, Poros; Konrad Fischer Gallery, Berlin; Daniel Marzona Gallery, Berlin; The American Academy of Arts and Letters; The Metropolitan Museum of Art; The Museum of Modern Art; the Onassis Cultural Center; the Museum of Contemporary Art San Diego; the Rose Art Museum, Brandeis University; the Smith College Museum of Art; the Dallas Museum of Art; the National Museum of Contemporary Art, Athens; the State Museum of Contemporary Art, Thessaloniki; and the Benaki Museum, Piraeus.

Writings and notes provide artist statements on all aspects of Antonakos's work, as well as teaching notes from the 1960s.

Project files are a rich source of information on Antonakos's work in neon, particularly for the large-scale permanent Public Works including Hampshire College, Amherst; the Tacoma Dome; Pershing Square, Los Angeles; the Atlanta Hartsfied Airport; the 59th Street Transfer Station, New York City; Faret Tachikawa, Japan; the Stadtsparkasse, Cologne; the Reading Power Plant, Tel Aviv; the San Antonio Public Library; the University of Dijon; the Attiko Metro, Athens; the Mitchell International Airport, Milwaukee; and the Airport of Puglia, Bari. All aspects of the artist's work, from conception on paper through execution and reception by the public, are documented here in correspondence, artist statements and proposals, contracts, insurance records, original drawings, plans and blueprints, printed and digital material, and photographs. Ideas and proposals for projects not executed are also documented in this series, and comprise the same types of material.

Antonakos's conceptual Packages are documented in lists, letters of transmittal, and photographs. The series also holds the contents of a Package given to the Archives of American Art in 1975 and opened, as requested, after his death: a 35mm microfilm of a sketchbook kept by Antonakos from 1974-1975, with sketches and notes about his neon projects.

Antonakos's artistic development can be traced chronologically in the exhibition files from some of his earliest work with neon in combination with found objects, to the use of neon alone. Exhibition files document the artist's progression from placing neon on a base or wall and at the corners and ceilings of rooms, to placing tubes at the edges of panels in order to generate a colored glow around them; furthermore, they document the evolution from his early boxes, contained spaces, and indoor and outdoor rooms, to his meditation spaces and chapels. Also in evidence in this series is the artist's prolific output of drawings, which were shown in numerous exhibitions. Exhibition files include documentation from circa 100 solo shows and from his over 250 group shows, at venues including Allentown Art Museum, the Benaki Museum, The Drawing Room, Galleriaforma, Genoa, Ileana Tounta Contemporary Art Center, Athens, John Weber Gallery, La Jolla Museum of Contemporary Art, Lori Bookstein Fine Art, the National Museum of Contemporary Art, Athens, Rose Art Museum, and the Savannah College of Art and Design. Many of the files include Antonakos's original drawings and plans.

Printed material comprises announcements and catalogs for Antonakos's solo and group exhibitions, posters of the same, press and publicity clippings, and 10 publications about or including Antonakos and his work.

There are 7 photographs of Antonakos, including portraits by George Kokkinos and photos with others including Sebastian Adler, the artist's daughter Evangelina Mary Spector Antonakos, Naomi Spector Antonakos, Ronald Bladen, and Richard Koshalek. Also found are photos of artwork by category, and digital photographs of sample images.

The collection includes 1 reel of microfilm (35mm).

Arrangement:

The collection is arranged as 7 series.

Series 1: Biographical Material, circa 1970s-2014 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1964-2014 (3.25 linear feet; Boxes 1-4, 24)

Series 3: Writings and Notes, circa 1966-2012 (0.3 linear feet; Box 4, 0.932 GB; ER01)

Series 4: Project Files, 1965-2014 (8.6 linear feet; Boxes 4-11, 24, OVs 25-40, 0.275 GB; ER02-ER04)

Series 5: Exhibition Files, 1960-2014 (8.95 linear feet; Boxes 11-19, 24, OVs 40-45, 0.094 GB; ER05)

Series 6: Printed Material, 1959-2013 (3.3 linear feet; Boxes 19-23, OVs 46-47)

Series 7: Photographs, 1932-2013 (0.5 linear feet; Box 23, 0.431 GB; ER06)

Biographical / Historical:

American sculptor Stephen Antonakos (1926-2013) was a pioneer in the use of neon as an artistic medium from the early 1960s onward. Born in Agios Nikolaos in southern Greece, he immigrated to the US with his family at the age of four and lived in New York City thereafter.

After serving in WWII he established his first studio in the 1950s in New York City's fur district, a fertile neighborhood for the found objects and found materials of his early large Assemblages, Constructions, and "Sewlages" (sewn fabric collages) through that decade, when he worked also as a commercial artist. Seeing the neon signs in these Manhattan streets night after night released his intuition of the medium's untapped flexibility. He called neon "a paradise" he wished to "control" in his own new way, with abstract geometric forms in space.

Concentric neon circles and squares appeared first, notably in the transitional White Light (1962). Mostly black, it incorporated a cut-up Thonet chair and a box-form of found rabbit fur. In the same year, he moved on to his central engagement with neon in architectural space with his Hanging Neon, whose colored tubes jut diagonally into the viewers' space from a box suspended from the ceiling. He continued this key dynamic boldly in many large mid-1960s installations: Orange Vertical Neon, Red Neon from Wall to Floor, and Red Neon from Wall to Wall. There are small-scale models from the period for many more. All fulfill the artist's definition of his work as "real things in real spaces."

His 1962-63 Pillows and Pillow Drawings, exhibited first at the Contemporary Arts Museum, Houston, are distinguished by the intense engagement of the hand: cutting, adding, sewing, stuffing, drawing, layering, and combining materials in ways that clearly predict his constant practice with drawings and collages through the following decades. The subsequent role of works on paper in forming Antonakos's development cannot be over-emphasized; he drew almost every day. The physicality of these compositions and of the cuts and tears and layering in his collages through the years, make them not images, but objects. The same holds for the many Travel Collages produced from the late 1970s through 2001.

Throughout the 1970s, medium-scale two- and three-dimensional variations of his geometric vocabulary were strategically positioned on white walls in formal dialogue with their sites' ceilings, floors, inside corners, and outside corners. Known as the Direct Neons, these works were exhibited extensively in galleries and museums across Europe and the US. As ever, new work was conceived for each venue's particular sites.

A very large group of Project Drawings from the late 1960s through the early 1970s charts Antonakos's thinking through the Direct Neons and on into installations of greater scale, his Walls and Rooms.

First shown in Athens, the Walls investigated both bold and subtle variations of almost "syntactical" relationships between the neon forms "drawn" on the colored surfaces. Two 1973 Rooms allowed simultaneous formal engagement with interior and exterior architectural spaces. In both, making the entire interior a single unit fulfilled Antonakos's hope of including the viewer within the space of the art. San Francisco Room was exhibited inside the Museum of Art. The Room, placed outdoors in downtown Grand Rapids, offered more viewing options from greater distances, rooftops and, very importantly, with exposure to the daily 24-hour cycle of natural light. 1974, Outdoor Neons for the Fort Worth Art Museum upped the ante further with enormously greater scale and geometric diversity. This was nourishment for Antonakos's central concerns uniting light, form, and time throughout his future Public Works.

The mid-1970s saw a definitive change in the drawings. They became completely abstract, without reference to anything outside the work itself. Often made in series, they explored complete and incomplete linear forms in relation to the proportions of the sheets.

All through the 1970s Antonakos produced his conceptual Packages. Filled, sealed, and sent to individuals or groups of friends, they were meant either never to be opened, to be opened on a specific date, or to be opened after the death of the artist. There were approximately thirty projects. An important set sent in 1974 and 1975 to Richard Artschwager, Daniel Buren, Sol LeWitt, and Robert Ryman to be filled by them was opened twenty-five years later as the central event during the major exhibition Time Boxes 2000 at the Brandeis's Rose Art Museum. Less concerned with their contents than with our consciousness through time of not knowing, they relate to such concepts as "incomplete circle" -- knowing what/that we do not know/see. The Greek art historian Savvas Michael has written: "The material of the Packages is time."

From the late 1970s, for over thirty years, there was an active practice of Public Works in neon. More than fifty were constructed and installed in indoor and outdoor sites in airports, rail stations, university campuses, banks, and downtown areas in cities across the US, Europe, and Japan. They range from the spare 15' incomplete square on the facade of the San Diego Museum of Contemporary Art to the almost 500' treatment of the chimney complex of the Reading Power Plant in Tel Aviv. Antonakos began each project by considering the formal qualities of the site day and night and its use by the public. He considered working for the public a special responsibility.

Moving into the 1980s, Antonakos placed neon forms on painted unstretched canvases and on the faces of large geometric forms on walls and floors. This period also saw the crucial introduction of neon placed behind the edges of wall Panels, so that only the colored glows are seen. These Panels developed into one of his major practices to the end -- their single or segmented geometric surfaces variously monochrome, painterly, or gold or silver-leafed. They have been extensively exhibited in Europe and the US. In 2009 the public-scaled neon Panel The Road to Mistra was commissioned for the Onassis Cultural Center in New York. In response to this work, the New York art historian Irving Sandler wrote, "Essentially a classicist in the Constructivist tradition, he has revealed the poetry of neon."

Antonakos started to design his Chapels and Meditation spaces with neon in the late 1980s and continued through the rest of his life. Their roots lie in his lifelong commitment to Greek Orthodoxy and in the evolution of his activation of geometric space. They include his 1993 Chapel of the Saints in a fortress in Rhodes, which he described in a letter to Elias Kollias as being, at that point, "the masterwork of my life." The full-scale iron Chapel of the Heavenly Ladder was exhibited in the XLVII Venice Biennale and is permanently installed now in Thessaloniki. In 2003, the Greek art critic Alexandra Koroxenides wrote of Antonakos's "capacity to create surroundings of meditation and spirituality." Many Chapels have been created for important temporary exhibitions here and in Greece, and small precise models exist for more of them.

Through the 1980s and to the end, the drawings on various papers and vellums developed in many directions, some full of white space, some filled to the hilt with intensely colored forms -- sometimes singly and often in series. In the mid-1990s Antonakos began using the multicolored pencil, in dense overall hatchings and later in open spatial "clouds." One drawing of 72 dense square units is like an installation as it plays out rhythmically across the four walls of the gallery. The various ideas of the drawings intersect with those of his collages, reflecting always the active hand. Colored or bare, cut, torn, layered, pleated, or crumpled, they maintain their objecthood within the frame.

All these themes and techniques climaxed in his major Artist's Book, Alphavitos, later in the 1980s. Its many material and printing innovations are structured around the cumulative appearance of hand-made papers with letters of the Greek Alphabet recurring intermittently until the last bears the complete alphabet. The composition of complete and incomplete circles and squares on the front and back covers are in silver on the unique volume and in leather relief on the edition. The book incorporates endless ideas of form, color, scale, proportion and, of course, time, as the pages are turned. Related white wood, silver, and marble Reliefs grew out of the making of the book, as did new graphic variations of some of the plates. In 2011 he began a new series of Gold works. Small sculptures shaped with "incomplete" areas sit on bases, and framed works in gold-leafed Mylar and Tyvek hang in frames. As with the drawings, some have cut edges or various forms cut out of them or are crumpled. They are made in varying sizes, singly and in powerful series, and all have many different "faces" as they intersect with the course of natural light over the day. In Greece, they are seen as echoes of Byzantium.

In 2011, Antonakos took on a climactic project in the ruins of an old oil factory in Elefsina, Greece -- a part of the 40 year history of their Festival of Aeschylus. In thirty-four locations throughout the continuous indoor and outdoor site of 17,000 square meters, he placed spare linear neon forms, accumulations, columns, and Panels, hoping, he said, that the visitors might sense "some of the things that I have found in my life and art." It can be seen in the photographs of Panos Kokkinias and on the artist's website.

Antonakos had over 100 solo exhibitions and over 250 group shows. His work has been the subject of numerous books and catalogues including the key 1999 monograph Antonakos by Irving Sandler. The major catalogue for the 2007-2008 Retrospective organized by the J. F. Costopoulos Foundation at the Benaki Museum in Athens includes essays by Martin Filler, Eleftherios Iconomou, Katerina Koskina, Daniel Marzona, and Brian O'Doherty. His work is in the collections of the major museums of New York, Athens, and Thessaloniki, and in many other museums in the US and Europe. In 2011 he received the Lifetime Achievement Awards from the National Academy of Art and the Greek America Foundation.

Since 1963 his studio has been located in Soho.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Stephen Antonakos dated 1975, May 9.

Provenance:

The collection was donated in 1975 and 1981 by Stephen Antonakos, and in 2014 by Naomi Spector Antonakos.

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.

Use of archival born-digital records with no duplicate access copy requires advance notice.

Rights:

The Stephen Antonakos papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Art critics  Search this

Topic:

Art -- Study and teaching  Search this

Neon sculpture  Search this

Sculptors -- New York (State) -- New York  Search this

Genre/Form:

Transcripts

Interviews

Photographs

Sketchbooks

Drawings

Blueprints

Obituaries

Citation:

Stephen Antonakos papers, 1932-2014, bulk 1960-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.antostep

See more items in:

Stephen Antonakos papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-antostep