Skip to main content Smithsonian Institution

Search Results

Collections Search Center
271 documents - page 1 of 14

Cynthia Goodman papers

Creator:
Goodman, Cynthia  Search this
Names:
Everson Museum of Art  Search this
Kwangju Piennalle  Search this
Hofmann, Hans, 1880-1966  Search this
Paik, Nam June, 1932-2006  Search this
Extent:
33.2 Linear feet
0.34 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Moving images
Motion pictures
Sound recordings
Video recordings
Panel discussions
Lectures
Date:
circa 1944-2001
bulk 1975-1996
Summary:
The papers of curator and writer, Cynthia Goodman, date from circa circa 1944-2001, bulk 1975-1996 and measure 33.2 linear feet and .340 Gigabytes. The collection is comprised of artist files, records documenting computer and technological art, and research on Hans Hofmann and the New York School. The papers document Goodman's graduate and professional career including her studies in art history and early career writing and organizing exhibitions around Hans Hofmann and his legacy, and later her research related to the nascent computer art. The papers, organized primarily by project and artist files, include biographical material, interviews with artists, correspondence, writings, printed material, photographs and audio-visual material.
Scope and Contents:
The papers of curator and writer, Cynthia Goodman, date from circa circa 1944-2001, bulk 1975-1996 and measure 33.2 linear feet and .340 Gigabytes.

The artist file series is comprised of correspondence and promotional materials in various formats including resumes, invitations, slides, and audio-visual and born-digital portfolio submissions.

The computer and technological art series is comprised of research material, conference materials, writings, and exhibition files relating to two major exhibitions organized by Cynthia Goodman: Digital Visions: Computers and Art, Everson Museum of Art (1987), and the InfoArt Pavilion at Kwangju Biennale (1995), co-curated with artist Nam June Paik. Both shows were accompanied by exhibition catalogs, the latter in CD-ROM format, innovated as one of the first of its kind.

The Hans Hofmann and the New York School Material series consists of Goodman's early academic career studying Hofmann and his contemporaries, culminating in a PhD dissertation from University of Pennsylvania in 1982. This material includes records related to the Chester Dale Fellowship at the Metropolitan Museum of Art where Goodman worked on a catalogue raisonné for the artist. Also included are records related to the 1986 monograph on Hofmann as well as the exhibition file for a Hofmann retrospective staged at the Whitney Museum of American Art in 1990, as well as other traveling exhibitions on Hofmann and his students, as well as Fritz Bultman. Research material includes numerous original sound recordings and interviews.
Arrangement:
The collection is arranged as three series:

Series 1: Artist Files, circa 1964-2000 (13.4 Linear feet: Boxes 1-12, 33-35)

Series 2: Computer and Technological Art, circa 1960s-2001 (14.6 Linear feet: Boxes 13-26, 33-35; 0.34 Gigabytes: ER0001)

Series 3: Hans Hofmann and the New York School, circa 1944-1996 (5.2 Linear feet: Boxes 26-32, 34)
Biographical / Historical:
Cynthia Goodman is an independent curator and writer born in, and currently based in Cincinnati, Ohio. She is particularly well-known for her work with emergent art technologies, particularly those relevant to Computer Art. Cynthia Goodman received her Ph.D. in Art History from the University of Pennsylvania in 1982. She curated the traveling exhibition Digital Visions: Computers and Art , Everson Museum of Art in 1987, and the InfoArt Pavilion at Kwangju Biennale (1995), co-curated with artist Nam June Paik. Both shows were accompanied by exhibition catalogs, the latter in CD-ROM format, innovated as one of the first of its kind. Following the success of the Digital Visions Cynthia briefly taught art history and aesthetics in the Master of Fine Arts program in Computer Art at the School of Visual Arts in New York City.

Goodman's early career was devoted to her investigations into the work and legacy of artist Hans Hofmann and his contemporaries, culminating in a PhD dissertation from University of Pennsylvania in 1982. She was awarded the position of Chester Dale Fellowship at the Metropolitan Museum of Art where Goodman worked on a catalogue raisonné for the artist and towards the end of her time organized Hans Hofmann as Teacher: Drawings by His Students, Metropolitan Museum of Art, 1979. She also authored the monograph and exhibition catalog Hans Hofmann, for Abbeville Press in 1986 and organized a retrospective exhibition for the artist at the Whitney Museum of American Art in 1990.

Goodman has acted as advisor to corporations including IBM, Polaroid, and Time Warner. In addition she acted as Director of the IBM Gallery of Science and Art, New York, New York from 1987-1990. She was appointed Fellow at the Center for Advanced Visual Studies, Massachusetts Institute of Technology, she was Director of Arttransition '90, an international conference on art, science and technology.
Provenance:
The collection was donated in 2019 by Cynthia Goodman.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Curators -- Ohio -- Cincinnati  Search this
Authors -- Ohio -- Cincinnati  Search this
Topic:
Computer Art  Search this
Women authors  Search this
Abstract expressionism  Search this
Interviews  Search this
Video art  Search this
Genre/Form:
Moving images
Motion pictures
Sound recordings
Video recordings
Panel discussions
Lectures
Citation:
Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goodcynt
See more items in:
Cynthia Goodman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b647b5a4-6a83-47db-bac0-73e1906029e8
EDAN-URL:
ead_collection:sova-aaa-goodcynt

Coded art enters the computer age, 1952-1982 Leslie Jones ; with contributions by Bronaċ Ferran, Patrick Frank, Tiffany Funk, Hannah B Higgins, Meredith Hoy, Jennifer King, Lisa Gabrielle Mark, Joel McKim, Britt Salvesen, Edward Shanken, Staci Steinberger, Grant D. Taylor, Bobbye Tigerman, Debora Wood

Author:
Jones, Leslie 1966-  Search this
Contributor:
Ferran, Bronac  Search this
Frank, Patrick 1953-  Search this
Funk, Tiffany  Search this
Higgins, Hannah 1964-  Search this
Hoy, Meredith  Search this
King, Jennifer  Search this
Mark, Lisa Gabrielle  Search this
McKim, Joel 1975-  Search this
Salvesen, Britt  Search this
Shanken, Edward A. 1964-  Search this
Steinberger, Staci  Search this
Taylor, Grant D  Search this
Tigerman, Bobbye 1978-  Search this
Wood, Debora  Search this
Host institution:
Los Angeles County Museum of Art  Search this
Publisher:
DelMonico Books  Search this
Physical description:
271 pages illustrations (some color) 31 x 25 cm
Type:
Exhibitions
Exhibition catalogs
History
Date:
2023
20th century
Topic:
Art and computers  Search this
Computer art--History  Search this
New media art  Search this
Arts, Modern  Search this
Computer art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1159995

Fred Truck papers

Creator:
Truck, Fred  Search this
Names:
Des Moines Festival of the Avant-garde (1979)  Search this
Brown, Jean, 1911-1994  Search this
Gibbs, Michael, 1949-2009  Search this
Held, John, 1947-  Search this
Welch, Chuck, 1948-  Search this
Extent:
15.4 Linear feet
Type:
Collection descriptions
Archival materials
Performances (creative events)
Motion pictures
Sound recordings
Video recordings
Date:
1960-2019
Summary:
The papers of multimedia and computer artist Fred Truck measure 15.4 linear feet and date from 1960-2019. Records include biographical material, correspondence including mail art, writings by Truck, project files, rare printed material including artist books and small press publications, artwork, and sound and video recordings. Additionally, a substantial portion of the collection is in electronic format, including Truck's hard drive and software programs developed by him.
Scope and Contents:
The papers of multimedia and computer artist Fred Truck measure 15.4 linear feet and date from 1960-2019. Records include biographical material, correspondence including mail art, writings by Truck, project files, rare printed material including artist books and small press publications, artwork, and sound and video recordings. Additionally, a substantial portion of the collection is in electronic format, including Truck's hard drive and software programs developed by him.

Correspondence and mail art documents Truck's involvement with the mail art network throughout his career and includes letters and mail art from artists including Anna Banana, Michael Gibbs, John Held Jr., Jürgen Olbrich, Lon Spiegelman, Chuck Stake, Chuck Welch, and many others. Also found here is a substantial group of letters from Jean Brown to Truck in which Brown comments on Truck's work, her connections with other artists, and her collecting activities focusing on Fluxus and the avant-garde, for the Jean Brown Archives.

Writings include early short stories, a play, and published articles and artist statements by Truck.

Truck's project files touch on all aspects of his career, including his making of artist books, his involvement in early and developing computer art and software, and his forays into virtual reality. Files also record his involvement in collaborative works of early electronic art including his significant contributions to the Art Com Electronic Network (ACEN), and his collaborations in performance art including The Des Moines Festival of the Avant-Garde, the Electric Bank, and the Performance Bank. Records include motion picture film of events that took place during the Des Moines Festival of the Avant Garde.

Exhibition files document six exhibitions including the group exhibition Almost Warm and Fuzzy (1999), at the Des Moines Art Center, and Here and There: Photography as a Cross-Cultural Mirror (2007), with Mano Tohei in Japan. Other professional activities are documented in files covering Truck's attendance and presentations at conferences and symposiums, on panels, and at the Banff Centre for the Arts where he undertook a residency in 1991. This series and Truck's personal business records also include scattered documentation of consignments, sales, and exhibitions with Vail Giesler/Steven Vail Galleries, and Karolyn Sherwood Gallery.

Printed material includes coverage of Truck's career in press reviews of his work and copies of two of his books, Around the House and The Hot Rod Show. The series also houses Truck's significant collection of rare artist books, artist publications, and small press publications. Additionally, Truck's printed material includes announcements, catalogs, newsletters, postcards, and other printed material for art events, literary press events, and mail art events primarily from the 1970s-1990s, including a substantial group of material from Franklin Furnace.

Artwork by Truck includes digital artwork and Fred Truck's print collection. Photographs include Truck's index to his digital photographs, some of his fine art photographic prints, and a series of snapshots taken of Truck and others on the occasion of La Mamelle Inc./Art Com's donation of its records to Stanford University.

Unprocessed born digital material appears to document Truck's research and practice in computer technology and art over several decades, including the online activities of ACEN. Additional born digital records include programs and software such as Truck's ArtEngine and Bottega.
Arrangement:
With the exception of some unsorted material, papers were generally organized alphabetically across projects, institutions, and individuals by Fred and Lorna Truck before donation to the Archives. Notes on Truck's career and an inventory of the sorted material providing folder labels and broad series types was included with the donation and both were used extensively during arrangement and description of the material. Series were further refined to facilitate access and merged with unsorted material. The collection was arranged as 10 series.

Series 1: Biographical Material, circa 1980s-2017 (Box 1; 3 folders)

Series 2: Correspondence and Mail Art, 1974-2017 (Boxes 1-4; 3.5 linear feet)

Series 3: Writings by Truck, circa 1960s-circa 2000s (Box 4; 0.25 linear feet)

Series 4: Project Files, circa 1960s-2017 (Boxes 4-7, 14, FC 15-16; 4.4 linear feet)

Series 5: Exhibition Files, 1988-2007 (Boxes 8-9; 0.25 linear feet)

Series 6: Other Professional Files, 1988-2001 (Box 9; 0.6 linear feet)

Series 7: Personal Business Records, 1960s-2006 (Box 9; 0.2 linear feet)

Series 8: Printed Material and Artist Books, 1960-2017 (Boxes 9-13; 3.2 linear feet)

Series 9: Artwork by Truck, circa 1990s-circa 2000s (Box 13; 0.15 linear feet)

Series 10: Photographs, 1980s-2019 (Box 13; 0.15 linear feet)

Series 11: Unprocessed Born Digital Material, circa 1970s-circa 2019 (Boxes 18-20; 2.5 linear feet)
Biographical / Historical:
West Des Moines, Iowa, multimedia and computer artist Fred Truck (b. 1946) played a pivotal role in the burgeoning computer art world of the 1970s, was an early and vital participant in the Art Com Electronic Network (ACEN; 1986–1999), one of the first virtual artist communities, and has been active in the mail art network throughout his career. Truck is a sculptor, a photographer, and a creator of artist books, software, and virtual reality artwork.

Born in Mount Pleasant, Iowa, Truck graduated from Iowa Wesleyan College in 1969 with a B.A. and then briefly attended American University in Washington, D.C.. From the mid-1970s to mid-1980s he worked in the printing trade and attended printing school in Ankeny, Iowa, where he was able to print the books he had been writing and making. His work included the offset book Camping Out (1975), and George Maciunas, Fluxus and the Face of Time (1984), in which which used his own Jean Brown Ultrabold typeface.

Truck was a co-founder and systems engineer for the Art Com Electronic Network (ACEN), an artist-built virtual social network established in the early internet era before the development of web-based graphics through which artists communicated and performed in text-based graphics. Truck established a menu-driven structure that would allow easy access to ACEN content invented collectively by Truck and co-founders Carl Loeffler and Anna Couey. In the late 1980s to 1990s Truck developed ArtEngine, a stand-alone software application applying artificial intelligence to graphics, text analysis, and design. His software Bottega was an interactive CD-ROM developed for the Macintosh which allowed users to explore a digital artist's workshop and also introduced users to Analog Engine, a steam-powered visual analog of his ArtEngine software.

Truck is also known for his work with virtual reality and in 1993, with the assistance of programmers, built Labyrinth, a flight simulator based on Leonardo da Vinci's flying machine. The project took place at Carnegie Mellon University under the supervision of Carl Loeffler.

In 1998 Truck created the fictitious Badge of Quality Corporation with Mr. Milk Bottle as it's public representative and himself as president and CEO of the corporation. In 2007 he was commissioned to build a 62" tall steel sculpture of Mr. Milk Bottle dissolving into nature.

Truck became interested in digital photography in 2005 and joined Flickr in 2009, where he continues to post his photographs. Truck is a pioneer in the use of stereographic projections and anaglyph images and describes his work as using digital processing to move his 2-D images into "a 3-D arena via anaglyph techniques, stereograms or 360 720 panoramas."
Provenance:
The collection was donated in 2020, 2021, and 2022 by Fred Truck.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Computer artists -- Iowa -- Des Moines  Search this
Multimedia artists -- Iowa -- Des Moines  Search this
Topic:
Mail art  Search this
Fluxus (Group of artists)  Search this
Performance art  Search this
Genre/Form:
Performances (creative events)
Motion pictures
Sound recordings
Video recordings
Citation:
Fred Truck papers, 1960-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.trucfred
See more items in:
Fred Truck papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9735e3576-a15c-4e97-8844-500946f6cb4b
EDAN-URL:
ead_collection:sova-aaa-trucfred

Association for Computing Machinery's Special Interest Group on Computer Graphics and Interactive Techniques (ACM SIGGRAPH) Exhibition of Computer Art, Catalog of Interactive Installations and Video, 1988 (88-10), VHS

Container:
Box 7 of 19
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 11-004, Hirshhorn Museum and Sculpture Garden, Audiovisual Records
See more items in:
Audiovisual Records
Audiovisual Records / Box 7
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa11-004-refidd1e1581

Arte y cibernética : San Francisco, Londres, Buenos Aires : exhibición del Centro de Arte y Comunicación, abril 1971 / organización y textos [por] Jorge Glusberg ; traducción [por] Raúl Colbert

Author:
Glusberg, Jorge  Search this
Centro de Arte y Comunicación (Buenos Aires, Argentina)  Search this
Physical description:
1 portfolio ([28] p. : ill.) ; 16 x 22 cm
Type:
Exhibitions
Place:
Argentina
Date:
1971
[1971?]
Topic:
Computer art  Search this
Call number:
N7433.8 .G57
N7433.8.G57
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_137947

3.5 inch diskettes, Group of 39

Maker:
Activision  Search this
Commodore Business Machines, Inc.  Search this
Electronic Arts  Search this
Spectrum HoloByte  Search this
Object Name:
software
Date made:
1986
1986
Credit Line:
Carl J. and Tracie Lafata
ID Number:
2001.3063.10
Catalog number:
2001.3063.10
Nonaccession number:
2001.3063
See more items in:
Medicine and Science: Computers
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-7dd1-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_834252

Oral history interview with Rolando Briseño

Interviewee:
Briseño, Rolando, 1952-  Search this
Interviewer:
Cordova, Cary  Search this
Creator:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Names:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Amado, Jesse, 1951-  Search this
Barraza, Santa  Search this
De Syzslo, Fernando  Search this
Del Viller, Melita  Search this
Kanjo, Kathryn  Search this
Mazuca, Roland  Search this
Mondini-Ruiz, Franco, 1961-  Search this
Orozco, Sylvia, 1954-  Search this
Pace, Linda  Search this
Ramirez, Chuck  Search this
Von Honts, Jackie  Search this
Extent:
73 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 March 16-26
Scope and Contents:
An interview of Rolando Briseño conducted 2004 March 16 and 26, by Cary Cordova, for the Archives of American Art, in San Antonio, Texas.
Briseño speaks of his family background; as a child going to Mexico during the summer; growing up in San Antonio; visiting the Witte Museum, taking art classes there; Jackie von Honts, a special tutor of Briseño; scholarship to Cooper Union in New York; Catholicism; Melita del Villar and realizing "Christian mythology"; exchange program with University of Texas, Austin and La Pontifica Universidad Católica del Peru, Lima, Peru; calling himself Chicano; passion for food; traveling around Europe; politics and its influence; coming to terms with his sexuality; graduate school at Columbia University; interest in boxing; involvement in Con Safo; working on a computer as opposed to painting; and the Historic and Design Review Commission of San Antonio. Briseño also recalls Roland Mazuca, Fernando de Syzslo, Santa Barraza, Sylvia Orozco, Kathryn Kanjo, Linda Pace, Jesse Amado, Chuck Ramirez, Franco Mondini-Ruiz, and others.
Biographical / Historical:
Rolando Briseño (1952-) is an artist from San Antonio, Texas. Cary Cordova (1970-) is an art historian from Austin, Texas.
General:
Due to technical problems the interview was recorded on both compact disc and mini disc.
Originally recorded on 2 sound discs and 2 compact discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- Texas -- San Antonio -- Interviews  Search this
Mexican American artists  Search this
Catholicism  Search this
Computer Art  Search this
Latino and Latin American artists  Search this
Gay artists  Search this
Artists (LGBTQ)  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.brisen04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw928221474-79d2-4b81-a945-2dba8a76ba6d
EDAN-URL:
ead_collection:sova-aaa-brisen04
Online Media:

Computer Art

Collection Creator:
Loran, Erle, 1905-1999  Search this
Container:
Box 12, Folder
Type:
Archival materials
Date:
circa 1960s-1970s
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Erle Loran papers
Erle Loran papers / Series 7: Photographs / Slides
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db545e3e-3f24-40c2-b2bc-193de4682ab3
EDAN-URL:
ead_component:sova-aaa-loraerle-ref756

Oral history interview with Sue Fuller

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
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
Online Media:

Robert Stanley papers

Creator:
Stanley, Robert, 1942-  Search this
Extent:
2.3 Linear feet
0.608 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Date:
circa 1965-2021
Summary:
The papers of painter, educator, and computer artist Robert Stanley measure 2.3 linear feet and 0.608 Gigabytes, and date from circa 1965-2001. The collection consists of correspondence largely professional in nature including born-digital material in the form of portfolio submissions and email folders prepared by Robert Stanley; writings in digital format in the form of a studio log describing the studio practice from 1978-2021; printed material including exhibition catalogues as well as a self-published catalogue raisonné also captured in digital format, as well as a selection of published writings; and an artwork series including mostly sketchbooks and loose sketches and drawings created throughout the span of Stanley's career.
Scope and Contents:
The papers of painter, educator, and computer artist Robert Stanley measure 2.3 linear feet and 0.608 Gigabytes, and date from circa 1965-2001. The collection consists of correspondence largely professional in nature including born-digital material in the form of portfolio submissions and email folders prepared by Robert Stanley; writings in digital format in the form of a studio log describing the studio practice from 1978-2021; printed material including exhibition catalogues as well as a self-published catalogue raisonné also captured in digital format, as well as a selection of published writings; and an artwork series including mostly sketchbooks and loose sketches and drawings created throughout the span of Stanley's career.
Arrangement:
The collection is arranged as four series:

Series 1: Correspondence (0.3 Linear feet: Box 1; 0.496 Gigabytes: ER0001-ER0002)

Series 2: Writings (0.034 Gigabytes: ER0003)

Series 3: Printed Material (0.2 Linear feet: Box 1; 0.064 Gigabytes: ER0004-ER0005)

Series 4: Artwork (1.8 Linear feet: Boxes 1-3)
Biographical / Historical:
Robert Stanley (1942- ) is a painter, educator, and computer artist in Beverly Shores, Indiana. While Stanley was born to a household that was supportive of the arts, he didn't pursue art classes until his they were offered to him while training to become a monk. He went on to receive his Bachelor's Degree from the University of Dayton in 1964, and later received his Master's Degree from Pratt Institute in l969 so that he would be able to find adequate work teaching art. Stanley was an early follower of computer art, and soon would become a pioneer practitioner, from the early eighties, creating computer art regularly from the mid 1980s throughout the 1990s and beyond. Notably, Stanley explored the same themes in painting and computer art throughout his career, particularly the exploration of perception and dimension in constructing images, as well as unseen forces at play in nature. Stanley cites artistic influences as broad as Jasper Johns, Wassily Kandinsky, Richard Diebenkorn, Sally Mann, and Bill Viola, as well as biologist E.O. Wilson and physicist Edward Lorenz.

Robert Stanley has exhibited his work throughout the United States and Europe, including The William Penn Museum in Harrisburg PA, Musée d'Art Contemporain, Chamaliere, France, Midwest Museum of Art, The Brauer Museum, Ft. Wayne Museum of Art, Koehnline Museum, Hyde Park Art Center, and Evanston Art Center in Illinois. Stanley's art is featured in numerous private collections internationally as well as the Brauer Museum of Art, Valparaiso, IN; Ft. Wayne Museum of Art, Ft. Wayne, IN; The Embassy of France, Washington, D.C.; and the World Print Council, San Francisco, CA.
Provenance:
Two letters from Richard Diebenkorn were donated in 2016 by Robert Stanley. In 2022, Stanley donated the rest of the papers.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records 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 -- Indiana  Search this
Computer artists -- Indiana  Search this
Art teachers -- Indiana  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Robert Stanley Papers, circa 1965-2021. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stanlrob
See more items in:
Robert Stanley papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a76c3ec1-6c11-471b-9ef5-017c06b4b20e
EDAN-URL:
ead_collection:sova-aaa-stanlrob

Press Kit, The Latin American Spirit: Art and Artists in the United States 1920-1970 Exhibition

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 13
Type:
Archival materials
Date:
1989
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a954399d-4c63-4f51-8bff-f9330bfb278a
EDAN-URL:
ead_component:sova-aaa-casamel-ref24
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Press Kit, The Latin American Spirit: Art and Artists in the United States 1920-1970 Exhibition digital asset number 1

Printed Materials Related to Parish Before Opening Parish Gallery

Collection Creator:
Parish Gallery  Search this
Container:
Box 7, Folder 2
Type:
Archival materials
Date:
1970-1991
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Parish Gallery records
Parish Gallery records / Series 3: Norman Parish Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90b7545bb-eea9-4b0c-9c5c-dd91e5eecd3b
EDAN-URL:
ead_component:sova-aaa-parigall-ref268
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Printed Materials Related to Parish Before Opening Parish Gallery digital asset number 1
  • View Printed Materials Related to Parish Before Opening Parish Gallery digital asset number 2

Resume

Collection Creator:
Parish Gallery  Search this
Container:
Box 7, Folder 5
Type:
Archival materials
Date:
circa 1987
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Parish Gallery records
Parish Gallery records / Series 3: Norman Parish Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bc5f4d23-0426-4edd-90ca-97004bc27304
EDAN-URL:
ead_component:sova-aaa-parigall-ref307
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Resume digital asset number 1

Parish Gallery Grand Opening Exhibition (1991)

Collection Creator:
Parish Gallery  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1991-1992
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Parish Gallery records
Parish Gallery records / Series 1: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a68d3d64-9ddf-4b66-a731-49e7e34a1b15
EDAN-URL:
ead_component:sova-aaa-parigall-ref4
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Parish Gallery Grand Opening Exhibition (1991) digital asset number 1

American Indian Computer Art Project

Collection Creator:
Smithsonian Institution  Search this
Computerworld Magazine.  Search this
Container:
Box 27 (Series 11), Folder 1
Type:
Archival materials
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Copyright held by donor and/or heirs. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.] .
Collection Citation:
The Computer World Smithsonian Awards, Archives Center, National Museum of American History
See more items in:
Computer World Smithsonian Awards
Computer World Smithsonian Awards / Series 11: Awards / 11.5: Government and Non-Profit Organizations
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f12b7b6c-518e-45ea-8952-e9158132c7c9
EDAN-URL:
ead_component:sova-nmah-ac-0425-ref2630

Oral history interview with Gyöngy Laky

Interviewee:
Laky, Gyöngy, 1944-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Branford, Joanne Segal, 1933-1994  Search this
Christiansen, Brett  Search this
Dobras, Darryl  Search this
Dumas, Mary  Search this
Elliott, Lilian, 1930-1994  Search this
Foosaner, Judith, 1940-  Search this
Gablik, Suzi  Search this
Hamilton, Ann, 1956-  Search this
Lahner, Émile, 1893-1980  Search this
Larsen, Jack Lenor  Search this
Miller, Henry, 1891-1980  Search this
Nevelson, Louise, 1899-1988  Search this
Ocampo, Kim  Search this
Puryear, Martin, 1941-  Search this
Rossbach, Ed  Search this
Sontag, Susan, 1933-2004  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
11 Items (Sound recordings: 11 sound files (4 hr., 8 min.), digital, wav)
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2007 December 11-12
Scope and Contents:
An interview of Gyöngy Laky conducted 2007 December 11-12, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Laky's home and studio, in San Francisco, California.
Laky speaks of her recent exhibitions; leaving Hungary as a child; using words in art; learning languages; family influences in her art; the family art gallery and Chinese painting; changing majors in college; working with various materials; using recycled materials in her work; retirement; planning her works; working with assistants; working with a small community in Europe; construction of her works; using computers to create art; the craft "renaissance"; scale and outdoor projects; working with dealers and commissioned pieces; emphasis on negative space. Laky also recalls Emile Lahner, Mary Dumas, Ed Rossbach, Judy Foosaner, Peter Voulkos, Joanne Branford, Lillian Elliott, Henry Miller, Louise Nevelson, Darryl Dobras, Brett Christiansen, Kim Ocampo, Jack Lenor Larsen, Martin Puryear, Ann Hamilton, Suzi Gablik, Susan Sontag, and others.
Biographical / Historical:
Gyöngy Laky (1944- ) is a sculptor from San Francisco, California. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 4 hr., 8 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.
Topic:
Decorative arts  Search this
Computer Art  Search this
Painting -- China  Search this
Art and computers  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.laky07
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw943b1a81c-dc91-43ff-b58c-94ffd7b397ac
EDAN-URL:
ead_collection:sova-aaa-laky07
Online Media:

Roy De Forest papers

Creator:
De Forest, Roy, 1930-2007  Search this
Names:
Dilexi Gallery  Search this
Loujon Press  Search this
Nixon, Bruce  Search this
Strohl, Audrey  Search this
Uccello, Paolo, 1397-1475  Search this
Zack, David, 1938-  Search this
Extent:
11.2 Linear feet
111.86 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Interviews
Sketchbooks
Sound recordings
Video recordings
Date:
1916-2015
bulk 1948-2007
Summary:
The papers of artist Roy De Forest measure 11.2 linear feet and 111.86 gigabytes and date from 1916 to 2015, with the bulk of the collection dating from 1948 to 2007. The collection documents De Forest's painting career and involvement in the funk art movement through biographical material, correspondence, writings, professional records, printed material, photographic material, artwork, digital audio and video recordings, and artifacts.
Scope and Contents:
The papers of artist Roy De Forest measure 11.2 linear feet and 111.86 gigabytes and date from 1916 to 2015, with the bulk of the collection dating from 1948 to 2007. The collection includes documents De Forest's painting career and involvement in the funk art movement through biographical material, correspondence, writings, professional records, printed material, photographic material, artwork, digital audio and video recordings, and artifacts.

Biographical material includes early school materials, resumes, a recording of an interview, membership materials, identification documents, certificates and awards, and family history and genealogy material. Also included in this series are obituaries, letters of condolence, and materials, including born-digital photographs and recordings, related to memorial services celebrating De Forest's life and work.

Correspondence includes letters and postcards to and from family, friends, colleagues, and arts institutions. This series also includes a few folders of greeting cards.

The writings series contains essays, lectures, exhibition texts, notes, and other materials written by Roy De Forest, including an essay, The Vision of Paolo Uccello, and his famous "dog lecture." Also included are writings by others, such as a student dissertations on Roy De Forest, essays by Bruce Nixon, and poetry and an essay by David Zack.

Professional records include materials related to a book of memories (never published) organized by Dilexi Gallery and the Loujon Press, exhibition planning documents, an exhibition recording, materials related to the James Talcott Inc. Computer Arts program, and materials related to print documentation.

Financial records contain inventory and stock files; sales and consignment records; receipts and invoices; tax, estate, and insurance paperwork; and account books and ledgers.

Printed material includes exhibition announcements, catalogs, and posters; material related to other projects; blank cards with Roy De Forest art; clippings; press releases; newsletters and journals; books; and source material.

Photographic material includes digital and print photographs, negatives, transparencies, and slides of Roy De Forest and other individuals, as well as travel photos, images of his pets (primarily dogs), and images of his studio and works of art.

Artwork includes drawings by De Forest and others, as well as four sketchbooks.

The artifacts series contains a tote bag, t-shirt, and a puzzle, all featuring Roy De Forest artwork. Also included in the series is a patterned shirt and an "art critic" baseball cap.
Arrangement:
The collection is arranged in nine series.

Series 1: Biographical Material, 1930-2008 (Boxes 1-2, OV 12, RD 17, ER01-ER03; 1.7 linear feet)

Series 2: Correspondence, circa 1948-2014 (Boxes 2-3; 1 linear foot)

Series 3: Writings, circa 1952-2005 (Box 3, OV 12, ER04; 0.3 linear feet)

Series 4: Professional Records, 1968-circa 2007, 2014 (Box 3, OV 12; 0.4 linear feet)

Series 5: Financial Records, 1963-circa 2014 (Boxes 3-5; 1.4 linear feet)

Series 6: Printed Material: 1916-1936, 1951-2007 (Boxes 5-7, OV 13-14, ER05-ER07; 2.8 linear feet)

Series 7: Photographic Material: 1926, circa 1943-2007 (Boxes 7-9, OV 15, ER08-ER12; 2 linear feet)

Series 8: Artwork, circa 1947-circa 2007 (Boxes 9-10, OV 16; 0.6 linear feet)

Series 9: Artifacts, circa 2007-circa 2009 (Box 11; 1 linear foot)
Biographical / Historical:
Roy De Forest (1930-2007) was a painter, sculptor, and educator in Port Costa, California. A notable figure in the funk art movement, he coined the term "nut art" to describe art that embraced humor and created a fantasy world.

Born in North Platte, Nebraska, Roy De Forest grew up in Yakima, Washington where he attended Yakima Junior College and graduated in 1950. He went on to study at the California School of Fine Arts (now San Francisco Art Institute) and San Francisco State College (now San Francisco State University). He taught at Yakima Junior College from 1958 to 1960 after graduating from San Francisco State College, and later taught at the University of California, Davis from 1965 until his retirement as professor emeritus in 1992.

De Forest's first solo exhibition was in 1955 at the East & West Gallery in San Francisco. From then until his death in 2007, he exhibited frequently, especially at the Allan Frumkin Gallery in New York and the Hansen Fuller Gallery in San Francisco.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Roy De Forest conducted by Lynn Robert Matteson, April 7-June 30, 2004.
Provenance:
The Roy De Forest papers were donated in several installments from 1974 to 2019. Some materials were loaned for microfilming in 1974 and subsequently donated in 1977 and 1979 by Roy De Forest. Additional materials were donated in 2009, 2016 and 2019 by Gloria Marchant, Roy De Forest's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Occupation:
Painters -- California  Search this
Topic:
Art, Modern -- 20th century -- California  Search this
Educators -- California  Search this
Sculptors -- California  Search this
Funk  Search this
Genre/Form:
Drawings
Interviews
Sketchbooks
Sound recordings
Video recordings
Citation:
Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.deforoy
See more items in:
Roy De Forest papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98f8cb345-ff69-413b-a1bd-5f97a28699a4
EDAN-URL:
ead_collection:sova-aaa-deforoy
Online Media:

James Talcott, Inc.— Computer Art Program

Collection Creator:
Cruz, Emilio, 1938-  Search this
Container:
Box 3, Folder 20-21
Type:
Archival materials
Date:
1974-1975
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that she may own, in the following material: Emilio Cruz's unpublished short stories, poems, plays, and novels.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Emilio Cruz papers, 1961-2008. Archives of American Art, Smithsonian Institution.
See more items in:
Emilio Cruz papers
Emilio Cruz papers / Series 5: Exhibition and Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e80e1ebc-72e7-4e5d-b717-51c4fcd54201
EDAN-URL:
ead_component:sova-aaa-cruzemil-ref98

Kenneth Snelson papers

Creator:
Snelson, Kenneth, 1927-2016  Search this
Names:
Black Mountain College (Black Mountain, N.C.)  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Tajiri, Shinkichi, 1923-2009  Search this
Extent:
21.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1947-2016
Summary:
The papers of artist Kenneth Snelson measure 21.8 linear feet and date from 1947-2016. While primarily known for his sculptures incorporating the structural principle of tensegrity, Snelson was also a prolific photographer and forerunner of computer art. The collection document's the artist's life and work through chronological files, correspondence, project files, gallery and exhibition files, photographic material, and printed material. Chronological files detail seven decades of personal and professional activities, beginning with Snelson's summers at Black Mountain College where he studied with Buckminster Fuller. Project files comprise nearly half of the collection and extensively document his sculptures, towers, atom model, computer art, patents, and cataloging and publishing projects.
Scope and Contents:
The papers of artist Kenneth Snelson measure 21.8 linear feet and date from 1947-2016. While primarily known for his sculptures incorporating the structural principle of tensegrity, Snelson was also a prolific photographer and forerunner of computer art. The collection document's the artist's life and work through chronological files, correspondence, project files, gallery and exhibition files, photographic material, and printed material.

Chronological files detail seven decades of personal and professional activities, beginning with Snelson's summers at Black Mountain College where he studied with Buckminster Fuller. Files contain a diverse array of material including personal photographs, photographs of artwork, printed material, correspondence, life documents, resumes, exhibition records, drawings and sketches, supply receipts, and professional files.

Correspondence in Series 2 is primarily with artists and friends. Notable correspondents include artists Buckminster Fuller, Anthony Hill, Todd Siler, and Shinkichi Tajiri.

Project files comprise nearly half of the collection and extensively document Snelson's sculptures, towers, atom model, computer art, patents, and cataloging and publishing projects. Files include a great deal of photographic material of artwork, models, and installations, as well as sketches, notes regarding specifications, material samples, supply receipts, invoices, and correspondence with dealers, contractors, institutions, and companies commissioning work.

Exhibition and gallery files document dozens of exhibitions and galleries that have represented Snelson over the years in the Unites States, Europe, and Japan. Items include correspondence, photographic material of artworks, installations, and openings, exhibitions lists, floorplans, shipping receipts, invoices, contracts, and printed material including exhibitions catalogs, announcements, and clippings.

Photographic material includes photographic prints, slides, negatives, contact sheets, and transparencies, as well as notes that Snelson kept about camera types and photographic processes. Although personal photographs are included here, the bulk of the material pertains to Snelson's fine art photography in which he experiments with panoramic photography and stereoscopic photography.

Printed material is predominantly comprised of exhibition catalogs, although a few articles and clippings are filed here as well.
Arrangement:
The collection is arranged as six series.

Series 1: Chronological Files, 1948-2015 (Boxes 1-6; 5.1 linear feet)

Series 2: Correspondence, 1948-2009 (Box 6; 0.5 linear feet)

Series 3: Project Files, 1947-2016 (Boxes 6-17; 10.8 linear feet)

Series 4: Exhibition and Gallery Files, 1963-2016 (Boxes 17-20; 1.5 linear feet)

Series 5: Photographic Material, 1951-2004 (Boxes 20-22; 1.8 linear feet)

Series 6: Printed Material, 1960-2015 (Boxes 22-23; 0.7 linear feet)
Biographical / Historical:
Kenneth Snelson (1927-2016) was a New York City based artist best known for his sculptures incorporating the structural principle of tensegrity, or tensional integrity.

Born in Pendleton, Oregon, Snelson enrolled in college in his home state, studying painting, sculpture, and engineering. In the summers of 1948 and 1949, he attended Black Mountain College and studied with Buckminster Fuller and Joseph Albers. Snelson then attended the Chicago Institute of Design from 1949-1950, and moved to New York City in 1952.

For the next decade, Snelson worked as a cameraman for documentary films, often travelling internationally. In the early 1960s, Snelson began exhibiting his sculptures, and gained representation by Dwan Gallery. Snelson completed several commissions and installations of his sculptures over the next decade, including Tower of Light, a contribution to the 1964 World's Fair, and Needle Tower, first erected in New York's Bryant Park in 1968. While continuing to work in sculpture throughout his career, Snelson began experimenting with panoramic and stereoscopic photography in the 1970s, and became a forerunner of computer art in the 1980s, using the Silicon Graphics computer to create digital sculptures.

In addition to Dwan Gallery, Snelson has shown with Sonnabend Gallery, Zabriskie Gallery, Marlborough Gallery, and the artist-run ConStruct Gallery.

Snelson has been the recipient of numerous awards and prizes including an Honorary Doctorate from the Rensselaer Polytechnic Institute, awards from the American Academy of Arts and Letters, and a prize for sculpture from the National Academy of Design.
Provenance:
The collection was donated to the Archives of American Art in 2017 by Katherine Snelson, Kenneth Snelson's widow.
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.
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:
Sculptors -- New York (State) -- New York  Search this
Citation:
Kenneth Snelson papers, 1947-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.snelkenn
See more items in:
Kenneth Snelson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973127043-0fac-412f-885d-1cff0b872f0b
EDAN-URL:
ead_collection:sova-aaa-snelkenn
Online Media:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996

Creator:
Goodman, Cynthia  Search this
Subject:
Hofmann, Hans  Search this
Paik, Nam June  Search this
Kwangju Piennalle  Search this
Everson Museum of Art  Search this
Type:
Moving images
Motion pictures
Sound recordings
Video recordings
Panel discussions
Lectures
Citation:
Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.
Topic:
Computer Art  Search this
Women authors  Search this
Abstract expressionism  Search this
Interviews  Search this
Video art  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)21905
(DSI-AAA_SIRISBib)399154
AAA_collcode_goodcynt
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_399154

Modify Your Search







or


Narrow By