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Does "copy quick" mean copy art?

Collection Creator:
Artists Talk on Art  Search this
Extent:
2 Sound cassettes (Order is uncertain and files may overlap in content., duration 01:54:46)
Type:
Archival materials
Sound cassettes
Date:
1986 February 21
Scope and Contents:
Moderated by Robert Morgan, with speakers Dianne Arndt, Charles Arnold, Robert Barry, Edward Powis Jones, Louis Neaderland, and Paul Zelevansky.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
See more items in:
Artists Talk on Art records
Artists Talk on Art records / Series 9: Video and Sound Recordings of Events
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a2c01a1a-1196-433f-bdee-c2543be3724d
EDAN-URL:
ead_component:sova-aaa-artitalk-ref1504

Fairchild F-27 Mohawk interior copy art, March 1966, photograph

Collection Creator:
Fairchild Aircraft Corp  Search this
Container:
Box 513, Folder 15
Type:
Archival materials
Collection Restrictions:
No restrictions on access
See more items in:
Fairchild Industries, Inc. collection
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg2ecf4b3fa-c80d-4846-9ee9-089c773a9eb8
EDAN-URL:
ead_component:sova-nasm-1989-0060-ref5958

Esta Nesbitt papers

Topic:
Everyman (motion picture)
Creator:
Nesbitt, Esta  Search this
Names:
Parsons School of Design -- Faculty  Search this
Whitney Museum of American Art  Search this
Xerox Corporation  Search this
Ambert, Anibal  Search this
Beckett, Samuel, 1906-1989  Search this
Einstein, Albert, 1879-1955  Search this
English, Merle  Search this
Ginsberg, Allen, 1926-  Search this
Leder, Alan J.  Search this
Lyle, David  Search this
Wood, R. F.  Search this
Extent:
10.05 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Date:
circa 1942-1981
bulk 1964-1975
Summary:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York  Search this
Topic:
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Women filmmakers  Search this
Women illustrators  Search this
Women educators  Search this
Genre/Form:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Citation:
Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesbesta
See more items in:
Esta Nesbitt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c57916c9-f891-4116-a32d-d1f4e83c624f
EDAN-URL:
ead_collection:sova-aaa-nesbesta
Online Media:

Inventory of Charles Lang Freer's library

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
Freer Gallery of Art  Search this
Freer, Charles Lang, 1856-1919  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
1 Item (typed, with handwritten edits)
Type:
Archival materials
Inventories
Date:
undated
Scope and Contents:
Comprehensive index of Charles Lang Freer's library, mostly relating to art and Asian culture. Headings include authors, countries, and topical subjects. Sections include locations in Freer's original Detroit home; an index of all books transferred to the Smithsonian; a list of collections and collectors catalogues of American and Near and Far Eastern art; sales catalogues, and books in Chinese language.
Arrangement:
Organized in the original manner by the creator.
Local Numbers:
FSA A.01 05.22
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting  Search this
Art, American -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Book collecting  Search this
Function:
Libraries
Genre/Form:
Inventories
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 05.22
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 5: Art Inventories / 5.22: Printed Books [Library]
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc302cb29b7-d6a1-46ad-9b1d-afc360459013
EDAN-URL:
ead_component:sova-fsa-a-01-ref3332
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Inventory of Charles Lang Freer's library digital asset number 1

"COPY: 'Arts Magazine' program broadcast by the English Service of the Sri Lanka Broadcasting Company on Feb. 21, 1975. A review by Mr. L. P. Goonetilleke, dean of Sri Lanka art critics, of the Smithsonian Institution's exhibit 'George Catlin's Indian ...

Container:
Box 285 of 287
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 321, National Museum of American Art. Office of Program Support, Records
See more items in:
Records
Records / Series 18: Audio-Visual Material / Box 285
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0321-refidd1e20400

Correspondence 06

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 2 (Series 7)
Type:
Archival materials
Date:
undated
1960-1961, 1963, 1966, 1968, 1976
Scope and Contents note:
File consists of Bill Monroe Fan Club card, correspondence with Marvine Johnson regarding fan club organization and booking, Neil Rosenberg with Monroe bibliography, Flatt, Scruggs and Foggy Mountain Boys discography, Bill Monroe Fan Club newsletter, biographical sketch, news clipping regarding Monroe and PBS, receipt for photographs from Copy-Art.
Collection Restrictions:
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at rinzlerarchives@si.edu or (202) 633-7322.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_07_002_006
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 7: Notable Figures / 7.2: Monroe, Bill
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk53467bab2-e5e5-41dd-b13d-49fc347592e0
EDAN-URL:
ead_component:sova-cfch-rinz-ref3920

Millard Sheets papers

Creator:
Sheets, Millard, 1907-1989  Search this
Names:
Dalzell Hatfield Galleries  Search this
Millard Sheets & Associates Designs  Search this
Sheets, Mary Baskerville  Search this
Extent:
27.6 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Date:
circa 1907-2000
Summary:
The Millard Sheets papers comprise 27.6 linear feet of material dating from circa 1907 to 2000 with bulk dates spanning 1956 to 1981. The collection documents Sheets's career as a designer, painter, and muralist, and his personal and professional interests through correspondence, writings, lectures, printed material, drawings, slides, photographs, and ephemera. A small addition donated 2018 by Carolyn Owen-Toole, Sheet's daughter. There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Scope and Content Note:
The personal papers of Millard Sheets (1907-1990) measure 27.6 linear feet and date from circa 1907-2000, with bulk dates of 1956-1981. The collection reflects Sheets's career as a designer, painter, and muralist, as well as his other personal and professional interests, through correspondence, writings, lectures, clippings, blueprints, drawings, slides, photographs, and ephemera.

The Project Files comprise the largest group of materials in the collection and document design work undertaken by Sheets through his company Millard Sheets & Associates Designs. Sheets and his associates produced concept drawings and blueprints and supervised the construction for a wide range of design projects that ranged in scale from architectural plans for private residences to bid proposals for shopping malls and financial institutions located in California and the Southwest.

Sheets designed interior and exterior plans for over forty Home Savings and Loan bank branches in California. The distinctive modular design which Sheets created and then customized by integrating interior and exterior art elements that highlighted local historical events or natural features became synonymous with the image of Home Savings and Loan. Sheets also teamed up with the architect Edward Durrell Stone to produce a proposal for the Capitol Mall Project, an urban renewal project for the Redevelopment Agency of the City of Sacramento. Researchers will find correspondence, job costs and billing statements, and notes that trace the development of these and other building construction projects. In some instances the documents are supplemented by blueprints, photographs, and/or drawings of the project, but in many cases, visual documentation is missing.

The Project Files also document work done by Millard Sheets on public projects such as the Family of Man mural in the Los Angeles City Hall Annex, a mosaic dome in the National Shrine of the Immaculate Conception, Washington, D.C., and the Word of Life mural at the University of Notre Dame, Ind., along with numerous other murals and mosaics created for private individuals and corporations.

The Correspondence Series primarily reflects the interaction between Sheets and his clients, colleagues, and personal acquaintances. These files will prove valuable to researchers who are interested in the way that Sheets's beliefs about the role of art in everyday life impacted the way he conducted business and managed both large and small design projects. The correspondence also reflects Sheets's interest in popular American culture, travel, political issues of the day, and art collecting.

The Membership Files document the wide variety of interests that Sheets maintained through active membership in associations and organizations. The material in this series consists primarily of correspondence, minutes of meetings, and notes which Sheets created or used as he served as a board member or trustee on a number of organizational boards, such as the California Institute of the Arts, the Claremont Colleges, Virginia Steele Scott Foundation, Webb School of California, and Goodwill Industries of Southern California.

Also found in this series is material that documents his interest and participation in various recreational and professional organizations. Sheets maintained a long association with the Economic Roundtable, a group of businessmen who met regularly to give presentations and share discussion on contemporary political and social issues. Sheets was a frequent speaker and his talks given at the Economic Roundtables can be found in Lectures and Speeches, a subseries of the Writings Series.

Included in the Millard Sheets & Associates Designs, Inc. series are records that reflect the day-to-day operations of Sheets's design firm. Found here are chronological copies of correspondence that were sent out, files Sheets maintained on various independent contractors that the design firm frequently used, resumes and letters of recommendation that Sheets received regarding potential employees, as well as records relating to the cost and maintenance of Sheets's office building.

The Teaching and Workshop Files document the instructional activities undertaken by Sheets throughout his career in the arts. Although Sheets became pivotal in establishing a regionally recognized art department at Scripps College in Claremont, California, the files that reflect his academic position there are limited in scope and depth. Researchers will find more substantive the files that he maintained on the numerous art demonstrations and paintings workshops that he conducted privately throughout his career. Sheets traveled extensively around the world through his teaching activities and the files in this series track his path.

Closely related to the Teaching and Workshop Files is the Painting Trips series. The material in these files document Sheets's service as an American Specialist in the Bureau of Educational and Cultural Affairs of the USIS, Department of State. Sheets served two times as a cultural arts representative in Turkey in 1960 and in the former USSR in 1961. Sheets also made numerous trips to South East Asia, which had proved an area of fascination for him since his experiences as a war correspondent in Burma and India in World War II. The files in this series document his painting trips to Tahiti, the Pacific Ocean Rim, and Hawaii. Also found are files that detail his painting activities in Mexico.

The Exhibition Files reflect the records that Sheets maintained regarding his participation in art exhibitions, as well as his files on art shows that he personally directed or organized for public or private groups or organizations. Although Sheets exhibited his work predominantly in the West and Southwest, the files in this series demonstrate that he exhibited both nationally and internationally as well.

Also found within the records for this series are files relating to Sheets's representation of his artwork through established galleries and art agents. The Dalziel Hatfield Galleries of Los Angeles, California, served as his primary agent for most of his painting career. Correspondence between Sheets and the Hatfields provide insight into Sheets's development into a regionally and nationally significant watercolorist and painter. The files relating to the Kennedy Galleries in New York and the Circle Gallery in Chicago reflect Sheets's efforts to maintain a national presence in the arts community.

The Jury Files document Sheets's involvement as a juror in regional, as well, as national shows. The files reveal the great variety of professional watercolor and painting exhibitions in which Sheets participated as either a jury panelist or solo judge.

The Writings Files provide an excellent source for researchers interested in Sheets's philosophical beliefs about the relationship between art and everyday life. His articles, lectures, and speeches predominantly address the role of the artist, the relationships that exist between artists and the community, and the role that art can play in making a fuller, more productive life. Also found in the files of this series are articles written by others about Sheets.

The Biographical Material series provides a short introduction to Millard Sheets. The files consist of the calendars maintained by Sheets and his wife and staff, which were used to coordinate his many commitments and appointments. Also found in the files of this series are family chronologies that were created by Mary Baskerville Sheets. Medical records and resumes provide personal information about Sheets's background and health. A small file of military memorabilia provides information about Sheets's contributions to the war effort in World War II.

The Printed Matter series documents family activities and personalities through publicity clippings. Also found are exhibition catalogs and announcements that Sheets saved regarding other artists. Miscellaneous interests and activities of Sheets are found through magazine articles, brochures, and flyers.

The Photographs series includes photographic documentation for Sheets's artwork, horses, and major projects. A small group of photographs of Sheets are also in this series.

The files in the Artwork series include original drawings by Mary Baskerville Sheets and Millard Sheets.

There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Arrangement:
The collection is arranged into fifteen series. Small series, such as Biographical Material are generally based on type of document. Larger series, such as Correspondence or Project Files, are arranged alphabetically by name of correspondent or project. General correspondence has been made into its own series, but other series or subseries may also contain some correspondence. Within particular series, materials have been further divided into subseries which represent particular aspects of the project or event. For example, the Writings Series is further divided into subseries of books and articles, eulogies, and lectures and speeches. An outline listing series and subseries titles and dates follows.

Missing Title

Series 1: Biographical Material, 1907-1982, undated (boxes 1-2; 1.25 linear ft.)

Series 2: Correspondence, 1929-1990, undated (boxes 2-4; 2.75 linear ft.)

Series 3: Personal Business Records, 1933-1980, undated (boxes 5-6; 1.25 linear ft.)

Series 4: Membership Files, 1946-1982, undated (boxes 6-8; 2.5 linear ft.)

Series 5: Millard Sheets & Associates Designs, 1934-1982, undated (boxes 8-9; 1.0 linear ft.)

Series 6: Project Files, 1956-1981, undated (boxes 9-18; 8.25 linear ft.)

Series 7: Teaching and Workshop Files, 1932-1982 (box 18; 0.5 linear ft.)

Series 8: Painting Trips, 1959-1980, undated (box 18; 16 folders)

Series 9: Exhibition Files, 1932-1937, 1951-1988, undated (box 19; 0.75 linear ft.)

Series 10: Jury Files, 1941-1982 (boxes 19-20; 42 folders)

Series 11: Writings, 1936-1988, undated (boxes 20-22; 2.5 linear ft.)

Series 12: Printed Matter, 1936-1922, undated (boxes 22-23; 20 folders)

Series 13: Photographs, 1934-1983, undated (box 23; 17 folders)

Series 14: Artwork, circa 1929, undated (box 23; 2 folders)

Series 15: Unprocessed Addition, circa 1930-2000 (boxes 24, 26-30, OV25: 4.6 linear ft.)
Biographical Note:
"Your painting is a measure of your mind"-Millard Sheets

Millard Sheets, as one of the founding members of the "California Scene Painters," exerted a lasting influence upon subsequent generations of Western painters. He and the small group of painters who worked in California during the 1930s and 1940s, developed a new style of watercolor painting that was at the forefront of the American watercolor movement of the time, and that later gave rise to a subsequent generation of painters who became known as the California Regionalist school.

Sheets was born in Pomona, California on June 24, 1907. His mother died in childbirth, and his father, John Sheets, unprepared to raise a baby alone, sent Millard to Pomona, California to be raised by his maternal grandparents, Lewis and Emma Owen. Sheets's grandfather proved to be a guiding force in his life, and when Sheets's father remarried and offered Millard the opportunity to return to the Sheets household, Millard chose instead to remain with his grandparents.

Sheets's love of horses can be directly traced back to his childhood years spent living at his grandfather's horse ranch. Millard rode his first horse when he was three years old. Throughout his life, Sheets returned to the theme of horses in his paintings, as well as maintaining a private stable of horses, and raising and breeding racehorses.

His interest in art also began in childhood. When he was still a young boy, his two maternal aunts encouraged him to play with crayons and pencils. Sheets took his first painting lesson from a neighbor at the age of seven, and by 1919 he had already submitted artwork to the copy division of the Los Angeles County Fair fine arts show competition. He submitted a drawing he had copied of a tinted photograph of Lake KIlarney, California. Sheets won first prize in his division.

It was through this competition that Millard met Theodore B. Modra, a Polish artist who had retired to the Pomona area. After giving Sheets a lecture on the evils of copying art, Modra offered to give him art lessons.

Sheets continued to pursue his interest in art and enrolled in the Choinard School of Art in Los Angeles, California. By the time that he graduated in 1929, Sheets had also managed to come to the attention of Dalzell and Ruth Hatfield of the Dalzell Hatfield Galleries in Los Angeles, California. The Hatfields were one of the most influential art dealers in Southern California, and that same year, they sponsored Sheets in his first one-man exhibition in 1929. The exhibition brought Sheets to the attention of Western Coast art critics and launched Sheets on his painting career.

In 1929 Sheets also learned that he had won second place in the annual Edgar B. Davis art competition held in San Antonio, Texas. The award came with a cash prize and Sheets made plans to travel to Europe to study and paint. Shortly before his departure, however, he met an art student, Mary Baskerville, and they began a whirlwind romance. With Baskerville's enthusiastic support for European plans, and with her promise that she would wait for him, Sheets departed for New York and then Europe.

While overseas during 1929 and 1930, Sheets studied under Dorfinant, a master printer in Paris. Through his work at this studio workshop, he met Henri Matisse.

Five months after Millard returned to the California in 1930, Sheets and Mary Baskerville married. Sheets worked as the director of the Fine Arts Exhibition of the Los Angeles County Fair. In 1932 Sheets returned to school to study art and humanities at Scripps College in Claremont, California. After graduating from Scripps, school officials approached Sheets with an offer to set up a separate fine arts program and asked him to chair the new department. This was the beginning of a twenty year association with the school. In 1938, he also became the Director of Art at Claremont Graduate School.

Sheets left the school during the years of World War II to serve as a war-time artist and journalist for Life magazine, and from 1943-1944 was stationed on the Burma-India Front. His experiences in Asia appeared to affect him deeply. In contrast to his earlier works which featured backgrounds with neutral tones and brilliant shades that highlighted and punctuated the compositions, the paintings from the wartime featured somber tones. Sheets remarked of this time:

During the fighting and the time I spent in the C-B-1 theater, I was too shaken and intellectually stunned to do any complete paintings. I made many, many sketches, though, as well as a real effort to remember each scene that particularly affected me. Then, once I returned to America, I painted frantically, for months, exorcising demons. [Lovoos, Janice and Edmund F. Penney, Millard Sheets: One-Man Renaissance, Northland Press, Flagstaff, AZ, 1984]

Sheets returned from the war in 1944 and resumed his position at Scripps College until 1955 when he was approached by the Los Angeles County Board of Supervisors and asked to overhaul the fledgling Los Angeles County Art Institute. Sheets accepted the position and spent the next five years reshaping the mission and format of the school, renaming it the Otis Art Institute. In the years after Sheets left the directorship, the school eventually became part of the Parson's School of Design on the West Coast.

In 1953 Sheets founded the Millard Sheets Designs company. He hired between twenty-five and thirty artisans for large projects, with Susan Hertel, a former student of his, serving as his assistant in all the operations of the design studio. The working staff included engineers, registered architects, draftsmen, and artists, and the projects that the firm produced included murals, mosaics, stained glass, and sculpture for private homes and public and commercial businesses.

The design studio completed several major architectural projects throughout the late 1950s through the mid 1970s, including the design and construction of Cal Aero, a flight training school for the US Air Force, the National American Insurance Company offices for the California financier, Howard Ahmanson, Ahmanson Bank and Trust Company in Beverly Hills, many Home Savings and Loan Association Buildings, private residences, and the Scottish Rite Memorial Temples in Los Angeles and San Francisco, among many other projects.

Sheets also designed and completed mural and mosiac work for numerous public buildings in the Los Angeles area, as well as across the nation. Many of the murals and mosiacs were for those buildings designed by his firm while others were done as independent commissions.

In 1968 Sheets first proposed the murals he designed for the Los Angeles City Hall. His design was approved and he was awarded a commission to complete The Family of Man murals over the two main entrances to the Los Angeles City Hall. The murals were completed in 1971 and installed in 1972. Sheets also designed mosiacs and murals for the Mayo Clinic in Minnesota, the Library at Notre Dame University, the Scottish Rite Masonic Temple in Los Angeles, several Home Savings and Loan Association buildings in the Los Angeles area, the Detroit Public Library, and the Dome of the National Shrine of the Immaculate Conception in Washington, DC.

During the early 1960s Sheets participated in the American Specialist Program of the US Department of State. His first assignment was to Turkey in 1960, where he served as a visiting artist. The following year he went to the USSR in the same capacity.

During the early to mid 1950s Sheets became involved with Columbia Pictures and was technical advisor and production designer for a few years.

Millard Sheets was a member of the National Watercolor Society, the American Watercolor Society, the National Academy of Design, the Society of Motion Picture Art Directors, and the Century Association. Sheets actively promoted his own work and was a businessman, an active and prolific artist, instructor, and designer. Millard Sheets died on March 31, 1989 in Gualala, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels LA 10) including a biographical sketch, career resume, and a list of sheets' work prepared in 1964. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Millard Sheets lent material for microfilming in 1965. Mary B. Sheets, Millard's widow, donated the papers to the Archives of American Art in 1992. Carolyn Owen-Toole, Sheet's daughter, gave a small addition of material in 2018.
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.
Topic:
Art -- Study and teaching  Search this
Art -- California  Search this
Art and society  Search this
Horses -- Breeding  Search this
Watercolorists -- California  Search this
Muralists -- California  Search this
Art -- Philosophy  Search this
Designers -- California  Search this
Genre/Form:
Slides (photographs)
Photographs
Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheemill
See more items in:
Millard Sheets papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978141c20-c1e5-41ff-aa5d-6603f62f526f
EDAN-URL:
ead_collection:sova-aaa-sheemill
Online Media:

Rauschenberg, Robert

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box 84, Folder 7
Type:
Archival materials
Date:
1984
Collection Restrictions:
Use of original records 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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96d680829-80f7-4be2-be08-ddad381245f0
EDAN-URL:
ead_component:sova-aaa-leocast-ref11624
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  • View Rauschenberg, Robert digital asset number 1

Daniel Daligand Mail Art to John Held

Creator:
Daligand, Daniel  Search this
Held, John, 1947-  Search this
Subject:
Daligand, Daniel  Search this
Held, John  Search this
Type:
Correspondence
Date:
1987
Topic:
Copy art  Search this
Mail art  Search this
Record number:
(DSI-AAA)18539
See more items in:
John Held papers relating to mail art, 1947-2018, bulk 1973-2013
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_18539
Online Media:

Robert Morilla mail art to John Evans

Creator:
Morilla, Robert  Search this
Evans, John, 1932-2012  Search this
Subject:
Evans, John  Search this
Morilla, Robert  Search this
Type:
Correspondence
Date:
1986
Topic:
Copy art  Search this
Mail art  Search this
Record number:
(DSI-AAA)18620
See more items in:
John Evans papers, 1957-2012, bulk 1970-2012
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_18620
Online Media:

Does "copy quick" mean copy art?

Creator:
Artists Talk on Art  Search this
Type:
Sound Recording
Date:
1986 February 21
Record number:
(DSI-AAA)21597
See more items in:
Artists Talk on Art records, circa 1974-2018
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_21597

Esta Nesbitt papers, circa 1942-1981, bulk 1964-1975

Creator:
Nesbitt, Esta, 1918-1975  Search this
Subject:
Leder, Alan J.  Search this
Lyle, David  Search this
Beckett, Samuel  Search this
Einstein, Albert  Search this
Wood, R. F.  Search this
English, Merle  Search this
Ambert, Anibal  Search this
Ginsberg, Allen  Search this
Whitney Museum of American Art  Search this
Parsons School of Design  Search this
Xerox Corporation  Search this
Type:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Topic:
Everyman (motion picture)  Search this
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Women filmmakers  Search this
Women illustrators  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8079
(DSI-AAA_SIRISBib)210250
AAA_collcode_nesbesta
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210250
Online Media:

Things you should know about Living American Art : a handbook of facts for editors and critics, 1937

Creator:
Living American Art, Inc  Search this
Subject:
Boni, Charles  Search this
Topic:
Copy art  Search this
Art -- Reproduction  Search this
Art publishing  Search this
Theme:
Ephemera, Miscellany, and General Art Related  Search this
Record number:
(DSI-AAA_CollID)7897
(DSI-AAA_SIRISBib)210064
AAA_collcode_liviamer
Theme:
Ephemera, Miscellany, and General Art Related
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210064

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
Online Media:

50 lines for 50 words on Marcel Duchamp Coco Gordon

Author:
Gordon, Coco 1938-  Search this
Author:
Smithsonian Libraries Artists' Books DSI  Search this
Subject:
Duchamp, Marcel 1887-1968 Centennial celebrations, etc  Search this
Physical description:
1 volume (unpaged) illustrations 22 cm
Type:
Books
Calligraphy
Copy art
Exposed sewn bindings
Hand-bound books
Handmade papers
Mixed media
Non-adhesive bindings
Photcopy art
Poems
Acetate film
Artists' books (books).)
Artists' books
Flax fibers (Paper)
Limited editions
Specimens
Thread
tracing vellum
transparent vellum
Place:
United States
Date:
1987
Topic:
Anniversaries  Search this
Artists' books  Search this
Call number:
N40.1.G65194 G6f 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_417890

It a poem/play installation Coco Gordon

Author:
Gordon, Coco 1938-  Search this
Author:
Smithsonian Libraries Artists' Books DSI  Search this
Physical description:
[52] pages illustrations 22 cm
Type:
Books
Copy art
Photocopy art
Acetate film
Artists' books (books).)
Artists' books
Dowels
Hand-bound books
Handmade paper
Limited editions
Mixed media
Plays (performed works)
Poetry
Specimens
Place:
United States
Date:
1987
Topic:
Sculpture in art  Search this
Artists' books  Search this
Call number:
N40.1.G65194 G6 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_389566

Open roads, empty nests Louise Neaderland

Author:
Neaderland, Louise Odes  Search this
Author:
Bone Hollow Arts  Search this
Smithsonian Libraries Artists' Books DSI  Search this
Physical description:
10 unnumbered pages illustrations, maps 14 cm
Type:
Specimens
Artists' books (books).)
Artists' books
Collages (visual works)
Copy art
Staple bindings
Place:
New York (State)
New York
Date:
1988
Topic:
Maps in art  Search this
Miniature books  Search this
Photography, Artistic  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1021425

Green the fragile

Artist:
Gilbert, Sharon 1944-  Search this
Author:
Smithsonian Libraries Artists' Books DSI  Search this
Physical description:
6 unnumbered leaves chiefly illustrations 12 cm
Type:
Art
Artists' books (books).)
Artists' books
Specimens
Place:
United States
Date:
1989
Topic:
Copy art  Search this
Trees  Search this
Artists' books  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1022076

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-2018  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
317.43 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Topic:
Art, American  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4de66ef-397b-4e6e-9fde-d6deca12fa3a
EDAN-URL:
ead_collection:sova-aaa-artitalk
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Artists Talk on Art records digital asset number 1
Online Media:

Things you should know about Living American Art : a handbook of facts for editors and critics

Creator:
Living American Art, Inc.  Search this
Names:
Boni, Charles  Search this
Extent:
19 Pages ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Pages
Date:
1937
Scope and Contents:
The manual describes the function of Living American Art, Inc., and gives information regarding the process by which paintings are chosen for printing and commercial purposes, the jury members, the artists and their rights to royalties, etc.
Biographical / Historical:
Living American Art, Inc. was founded by Charles Boni for the purpose of disseminating reproductions of American art works to the general public. Boni devised a mail order brochure of the prints and set up approximately 250 exhibitions of the prints at colleges, universities, and museums around the country for publicity. Also published was a periodical which carried brief biographies of artists whose works were chosen for reproduction, thus attempting to generally educate the "average" American in issues and history of American art.
Provenance:
Donated 1978, provenance unknown.
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.
Topic:
Copy art  Search this
Art -- Reproduction  Search this
Art publishing  Search this
Identifier:
AAA.liviamer
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90f8051b3-12c4-4bef-808a-52eb9581a47b
EDAN-URL:
ead_collection:sova-aaa-liviamer

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