The papers of Cuban born painter Baruj Salinas measure 0.4 linear feet and date from 1971-1996. The collection documents the artist's prolific painting career and his friendships and professional relationships with a variety of contemporary artist in the U.S. and Europe. The papers of Baruj Salinas are an important addition to the documentation of Cuban-American art and artists.
Scope and Content Note:
The papers of Cuban born painter Baruj Salinas measure 0.4 linear feet and date from 1971-1996. The collection primarily consists of letters from friends and artists. Also found are diary entries, scattered financial and business papers, printed material, and photographs. Of special interest in the last series are photographs taken of a visit to the home and art studio of Spanish artist Joan Miró.
Arrangement:
The collection is arranged as six series.
Series 1: Diary Entries, 1982 (box 1; 1 folder)
Series 2: Letters Received, 1979-1996, undated (box 1; 21 folders)
Series 3: Financial Papers, 1993-1994 (box 1; 1 folder)
Series 4: Printed Material, 1976-1992, undated (box 1; 2 folders)
Series 5: Photographs, 1971-1992, undated (box 1; 3 folders)
Series 6: Miscellany, 1992 (box 1; 1 folder)
Biographical Note:
Born in Havana, painter Baruj Salinas' (b. 1938) career began in the field of architecture. He graduated from the University of Ohio with an architectural degree and left Cuba permanently in 1959. Salinas settled in Miami and later moved to Barcelona where he studied alongside artists Joan Miró and Antoni Tàpies.
Provenance:
Baruj Salinas donated his papers to the Archives of American Art in 1997.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Miami art critic Helen Kohen date from 1978 through 1996 and contain letters, postcards, exhibition announcements and invitations, and seventy-four untranscribed interviews of artists, dealers, and collectors in the Miami area.
Scope and Content Note:
The papers of art historian and critic Helen L. Kohen measure one linear foot and date from 1976 through 1996. They consist primarily of letters, postcards, exhibition announcements and invitations from artists in the Miami area. Also found are eighty-two mini cassette tapes of seventy-four interviews Kohen conducted with art dealers, collectors, contemporary artists, and others in the Miami area as research and background for her newspaper column and other articles
Arrangement:
The collection is arranged into five series:
Series 1: Correspondence, 1954, 1984-1993, undated (Box 1, 10 folders)
Series 2: Printed Material, 1979-1996, undated (Box 1, 3 folders)
Series 3: Photographs, 1969, 1974, 1980-1994 (Box 1, 1 folder)
Series 4: Miscellany, 1983-1992, undated (Box 1 , 1 folder)
Series 5: Taped Interviews, 1986-1996, undated (Box 1, 1 folder and 82 micro-cassettes)
Biographical Note:
Art historian and critic Helen L. Kohen has authored numerous articles on contemporary art focusing on the formation of the art culture in Miami since the early 1980s. Helen L. Kohen is art critic emeritus for the The Miami Herald newspaper in Miami, Florida.
Provenance:
Helen L. Kohen donated her papers to the Archives of American Art, Smithsonian Institution in 1997.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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.
The Ramón Carulla papers contain letters, photographs, printed material, an interview, sketchbooks, and artwork documenting the career of Cuban American painter Ramón Carulla.
Scope and Content Note:
This collection dates from 1971-1996, comprises 0.3 linear feet, and provides scattered documentation of the career of Cuban American painter Ramón Carulla. The collection contains letters to Carulla from artists and others; writings by others for and about Carulla; the transcript of an interview with Carulla; photographs of Carulla, friends, and his artwork; two sketchbooks; a painting; and printed matter including exhibition announcements and catalogs.
Arrangement:
The collection is arranged into five series:
Series 1: Letters and Biographical Material, 1971-1996 (box 1, 3 folders)
Series 2: Writings About Carulla and Interview, 1986-1995, undated (box 1, 3 folders)
Series 3: Printed Material, 1982-1994, undated (box 1, 2 folders)
Series 4: Photographs, 1980-1989, undated (box 1, 4 folders)
Series 5: Artwork, 1986-1994 (boxes 1-2, 3 items)
Biographical Note:
Ramón Carulla was born in Havana, Cuba in 1938. In 1946 he moved to Miami with his father to attend public school, returning to Havana in 1953 to complete his schooling. In 1963 he began painting and had his first one-man show in 1967 at the Bacardi Gallery in Miami, where he had settled two years earlier. Although his work was initially abstract Carulla had moved towards figurative art by the late 1970s.
Provenance:
The collection was donated to the Archives of American Art by Ramón Carulla in 1997.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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.
