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Oral history interview with Ferne Jacobs

Interviewee:
Jacobs, Ferne K. (Ferne Kent), 1942-  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
Extent:
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 August 30-31
Scope and Contents:
An interview of Ferne Jacobs conducted 2005 August 30-31, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, in Los Angeles, California.
Jacobs discusses her early childhood in Chicago and her family's move to Los Angeles; her parents' emigration from Europe; her parents' involvement with the Chicago Club in Los Angeles; her earliest experience with art at a Van Gogh exhibition at the Los Angeles County Museum of Art; her fascination with drawing at an early age; her first art classes with Ron Blumberg, during her senior year of high school; entering in the Art Center College of Design; getting married and moving to New York; working in the handbag department of Bonwit Teller and taking classes at the Pratt Institute; her later education at various institutions, including California State University in San Diego, Claremont Graduate University, and Haystack Mountain School of Crafts in Deer Isle, Maine.; her first meeting with Dominic di Mare in San Francisco; her first meeting with Lenore Tawney in New York; her first foray off the loom at the behest of Arline M. Fisch; her first show at Galleria del Sol in Santa Barbara, California; her second show at the Fairtree Gallery in New York where Paul Smith, curator of the Museum of Contemporary Craft (now the Museum of Arts & Design) first saw her work; being included, along with Lenore Tawney, in the First World Craft exhibition in Toronto in 1967; her travels to Cape Cod, where she vacations annually, and to Italy; her aversion to all things technological; her recent experience learning to read the Torah; her work, including Tide (2005), Container for a Wind (1974), and Wind (2004); her interest in Carl Jung; addressing timelessness and duality in her work; various fiber techniques including twining, coiling, and knotting; her relationship with her son Peter and daughter Naomi; her relationship with dealers and galleries, including the Sybaris Gallery and the Snyderman Gallery; and the inspiration for her work that she finds in nature.
Jacobs also recalls Gabriel Laderman, Mary Jane Leland, Olga de Amaral, Peter Collingwood, Jack Lenor Larsen, Kay Sekimachi, Joan Austin, Magdalena Abakanowicz, Neda Al-Hilali, Marilyn Pappas, Patsy Krebs, Vija Celmins, Claire Delmar, Ken Price, Ron Nagle, Roland Reese, Fred Tomaselli, Agnes Martin, Francis Sumner Merritt, Joanne Rapp, Nancy Margolis, Kate Anderson, and others.
Biographical / Historical:
Ferne Jacobs (1942- ) is a fiber artist from Los Angeles, California. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 6 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Fiber artists -- California -- Los Angeles  Search this
Topic:
Fiberwork -- Technique  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jacobs05
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jacobs05

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Collector:
National Museum of American History (U.S.). Archives Center  Search this
Donor:
Gay Officers Action League. GOAL  Search this
Becker, John M.  Search this
Gay Officers Action League. GOAL  Search this
Heritage of Pride (HOP)  Search this
Rohrbaugh, Richard  Search this
American Federation of Teachers  Search this
Department of Defense, Comprehensive Review Working Group  Search this
Gay Officers Action League. GOAL  Search this
Gay, Lesbian, Bisexual and Transgender Community Center of Baltimore and Central Maryland  Search this
ONE National Gay and Lesbian Archives  Search this
San Diego LGBT Pride  Search this
Servicemembers Legal Defense Network  Search this
Smith College  Search this
University of Connecticut  Search this
William Way Community Center  Search this
Biren, Joan E.  Search this
Bushnell, Megan  Search this
Davidson, James, Dr.  Search this
Dietrich, Joe  Search this
Exline, Gregory  Search this
Florence, Laura  Search this
Huebner, David  Search this
Jain, Shawn  Search this
Karazsia, Amy  Search this
Karazsia, William G.  Search this
Lombardi, Angela  Search this
Lynch, Patsy  Search this
Meinke, Mark  Search this
Nitz, Ryan  Search this
Reichard, Bradley  Search this
Robinson, Franklin A., Jr., 1959- (actor)  Search this
Ros, Silvia  Search this
Sabatino, Michael  Search this
Shannon, Michael A.  Search this
Sheets, Justin  Search this
Snodgrass, Adam  Search this
Voorheis, Robert  Search this
Creator:
Hirsch, Leonard  Search this
Guest, Barbara  Search this
Barna, Joseph T.  Search this
Guest, Michael E.  Search this
Other:
Larson, Gordon P., 1910-1988 -- 20th century  Search this
Names:
McWaine, Dwayne, Dr.  Search this
Extent:
61 Cubic feet (186 boxes, 20 map-folders)
Type:
Collection descriptions
Archival materials
Passports
Postcards
Photographs
Posters
Videocassettes
Advertising
Dvds
Songbooks
Periodicals
Place:
Canada -- Description and Travel
Germany -- description and travel
Amsterdam (Netherlands)
Washington, D.C. -- history
Los Angeles (Calif.)
New York, New York
Date:
1825-2021, undated
bulk 1960-2019
Summary:
This collection contains a variety of periodicals, photographs, correspondence, business and advertising ephemera (corporate and non-profit, personal), organizational records and ephemera, created by, for, and in reaction to the Lesbian, Gay, Bisexual, Transgender (LGBT) community.
Scope and Contents:
The Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection contains periodicals, ephemera, posters, postcards, advertisements, photographs, organizational records, publications, correspondence, and other materials related to all aspects of the LGBT community and the civil rights issues pertaining thereto. The collection was created by the Archives Center to bring together materials specifically pertaining to the LGBT community. This collection contains material from communities and individuals throughout the United States. The collection is currently strongest in periodicals, newspapers and ephemera and very strong in material from California and New York. The collection continues to add new items and the researcher would be wise to take a broad view in targeting their research topics in the collection.
Arrangement:
The collection is divided into twenty-four series.

Series 1: Periodicals, 1937-2018

Series 2: Agencies, Associations, and Organizations, 1984-2018, undated

Series 3: Community Life and Subject Files, 1825-2018, undated

Subseries 3.1: Photographs and Slides, 1870-1980, undated

Subseries 3.2: Ephemera and Buttons, 1969-2018, undated

Subseries 3.3: Posters and Prints, 1825-2018, undated

Subseries 3.4: Subject Files, 1958-2018, undated

Subseries 3.5: Pride, 1976-2018, undated

Subseries 3.6: HIV and AIDS, 1987-2017, undated

Series 4: Advertising, Business, and Publications, 1970-2018, undated

Subseries 4.1: Advertising, 1970-2018, undated

Subseries 4.2: Business, 1998-2017, undated

Subseries 4.3: Television, Theater, and Motion Pictures, 1978-2018, undated

Subseries 4.4: Bar ephemera and advertisement, 1979-2018, undated

Subseries 4.5: Publications, 1976-2018, undated

Series 5: Biren, Joan E. (JEB), 195-2018, undated

Subseries 5.1: Xerographic Copies of Photoprints, 1971-1995, undated.

Subseries 5.2: Posters and Oversize Advertisement, 1973-2018, undated

Series 6: Dietrich, Joseph A., 1992-2010

Series 7: Mattachine Society Records, 1942-1996, undated

Subseries 7.1: Correspondence, 1952-1991, undated

Subseries 7.2: Board of Directors Minutes, 1954-1974, undated

Subseries 7.3: Organizational Information, 1942-1993, undated

Subseries 7.4: Councils, Chapters, and Committees, 1953-1965, undated

Subseries 7.5: Conventions, 1953-1960, undated

Subseries 7.6: Publications, 1944-1996, undated

Series 8: Rainbow History Community Pioneers, 2003-2012, undated

Series 9: Strub, Sean O., addendum, 1987-2011, undated

Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB, 1990-2014, undated

Series 11: Ros, Silvia, 2009-2011

Series 12: Huebner, David, 2009-2014

Series 13: St. George, Philip, 1945-1955, undated

Series 14: Will & Grace, 1995-2006

Series 15: Barna, Joseph T. and Heritage of Pride (HOP), New York, New York, 1910-2014, undated

Subseries 15.1: Photographs, Photographic Negatives, and Slides, 1985-2010, undated

Subseries 15.2: Heritage of Pride (HOP), 1984-2014, undated

Subseries 15.3: Barna, Joseph T., 1910-2013, undated,

Series 16: Becker, John M., 1999-2014, undated

Series 17: Rohrbaugh, Richard, 1972-1986, undated

Series 18: Guest, Michael E., 2001-2009

Series 19: The Fosters, 2013

Series 20: Pride at Work, 1990-2015

Series 21: Sabatino, Michael and Voorheis, Robert, 1980-2016, undated

Subseries 21.1: Archilla, Gustavo A. and Lokkins, Elmer T., 1916-2014, undated

Series 22: Gay Officers Action League (GOAL), 1982-2016, undated

Series 23: Brown, Adele "Del" and Herizon's Bar, 1985-1991, undated

Subseries 1: Changing Herizons, and Herizons Newsletter, 1983-1991

Series 24: Universal Felloship Metropolitan Community Churches (UFMCC), 1957-2019, undated
Historical Note:
While the quest for equal rights has been pursued by generations, it is generally acknowledged that the modern day Lesbian, Gay, Bisexual, and Transgender (LGBT) civil rights movement began in New York City in June 1969 with the Stonewall Riots. Prior to this time a number of activists, individuals, and organizations such as The Mattachine Society, Daughters of Bilitis and others, fought to bring recognition of LGBT civil rights to the forefront of American society. While the movement was primarily, and most visually, centered in New York City and San Francisco, periodicals, guide books, and ephemeral material interconnected the larger LGBT community throughout the United States. The increased visibility of the LGBT movement inspired groups at odds with that new found visibility and call to action. The challenge to what was termed "traditional" values encouraged counter-LGBT groups to define and solidfy their constituency as well. This collection comprises material that is generated by individuals and organizations that have been on both sides of the question.
Related Materials:
Materials in the Archives Center

Michio and Aveline Kushi Macro-Biotics Collection (AC0619)

The Shamrock Bar: Photographs and Interviews (AC0857)

John-Manuel Andriote Victory Deferred Collection (AC1128)

Archives Center Wedding Documentation Collection (AC1131 )

Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)

John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)

Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)

World AIDS Institute (WAI) Collection (AC1266)

Servicemembers Legal Defense Network (SLDN) Records (AC1282)

Helping Persons with AIDS (HPA) Records (AC1283)

DC Cowboys Dance Company Records (AC1312)

Bil Browning and Jerame Davis Papers (AC1334)

David Hadley Rockwell New York Disco Ephemera Collection (AC1342)

Leonard P. Hirsch Federal Globe Records (AC1357)

Corbett Reynolds Papers (AC1390)

Mark Segal Papers (AC1422)

The Mattachine Society of Washington "Love in Action" Collection (AC1428)

Academy of Washington Records (AC1458)

Matthew Shepard Papers (AC1463)

I'm From Driftwood Records (AC1503)

The Division of Political History holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).

The Division of Medical and Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard Hirsch.

The Division of Entertainment and the Arts holds objects donated by The Fosters and Will & Grace.
Provenance:
This collection was assembled by the Archives Center, National Museum of American History, Smithsonian, beginning in 2004.
Restrictions:
The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Women's music  Search this
Transgender people -- Identity  Search this
Sexual orientation  Search this
Political activists  Search this
Lesbianism  Search this
Lesbian and gay experience  Search this
Gay activists  Search this
Homosexuality  Search this
HIV and AIDS  Search this
Feminism  Search this
Bisexuality  Search this
Bars (Drinking establishments)  Search this
Gay Pride  Search this
Genre/Form:
Passports
Postcards
Photographs -- 2000-2010
Posters
Videocassettes
Advertising
DVDs
Photographs -- 20th century
Songbooks
Periodicals
Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1146
See more items in:
Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1146
Online Media:

Alan R. Solomon papers, 1907-1970, bulk 1944-1970

Creator:
Solomon, Alan R.  Search this
Solomon, Alan R.  Search this
Subject:
Castelli, Leo  Search this
Louis, Morris  Search this
Segal, George  Search this
Fahlström, Öyvind  Search this
Poons, Larry  Search this
Duchamp, Marcel  Search this
Bontecou, Lee  Search this
Picasso, Pablo  Search this
Provinciali, Michele  Search this
Reed, Lou  Search this
Lichtenstein, Roy  Search this
Mulas, Ugo  Search this
Sonnabend, Ileana  Search this
Rosenquist, James  Search this
Sabol, Audrey  Search this
Grisi, Laura  Search this
Noland, Kenneth  Search this
Scull, Ethel  Search this
MacElroy, Robert R.  Search this
Namuth, Hans  Search this
Newman, Barnett  Search this
Finkelstein, Nat  Search this
Stella, Frank  Search this
Sisler, Mary  Search this
Greenberg, Jeanine  Search this
Oldenburg, Patty  Search this
Morris, Robert  Search this
Scull, Robert C.  Search this
Hay, Alex  Search this
Dine, Jim  Search this
Kron, Joan  Search this
Chamberlain, John  Search this
Greenberg, Clement  Search this
Oldenburg, Claes  Search this
Frankenthaler, Helen  Search this
Paxton, Steve  Search this
Moore, Peter  Search this
Whitman, Robert  Search this
Novick, Elizabeth  Search this
Rauschenberg, Robert  Search this
Redon, Odilon  Search this
Schute, Terry  Search this
Warhol, Andy  Search this
Hay, Deborah  Search this
Rainier, Yvonne  Search this
Childs, Lucinda  Search this
Johns, Jasper  Search this
Dunn, Judith  Search this
Leo Castelli Gallery  Search this
Expo 67 (Montréal, Québec)  Search this
Pasadena Art Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Albright-Knox Art Gallery  Search this
Art Gallery of Ontario  Search this
Velvet Underground (Musical group)  Search this
Biennale di Venezia  Search this
Artforum  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Jewish Museum (New York, N.Y.)  Search this
University of California (System)  Search this
Cornell University.  Search this
San Francisco Art Institute  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Los Once (Artists' group)  Search this
Harvard University  Search this
Type:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Topic:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Theme:
Art Movements and Schools  Search this
Record number:
(DSI-AAA_CollID)7165
(DSI-AAA_SIRISBib)209301
AAA_collcode_soloalan
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209301
Online Media:

Interviews of California photographers, 1981 June 18- Nov. 20

Creator:
San Francisco Museum of Modern Art  Search this
San Francisco Museum of Modern Art  Search this
Subject:
Katzman, Louise  Search this
Sultan, Larry  Search this
Walker, Todd  Search this
Worth, Don  Search this
Brumfield, John  Search this
Fahey, David  Search this
Fischer, Hal  Search this
Flick, Robbert  Search this
Fulton, Jack  Search this
Gutmann, John  Search this
Johnston, Helen  Search this
Mandel, Mike  Search this
Rice, Leland  Search this
Kurabi, Louise Katzman  Search this
Borger, Irene Marian  Search this
Focus Gallery  Search this
Type:
Sound recordings
Interviews
Topic:
Photography -- California -- History  Search this
Photography, Artistic  Search this
Photography -- California -- Exhibitions  Search this
Photographers -- California -- Interviews  Search this
Theme:
Photography  Search this
Record number:
(DSI-AAA_CollID)10634
(DSI-AAA_SIRISBib)214207
AAA_collcode_sanfrmma
Theme:
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214207

Interviews of California photographers

Creator:
San Francisco Museum of Modern Art  Search this
Names:
Focus Gallery  Search this
Brumfield, John, 1934-  Search this
Fahey, David  Search this
Fischer, Hal, 1950-  Search this
Flick, Robbert  Search this
Fulton, Jack, 1939-  Search this
Gutmann, John  Search this
Johnston, Helen, 1916-1989  Search this
Katzman, Louise, 1949-  Search this
Mandel, Mike  Search this
Rice, Leland, 1940-  Search this
Sultan, Larry  Search this
Walker, Todd  Search this
Worth, Don, 1924-  Search this
Interviewer:
Borger, Irene Marian  Search this
Kurabi, Louise Katzman, 1949-  Search this
Extent:
6 Items (microcassettes and 9 sound cassettes;(partially transcribed and microfilmed on 3 partial reels))
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1981 June 18- Nov. 20
Scope and Contents:
Interviews of California photographers conducted by curator Louise Katzman or Irene Borger in connection with the 1984 exhibition and catalog "California Photography: 1945 to the Present," organized by the San Francisco Museum of Modern Art. Interviewees include John Brumfield, David Fahey, Hal Fischer, Robbert Flick, Jack Fulton, John Gutmann, Mike Mandel and Larry Sultan, Leland Rice, Todd Walker, and Don Worth. Also included is an interview with Focus Gallery owner Helen Johnston.
REELS 3197-3199: Transcripts of interviews, including: David Fahey (19 p.), Hal Fischer (30 p.), Robbert Flick (32 p.), John Gutmann (26 p.), Mike Mandel and collaborator Larry Sultan (28 p.), Todd Walker (61 p.), and Don Worth (30 p.). The photographers discuss their early involvement with photography, influences on their work; studying and teaching; working in California; the photography market; and future directions of their work.
UNMICROFILMED: An interview of Leland Rice (83 p.).
UNTRANSCRIBED: Interviews of John Brumfield, Jack Fulton, and gallery owner Helen Johnston.
Provenance:
Donated 1982 by the San Francisco Museum of Modern Art.
Restrictions:
Leland Rice interview is: ACCESS RESTRICTED; written permission required.
Fahey, Fischer, Flick, Guttman, Mandel and Sultan, Walker and Worth interviews are: transcribed and microfilmed; patrons must use microfilm copy.
Brumfield, Fulton and Johnston are: untranscribed microcassettes; use requires an appt. and is limited to AAA's Washington, D.C. office.
Occupation:
Art museum curators -- California  Search this
Topic:
Photography -- California -- History  Search this
Photography, Artistic  Search this
Photography -- California -- Exhibitions  Search this
Photographers -- California -- Interviews  Search this
Function:
Art museums -- California
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sanfrmma
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sanfrmma

Join the Curator: A Conversation with Artist Nazgol Ansarinia

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2021-04-22T02:30:40.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
See more by:
FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_aQlqRR3JqV8

Part 4: Vaccines and Society

Creator:
National Museum of Natural History  Search this
Type:
YouTube Videos
Uploaded:
2020-08-26T13:47:38.000Z
YouTube Category:
Education  Search this
Topic:
Natural History  Search this
See more by:
smithsonianNMNH
Data Source:
National Museum of Natural History
YouTube Channel:
smithsonianNMNH
EDAN-URL:
edanmdm:yt_WYzht6C1c6M

Hide/Seek: "The Mouses's Tale" by Jess (Burgess Collins) - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2011-04-07T23:23:58.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_nCZnfxDBo9U

A Conversation with Kathleen McLean

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2009-03-17T14:31:02.000Z
YouTube Category:
Education  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_0tr6tsytQTY

Mini Museum Honoring the Black Panther Party Will Debut on Juneteenth

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Tue, 15 Jun 2021 17:56:27 +0000
Topic:
Custom RSS  Search this
See more posts:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_fb3e5531b755eec2b226180250080bd3

Linda Farris Gallery records

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Names:
Barry, Lynda, 1956-  Search this
Bruskin, Grisha, 1945-  Search this
Clough, Charles, 1951-  Search this
Landfield, Ronnie, 1947-  Search this
Luce, Charles, 1947-  Search this
Lucero, Michael, 1953-  Search this
Markovitz, Sherry  Search this
Nevelson, Louise, 1899-1988  Search this
Noah, Barbara  Search this
Pepper, Beverly  Search this
Extent:
13.4 Linear feet (13 Boxes, 1 sol, 1 ov folder)
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Date:
1969-1995
Summary:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials.
Scope and Contents:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials. Business correspondence is with galleries, dealers, publishers, museums, and other businesses. Administrative files are varied and include advertising and promotion materials, exhibition schedules, mailing lists, guest books, a scrapbook, and gallery history.

Artists' files are found for many contemporary American artists that interested Linda Farris or were represented by the gallery. The contents of each file vary but many include photographs and slides, writings, correspondence, and printed materials. Files for Lynda Barry, Grisha Brusking, Charles Clough, Ronnie Landfield, Charles Luce, Michael Lucerno, Sherry Markovitz, Louise Nevelson, Barbara Noah, and Beverly Pepper are particularly rich. Exhibition files are for Linda Farris Gallery exhibitions and include printed materials, correspondence, loan and consignment agreements, and photographs.

Event files cover anniversary celebrations, lectures, panel discussions, and receptions. There are 17 sound cassette recordings of "Art Now" lectures and "Focus" panel discussions. Scattered reference files contain collected materials on subjects of interest to the gallery. There are scattered financial, sales, and legal files. Sales records cover 1970-1979.

Linda Farris' personal papers contain printed materials about her and the gallery and other materials concerning her professional and curatorial work outside of the gallery. There is also a transcript of an oral history with Farris and a news interview.

Printed materials include published books and magazines, clippings and exhibition catalogs and announcements.

Photographs are scattered throughout adminstrative files, exhibition files, event files, and Linda Farris' personal papers.
Arrangement:
The collection is arranged as 8 series.

Series 1: Correspondence, 1975-1991, undated (Box 1; .7 linear feet)

Series 2: Administrative files, 1970-1995, undated (Box 1-2, 14; 1 linear feet)

Series 3: Artists and Exhibition files, 1969-1995, undated (Box 2-9, 15; 6.6 linear feet)

Series 4: Events files, 1971-1990, undated (Box 9, 14; 0.6 linear feet)

Series 5: Reference files, 1969-1994, undated (Box 9-10; 0.6 linear feet)

Series 6: Financial, Sales and Legal files, 1970-1995 (Box 10; 0.4 linear feet)

Series 7: Linda Farris Papers, 1972-1995 (Box 10-11; .9 linear feet)

Series 8: Printed Materials, 1970-1995 (Box 11-14; 2 linear feet)
Biographical / Historical:
The Linda Farris Gallery was Seattle's leading venue for contemporary art during its twenty-five years of operation.

Linda Farris opened Gallery East in Bellevue in 1970, and a year later moved to Pioneer Square in Seattle, changing the name to Linda Farris Gallery in 1973. The gallery continued to present contemporary art there until closing in December 1995. Art dealer Linda Farris began representing a group of promising artists, all graduates of the University of Washington. Greg Kucera of the Greg Kucera Gallery noted in an article for the Seattle Weekly, "Their work could be loosely seen as a movement, complete with aesthetic interrelationships, convenient marriages, an unintelligible manifesto in the form of Dennis Evans' quirky pronouncements…" From the same article he states, "Her avant-garde gallery changed forever the nature of being an art dealer in Seattle." It was among the three or four most influential galleries in the Pacific Northwest.

The gallery held exhibitions of many nationally known contemporary artists, including Sam Francis, Louise Nevelson, and Robert Rauschenberg, as well as Northwest artists Jeffrey Bishop, Dennis Evans, Sherry Markovitz, Nancy Mee, Norie Sato, and Patti Warashina. The latter group started with the gallery and remained loyal at the time of its closing in 1995.

Art dealer, collector and free-lance curator Linda B. Farris (1944-2005), a native of San Francisco and a graduate of the University of California, Berkeley (1966), was an active participant in and style setter for the Seattle art world for the twenty-five years she was in business. As a member of the art community she actively supported the Henry Art Gallery at the University of Washington, Pilchuck Glass School, and Seattle Art Museum's Contemporary Art Council, and served on the boards of directors of Henry Art Gallery and Factory Visual Arts. Farris curated "Eight Seattle Artists" in 1981 for the Los Angeles Institute of Contemporary Art and "Self Portraits" in 1983 for the Los Angeles Municipal Art Gallery. She also led the movement to keep Henry Moore's "Vertebrae" from leaving Seattle, and instituted a series of talks, panel discussions, performances, and tours in her gallery, and in and around Seattle.

This note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
An oral history interview with Linda Farris conducted in 1975 by Sally Swenson, is located in the University of Washington University Libraries Digital Collections.
Provenance:
The Linda Farris Gallery records were donated to the Archives of American Art by owner Linda Farris in 1995 at the time she closed the gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Avant-garde (Aesthetics)  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Function:
Art galleries, Commercial -- Washington (State)
Genre/Form:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Citation:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lindfarr

Walter Hough Papers ca. 1889-1930

Creator:
Hough, Walter 1859-1935  Search this
Subject:
Hough, Walter 1859-1935  Search this
Physical description:
ca. 25 linear inches
Type:
Archival materials
Date:
ca 1889-1930
Topic:
Language and languages--Documentation  Search this
See more items in:
Manuscript and pamphlet file 1870s-1950s
Walter Hough Papers ca. 1889-1930 [Hough, Walter 1859-1935]
Data Source:
National Anthropological Archives
EDAN-URL:
edanmdm:siris_arc_87703

Fred Wiseman Scrapbook

Creator:
Wiseman, Fred, 1875-1961  Search this
Names:
Early Birds of Aviation (Organization).  Search this
Wiseman-Peters (Fred Wiseman and J. W. Peters) (Aircraft manufacturer)  Search this
Extent:
0.59 Cubic feet (1 flatbox)
Type:
Collection descriptions
Archival materials
Photographs
Tickets
Correspondence
Clippings
Date:
1909-1968
bulk [ca. 1910s, 1950s]
Summary:
Fred Wiseman, along with J. W. Peters and D.C. Prentiss, built a biplane named the Wiseman-Peters. During July 1910, both Peters and Wiseman flew the Wiseman-Peters and the following year Wiseman entered the 1911 Aviation Meet at Selfridge Field, Michigan. On February 17, 1911, Wiseman made the first airplane-carried mail flight officially sanctioned by any local U.S. post office and made available to the public when he carried mail, a bundle of newspapers and a sack of groceries from Petaluma, CA, to Santa Rosa, CA. After the 1911 season, Wiseman gave up flying.

This collection consists of a large scrapbook. Inside the scrapbook are newspaper clippings, correspondence, 1st Day Covers, race tickets, and photographs chronicling both Wiseman's automobile and aviation careers.
Scope and Contents:
This collection consists of a large scrapbook. Inside the scrapbook are newspaper clippings, correspondence, 1st Day Covers, race tickets, and photographs chronicling both Wiseman's automobile and aviation careers.

Note: The digital images in this finding aid were repurposed from scans made by an outside contractor for a commercial product and may show irregular cropping and orientation in addition to color variations resulting from damage to and deterioration of the original objects.
Arrangement:
Materials are in the order the donor attached them to the scrapbook. Correspondence is often located within the envelope that is attached to the scrapbook. Some materials are loose and have been left in the arrangement in which they were found, unless a portion of a newspaper article could be matched to its other parts.
Biographical / Historical:
Fred Wiseman (1875-1961) was born in Santa Rosa, California, and after attending local schools he engaged in both the bicycle and automotive businesses. Wiseman won considerable fame racing Stoddard-Dayton cars on the West Coast as well as in the Chicago area. He became interested in aviation after attending the Wright brothers' homecoming celebration in 1909 and the first Los Angeles aviation meet at Dominguez Field in 1910.

After these two events, Wiseman was convinced he wanted to learn to fly and so he returned to his home in Santa Rosa and persuaded Ben Noonan to put up $10,000 to build a plane. Wiseman, along with J. W. Peters and D.C. Prentiss, built a biplane named the Wiseman-Peters. During July 1910, both Peters and Wiseman flew the Wiseman-Peters and the following year Wiseman entered the 1911 Aviation Meet at Selfridge Field, Michigan.

On February 17, 1911, Wiseman made the first airplane-carried mail flight officially sanctioned by any local U.S. post office and made available to the public when he carried mail, a bundle of newspapers and a sack of groceries from Petaluma, CA, to Santa Rosa, CA. (The first air mail flight sanctioned by the U.S. Post Office in Washington, D.C., took place on September 23, 1911, when Earle Ovington carried mail from Garden City, Long Island, to Mineola; and the first continuously scheduled U.S. air mail service began on May 15, 1918, with routes between Washington, Philadelphia, and New York.)

During 1911, Wiseman had an active season of exhibition work, including flying for one week at the California State Fair. However, after this season Wiseman gave up flying because he thought there was no future in it. He sold his plane and returned to the automobile business. He later worked for Standard Oil Company of California. Wiseman was a member of the Early Birds of Aviation, an organization of pilots who flew solo in an aircraft prior to December 17, 1916.

Weldon Cooke, another pioneer aviator from California, bought and modified the Wiseman-Peters aircraft, renaming it the Wiseman-Cooke. Cooke flew the Wiseman-Cooke for exhibition and air mail flights. The Wiseman-Cooke aircraft is currently part of the Smithsonian Institution's collections.
Provenance:
No donor information, Gift?, unknown, XXXX-0618, unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Automobile racing  Search this
Air mail service  Search this
Aeronautics, Commercial  Search this
Aeronautics -- Exhibitions  Search this
Airplane racing  Search this
Aeronautics -- Competitions  Search this
Aeronautics -- 1903-1916  Search this
Aeronautics  Search this
Air pilots  Search this
Wiseman-Peters #2 Biplane (1910)  Search this
Genre/Form:
Photographs
Tickets
Correspondence
Clippings
Citation:
Fred Wiseman Scrapbook, Acc. NASM.XXXX.0618, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.0618
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-xxxx-0618
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  • View Fred Wiseman Scrapbook digital asset number 5
Online Media:

Ruth Law Scrapbook

Collection Creator:
Law, Ruth  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1916-1918
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Ruth Law Collection, Acc. NASM.XXXX.0387, National Air and Space Museum, Smithsonian Institution.
See more items in:
Ruth Law Collection
Ruth Law Collection / Series 1: Ruth Law Scrapbook
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-xxxx-0387-ref517
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Newspaper Articles

Collection Creator:
Scott, Blanche Stuart, 1889-1970  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
1911 - 1955
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Blanche Stuart Scott Collection, Acc. NASM.XXXX.0062, National Air and Space Museum, Smithsonian Institution.
See more items in:
Blanche Stuart Scott Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-xxxx-0062-ref13
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Women's Air Force Service Pilots (WASPs) and Soviet Women Pilots Photographs [Noggle]

Creator:
Noggle, Anne, 1922-  Search this
Names:
Women Airforce Service Pilots (U.S.)  Search this
Extent:
0.28 Cubic feet (One flat box.)
Type:
Collection descriptions
Archival materials
Photographic prints
Date:
1940s
1980-1990s
Summary:
This collection consists of 35 reprints of historical images gathered for Anne Noggle's books, For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II and A Dance with Death: Soviet Airwomen in World War II: World's First Women Combat Fliers.
This collection is in English.
Scope and Contents:
This collection consists of 35 reprints of historical images gathered for Anne Noggle's books, For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II and A Dance with Death: Soviet Airwomen in World War II: World's First Women Combat Fliers. From God, Country and the Thrill of it there are 21 images, including nine not used in the book, relating to training of the WASPs at Sweetwater, Texas. For A Dance with Death there are 14 images of the 586th Fighter Aviation Regiment, the 46th Taman Guards Aviation Regiment, and the 125th Guards Bomber Aviation Regiment, including two not used in the book.
Arrangement:
Arrangment by book and size of photograph.
Biographical / Historical:
Anne Noggle (1922–2005) was a fine art photographer recognized for her feminist artwork on women, aging, and self-portraiture. Noggle served as a Woman Airforce Service pilot from 1943–1944, was a stunt pilot and crop duster after the war, and was a captain in the Air Force from 1953–1959. Noggle remained an active pilot throughout her lifetime. At 38 years old, Noggle pursued a college education and received a Bachelor of Arts degree in art and art history, and a Master of Arts degree in photography from the University of New Mexico. She was the curator of photography at the New Mexico Museum of Art from 1970–1976 and taught photography as an adjunct professor at the University of New Mexico 1970–1984, which is recognized for their prestigious photography program. Noggle received numerous awards for her photographic work, including a grant from the National Endowment for the Arts and a John Simon Guggenheim Memorial Foundation Fellowship. Her work is in the permanent collections of the New Mexico Museum of Art, Albuquerque Museum, California Museum of Photography, Denver Art Museum, Minneapolis Institute of the Art, the National Gallery of Canada, the San Francisco Museum of Modern Art, the Harn Museum at the University of Florida in Gainesville, and the Harry Ransom Center at the University of Texas in Austin. Noggle also was the author of several books, including: For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II, and A Dance with Death: Soviet Airwomen in World War II: World's First Women Combat Fliers, which featured her portrait photography of the women fliers.
Provenance:
Anne Noggle Foundation, Gift, 2021, NASM.2021.0014
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
Women air pilots  Search this
World War, 1939-1945  Search this
Aeronautics, Military  Search this
Women -- Soviet Union -- History  Search this
Genre/Form:
Photographic prints
Citation:
Women's Air Force Service Pilots (WASPs) and Soviet Women Pilots Photographs [Noggle], NASM.2021.0014, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2021.0014
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2021-0014

Scrapbook

Collection Creator:
Wehrle, Howard Franklin, 1890-1964  Search this
Container:
Box 1
Type:
Archival materials
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
Howard Franklin Wehrle Scrapbook, Acc. 2000.0069, National Air and Space Museum, Smithsonian Institution.
See more items in:
Howard Franklin Wehrle Scrapbook
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-2000-0069-ref505
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Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
56.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2007
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
Arrangement:
The collection is arranged as eight series:

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference 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
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism and art  Search this
Minimal art  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
New York school of art  Search this
Modernism (Art)  Search this
Function:
Arts organizations -- New York (State)
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

Arthur L. and Joyce Lyon Dahl papers, 1926-1988

Creator:
Dahl, Arthur L., 1942-  Search this
Dahl, Joyce Lyon  Search this
Dahl, Arthur L., 1942-  Search this
Subject:
Willard, Marian  Search this
Wummer, John  Search this
Barnett, Arthur  Search this
Guérin, Jacques  Search this
Hallsten, Pehr  Search this
Johnson, Dan Rhodes  Search this
Malraux, André  Search this
Mathieu, Georges  Search this
Seitz, William Chapin  Search this
Seligman, Otto D.  Search this
Speyer, Darthea  Search this
Tobey, Mark  Search this
Type:
Scrapbooks
Topic:
Abstract expressionism  Search this
Art -- Collectors and collecting  Search this
Artists and patrons -- France -- Paris  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)7113
(DSI-AAA_SIRISBib)209247
AAA_collcode_dahlarth
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209247

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