The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.
Scope and Content Note:
The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.
Biographical material includes a birth certificate, school work, and passports. General correspondence includes letters from several artists including Rhys Caparn, Sue Fuller and Lee Gatch, and from art galleries, including the Museum of Modern Art, Albright-Knox Art Gallery and the Whitney Museum of American Art. Additional correspondence is found in the Subject Files.
Business records include an account book, lists of expenses and prices of art works, and sales records. Notes and writings include Teller's notes about art and travel, artists' statements, autobiographical writings, and a compilation of many artists' statements regarding "The Nine Bean Question."
Artwork includes three sketchbooks, 30 sketches and three prints primarily depicting nature and sculpture designs.
Five scrapbooks contain clippings, exbition announcements and catalogs. Additional printed material includes magazines, exhibition announcements and catalogs, a booklet by Teller entitled Art, Age and the River, published posthumously by her husband, and a manuscript of Poems or Poetic Expressions of Sculptors, collected by L. Lamis.
Subject files are arranged by name or subject and may contain letters, photographs, and printed material. Many of the files focus on galleries and museums, including the Montclair Art Museum, the Newark Museum, Noyes Museum, Parma Gallery, the Princeton Gallery of Fine Art and the Squibb Gallery. There are also subject files for associations, travel, projects, and colleagues including Margaret K. Johnson, Reuben Kadish, Ibram Lassaw, Aaron Siskind and Dorothy Dehner.
Photographs and slides depict Teller, her friends, works, gallery installations, and travels. Also included are photographs of trees, bark, and other natural formations used by Teller in her work.
The audio-visual materials include several sound recordings, videocassettes and 16 mm motion picture films. The videocassettes include television programs in which Teller, printmaker Judith Brodsky and actor Harry Hamlin are interviewed, a retrospective at Skidmore College and a film featuring Teller speaking for the National Council on Aging. Sound recordings include two interviews and a "Talk on Malta" by Teller and Joan Needham. The 16 mm films are black and white footage of Teller's first Parma Gallery show.
Arrangement:
The collection is arranged as 11 series. Records are generally arranged by material type and chronologically thereafter.
Missing Title
Series 1: Biographical Material, 1911-1985 (Box 1; 4 folders)
Series 2: Correspondence, 1956-1991 (Box 1; 0.3 linear feet)
Series 3: Business Records, 1961-1990 (Box 1; 5 folders)
Series 4: Notes, 1960-1987 (Box 1; 13 folders)
Series 5: Writings, 1960-1989 (Boxes 1 and 9; 5 folders)
Series 6: Artwork, circa 1950s (Boxes 1 and 9; 6 folders)
Series 7: Scrapbooks, 1948-1990 (Boxes 1-2; 0.7 linear feet)
Series 8: Printed Material, 1957-1991 (Boxes 2-3 and 9; 0.6 linear feet)
Series 9: Subject Files, 1951-1990 (Boxes 3-5; 2.5 linear feet)
Series 10: Photographs, 1934-1985 (Boxes 5-9; 2.5 linear feet)
Series 11: Audio-Visual Materials, 1961-1989 (Box 8, FC 10-12; 0.6 linear feet)
Biographical Note:
Jane Teller (1911-1990) worked as a printmaker and sculptor primarily in New Jersey. She specialized in working with wood and studied at the Rochester Institute of Technology, Skidmore College, and Barnard College. She also attended Federal Works Progress Administration (W.P.A.) classes in New York City, studying sculpture with Aaron J. Goodelman and wood carving with Karl Nielson. She later studied welding in the studio of Ibram Lassaw. She was also a lifelong friend of photographer Aaron Siskind. In 1960, she was awarded the Mary and Gustave Kellner Prize at the National Association of Women Artists Annual Exhibition at the National Academy of Design in New York, and in 1966 the Sculpture Prize at the Fiftieth Anniversary Exhibition, Philadelphia Art Alliance in Philadelphia. She exhibited mainly in New York and New Jersey and was married to author and editor Walter Teller.
Provenance:
The Jane Teller papers were donated by Jane Teller in 1990 and in 1991 by Walter Teller, widower of Jane Teller.
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.
The scattered papers of photographer Bettye Lane measure 0.2 linear feet and date from 1979 to 1980. Found are eleven photographs of women artists and resumes for Bettye Lane and her subjects.
Scope and Contents:
The scattered papers of photographer Bettye Lane measure 0.2 linear feet and date from 1979 to 1980. Found are eleven photographs of women artists and resumes for Bettye Lane and her subjects.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Bettye Lane (1930-2012) was a photojournalist in New York City, New York. Her work covered the feminist movement, the gay rights movement, and the civil rights movement.
Provenance:
The collection was donated in 1980 by Bettye Lane.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- New York (State) -- New York Search this
An interview of George McNeil conducted by Dorothy Seckler for the Archives of American Art. McNeil speaks of his childhood and his family; becoming interested in art during high school; attending Pratt Institute, and not being satisfied there; deciding to drop out of Pratt after attending a lecture from Vaclav Vytlacil; going to the Metropolitan Museum every day drawing and analyzing paintings; meeting Arshile Gorky while at the Metropolitan Museum; attending the Art Students League; studying with Hans Hofmann; the start of the American Abstract Artists; his involvement in the WPA's mural project; attending Teachers College at Columbia before joining the Navy; re-entering the New York art scene during the forties and liking it very much; meeting and being influenced by Pollock; his views on the state of painting; how his work has evolved; the various stages in the way a painting developed for him; how The Club and the Eighth Street Club has influenced him; the ideas discussed at The Club, and how he feels surrealism was not a big influence on them; Jackson Pollock's influence on abstract expressionism; artists he admires or has admired; and his thoughts on the contemporary art scene. He recalls Vaclav Vytlacil, Arshile Gorky, Jan Matulka, David Smith, Dorothy Dehner, Edgar Levy, Leo Manso, Burgoyne Diller, Irene Rice Pereira, Hans Hofmann, Jo Hopper, Giorgio Cavallon, Linda Lindaberg (Cavallon), Mercedes Kahls, George Byron Brown, Albert Swinden, Willem de Kooning, Jackson Pollack, Franz Kline, Jack Tworkov, Ad Reinhardt, Mark Rothko, and many others.
Biographical / Historical:
George McNeil (1908-1995) was a painter and a printmaker in Brooklyn, N.Y.
General:
Originally recorded on 2 sound tapes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 49 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript is available on the Archives of American Art's website.
Vieira da Silva, Maria Helena, 1908-1992 Search this
Extent:
10.2 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Date:
1918-1971
Summary:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Scope and Content Note:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Writings by Roberts include manuscripts and articles about artists, writings about her own art, personal writings, working notes from interviews and classes, reviews, and translations between English and French.
Printed materials in the collection include clippings, Roberts' printed articles, press releases, and other exhibition catalogs and announcements. Photographs are of Roberts, artists, including Ad Reinhardt, classes, art spaces, and works of art. A small number of artworks on paper are also found, including Fluxus art stamps and a printed picture of Ray Johnson stamped "DOUGHNUT FESTIVAL."
Series 1: Correspondence, 1918-1971 (Box 1, 0.5 linear feet)
Series 2: Notes and Writings, 1936-1970 (Box 1, 0.3 linear feet)
Series 3: Personal Records, 1944-1971 (Box 1-2, 11; 0.7 linear feet)
Series 4: Grand Central Moderns Gallery Records, 1952-1970 (Box 2-3, 11; 0.7 linear feet)
Series 5: Printed Material, 1938-1971 (Box 3-5, 11-12; 2.0 linear feet)
Series 6: Photographs, 1930-1971 (Box 5; 0.2 linear feet)
Series 7: Artwork, 1940-1969 (Box 5; 4 folders)
Series 8: Interviews with Artists, 1959-1971 (Box 5-10; 5.5 lienar feet)
Biographical Note:
Colette Roberts was a French artist, curator, gallery director, and scholar who emigrated to the United States in 1939, settling in New York City and remaining there until her death in 1971.
Roberts became gallery director of the Grand Central Moderns Gallery (New York, NY) in 1952 and remained in that position until 1968, when the gallery closed. The gallery was opened in 1946 by Erwin S. Barrie of the Grand Central Galleries for the promotion of living American artists. Among the artists represented there were Jennett Lam and Seong Moy. During this period she was also an instructor at New York University and Queens College, teaching art history and contemporary art. In 1957, she began a course at New York University called "Meet the Artist," for which she took her classes to the studios of working artists to see and discuss their work. In the early 1960s, she began to tape record her interviews of artists for this course, a practice which continued until her death in 1971. In 1968, Roberts worked briefly as Gallery Director for the A.M. Sachs Gallery (New York, NY), and as an oral history interviewer for the Archives of American Art.
Roberts wrote extensively on contempoary art, including articles and monographs on Mark Tobey (1960, Grove Press), Louise Nevelson (1964, The Pocket Museum), and Marcel Duchamp. She was a regular contributor to Aujourd'hui and Art and Architecture magazines.
Related Material:
Additional papers and recordings of Colette Roberts are held by Syracuse University Library Special Collections Research Center.
Separated Material:
A copy of a 1967 oral history with Adolf Gottlieb conducted by Dorothy Seckler for the Archives of American Art oral history program, which was found in Roberts' papers, has been returned to the Archives' oral history collection.
Provenance:
The sound recordings and transcripts of interviews with artists, were donated by Colette Roberts in 1970. The remaining papers were donated by her son, Richard B. Roberts, in 1973.
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:
Art historians -- New York (State) -- New York Search this
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1930-1997
Scope and Contents:
Biographical material, correspondence, notes, writings, photographs, business and financial records, works of art, and printed material document the career of painter and educator Michael Loew.
REEL N68-94: Biographical material, 1957-1967, includes 5 biographical sketches, a bibliography of Loew's publications, and an artist's statement. Correspondence, 1935-1968, is with colleagues, galleries, and educational institutions. There are one or two letters each from colleagues Josef Albers, Willem de Kooning, Adolph Gottlieb, Philip Johnson, Richard Lahey, George L.K. Morris, and Clifford Odets. Nine letters relate to Loew's work for the U.S. Works Progress Administration and the New York World's Fair. Writings, 1966, consist of several drafts for essay "Is It the Function of the Artist to Communicate with his Audience." A contract, 1938, is between Loew and Willem de Kooning and the New York World's Fair 1939 Inc. Printed material, 1944-1968, consists of exhibition announcements and catalogs. Photographs, 1960-1964, are of Loew and his art works. Notes consist of 2 undated notebooks and a typescript concerning Josef Albers. A scrapbook, 1938-1965, contains 4 photographs of art works, clippings, and exhibition announcements and catalogs.
REEL 5053: Correspondence, 1944-1990, is with galleries, including the Holland-Goldowsky Gallery, educational institutions, including the University of California at Berkeley, and colleagues including Dorothy Dehner, Burt Hasen, and Aaron Siskind. Correspondence, 1956-1957, with Rockwell Kent concerns the rental of Kent's Monhegan Island cabin. One letter, 1959, includes 3 photographs of Loew, Louis Kahn, Allan Kaprow, and George McNeil. Lecture notes are for an Artists Equity symposium, 1956, and a panel discussion on painting, 1968. Writings, 1968-1979, consist of 3 essays by Loew and tributes written to Sarah Freedman McPherson by Loew and others. Printed material, 1932-1992, consists of clippings, exhibition announcements and catalogs, and a book "The Artist's World" by Fred W. McDarrah. Photographs, 1930-1979, are of Loew, his friends, and his art works. One photograph is of Alfred Jensen, Theodore Schempp, Max Schnitzler, and Loew in Tunis, 1930.
UNMICROFILMED Biographical material incudes curriculum vita, obituaries, and birth announcements of Jonathan Loew, Michael Loew's son. Correspondence is with Willem and Elaine de Kooning. Writings include notes and a transcription of Loew's 1966 MoMA talk Must the Artist Communicate with his Audience, drafts of an article by Loew regarding Joseph Albers NEA and Guggenheim grant applications. Photographs are of Loew, his artwork, and his travels in Mexico as well as a color photograph of Loew and Willem de Kooning in de Kooning's studio taken by Rose Slivka. Artwork includes original off-prints for book covers. Business files relate to the 1939 World's Fair mural commission and include information about gifts of artwork to museums. Financial material includes a sales record book and records of sales with the Marilyn Pearl and Landmark galleries. Also included are literature and directories from the Federation of Modern Painters & Sculptors, exhibition announcements,and newspaper clippings.
Biographical / Historical:
Born in New York City, Michael Loew (1907-1985) studied at the Art Students League from 1926-1929, Academie Scandinave in Paris from 1929-1930, the Hans Hofmann School of Fine Art from 1947-1949, and at the Atelier Fernand Leger from 1949-1950. Loew worked as a stained glass artist from 1926 to 1929, and painted murals with Willem de Kooning for the New York World's Fair of 1939. Between 1956 and 1966, he taught painting at the Portland (Oregon) Art Museum, University of California at Berkeley, and at the School of Visual Arts in New York.
Provenance:
Material on reel N68-94 lent for microfilming 1968 by Michael Loew; approximately 50 letters and an artists' statement were later received in subsequent donations. Additional papers were donated in 1981-1982 by Loew, and in 1994 and 2008 by his widow, Mildred C. Loew, a portion of which was microfilmed on reel 5053. The photograph of Loew and de Kooning taken by Rose Slivka was donated by Loew's niece, Jackie Cohen, in 2007.
Restrictions:
Microfilmed portion must be accessed on film. Use of original papers requires an appointment.
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.
James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.
Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.
Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.
There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.
Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.
Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:
Missing Title
Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)
Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.
In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.
In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.
Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.
In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.
For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
9 Items (photographic prints, b&w, 44 x 34 cm. and smaller.)
Type:
Collection descriptions
Archival materials
Photographs
Date:
[1964-1975]
Scope and Contents:
Included are photographs of: Dorothy Dehner, Willem De Kooning, Edwin Dickinson, Red Grooms,Chaim Gross, Rafael Montanez Ortiz, George Segal, Moses Soyer, Raphael and Rebecca Soyer.
Biographical / Historical:
Dena (1910-1987) was a photographer from New York, N.Y. Full name Dinah Rubinstein.
Provenance:
Donated by Dena. It is unclear if the photographs were used in a publication or exhibition. The photographs were initially placed in AAA's Photographs of Artists Collection I and II, separated by artist depicted, and microfilmed on reels 439-441 and 1817-1818. They have been subsequently scanned and compiled together under Dena
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Photographers -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Dorothy Dehner, 1965 October-1966 December. Archives of American Art, Smithsonian Institution.
An interview of Dorothy Dehner conducted 1965 October-1966 December, by Garnett McCoy and Rosalind Krauss, for the Archives of American Art.
Both interviews involve discussion of Dehner's husband, David Smith.
Biographical / Historical:
Dorothy Dehner (1901-1994) was a sculptor, painter, and printmaker from New York, New York. Dehner was married to sculptor David Smith.
General:
Originally recorded on 2 sound tape reel. Reformatted in 2010 as 2 digital wav file. Duration is 2 hr., 40 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
The records of New York Willard Gallery measure 0.6 linear feet and date from circa 1940 to 1956. The collection relates to artist David Smith and includes printed materials regarding exhibitions, artist statements, a set of notecards containing detailed information on artworks by Smith, and correspondence between Smith, Marian Willard, and Smith's wife Dorothy Dehner, and with galleries and clients concerning exhibitions, loans, and sales.
Scope and Contents:
The records of New York Willard Gallery measure 0.6 linear feet and date from circa 1940 to 1956. The collection relates to artist David Smith and includes printed materials regarding exhibitions, artist statements, a set of notecards containing detailed information on artworks by Smith, and correspondence between Smith, Marian Willard, and Smith's wife Dorothy Dehner, and with galleries and clients concerning exhibitions, loans, and sales.
Arrangement:
The collection is arranged as one series.
Series 1: Willard Gallery Records Relating to David Smith, circa 1940-1956 (Boxes 1-2; 0.6 linear feet)
Biographical / Historical:
Willard Gallery was established as the East River Gallery in New York, New York, by Marian Willard in 1936. The gallery exhibited the works of artists including Sylvia Braverman, Alexander Calder, Lyonel Feininger, Loren MacIver, David Hayes, Ezio Martinelli, Louis Schanker, David Smith, and Mark Tobey. In 1938, the gallery's name was changed to the Neumann-Willard Gallery; it later became the Willard Gallery after Willard's marriage to Dan Johnson. Willard and Johnson ran the gallery until their retirement in 1970, at which point their daughter Miani Johnson took over operations until the gallery's closure in 1987.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels NWI-1, NLG-1, N69-114, N69-116-N69-118, and 822. Reel NWI-1 contains four notebooks dated 1936-1959, with reproductions of works by Morris Graves, and three notebooks dated 1917-1959, with reproductions of works by Mark Tobey. Reel NLG-1 includes correspondence between Gatch and Marian Willard, concerning Gatch's business relations with dealer J. B. Neumann, exhibitions and sales. Also included are clippings and biographical notes. Reels N69-114 and N69-116 contain scrapbooks, 1936-1969, including clippings, catalogs, photographs and occasional correspondence documenting Marian Willard's founding in 1936 of the East River Gallery, later (1938) the Neumann-Willard Gallery; her introduction of rental art, an innovation in the American art trade, and gallery exhibitions of various artists. Considerable exhibition and critical material for artists regularly shown by the Gallery is included: Lyonel Feininger, David Smith, Loren MacIver, David Hayes, Mark Tobey, Ezio Martinelli and Louis Schanker. Also included letters one from Lyonel Feininger, Lewis Mumford and Archibald MacLeish, congratulating Miss Willard on the Gallery's opening. Reels N69-116-N69-118 contain scrapbooks, 1928-1969, containing photographs, exhibition catalogs, critical articles, incidental correspondence, and price lists for the following artists: Juan Luis Bunuel, Sylvia Braverman, Leo Kenney, Thomas Stearns, Lenore Tawney, Morris Graves, David Hayes, Genichiro Inokuma, Tadashi Sato, Richard Lippold, Philip McCracken, Charles Seliger, and Mark Tobey. Reel 822 contains a scrapbook of the Willard Gallery, 1972 and a scrapbook containing clippings and announcements about Ann Wilson, 1972, and about William Pettet, 1973.
Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
The Willard Gallery records were lent for microfilming from 1959-1974. Records relating to David Smith were donated in 1966 and 1974 by Marian Willard.
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, Modern -- 20th century -- United States Search this
The Donna Marxer interviews with artists measures 0.6 linear feet and date from 1977 to 1992. The collection contains audio interviews and transcripts for nine artists including: Minna Citron, Barbara Bertoli, Dorothy Dehner, Sari Dienes, Andree Golbin, Kay Pancoast, Susan Schwalb, and Stanley Hayter. Also included are printed materials such as clippings, exhibition announcements, and an invitation to an exhibition opening.
Scope and Contents:
The Donna Marxer interviews with artists measures 0.6 linear feet and date from 1977 to 1992. The collection contains audio interviews and transcripts for nine artists including: Minna Citron, Barbara Bertoli, Dorothy Dehner, Sari Dienes, Andree Golbin, Kay Pancoast, Susan Schwalb, and Stanley Hayter. Also included are printed materials such as clippings, exhibition announcements, and an invitation to an exhibition opening.
Arrangement:
The collection is arranged as 2 series:
Series 1: Interviews, 1977-1989 (0.5 linear feet; Boxes 1-2)
Series 2: Printed Material, 1989-1992 (0.1 linear feet; Box 2)
Biographical / Historical:
Donna Marxer (1934-2018) was a painter working primarily in New York, New York. She served as executive director of Artists Talk on Art and served on the boards of many arts organizations.
Provenance:
Donated by Donna Marxer, 1989 and 1992.
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:
Painters -- New York (State) -- New York Search this
Arts administrators -- New York (State) -- New York Search this
Donna Marxer interviews with artists, 1977-1992. Archives of American Art, Smithsonian Institution
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collection Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee
Roberts, Colette Jacqueline, 1910-1971 Search this
Type:
Sound Recording
Date:
1968
Citation:
Dorothy Dehner and Colette Jacqueline Roberts. Interview with Dorothy Dehner, 1968. Colette Roberts Papers and Interviews with Artists, 1918-1971. Archives of American Art, Smithsonian Institution.
Roberts, Colette Jacqueline, 1910-1971 Search this
Type:
Sound Recording
Date:
1971
Citation:
Dorothy Dehner and Colette Jacqueline Roberts. Interview with Dorothy Dehner, 1971. Colette Roberts Papers and Interviews with Artists, 1918-1971. Archives of American Art, Smithsonian Institution.
Dorothy Dehner. Note concerning photograph of David Smith, 1978 Jan. 4. David Smith miscellaneous papers, [ca. 1940]-1964. Archives of American Art, Smithsonian Institution.
