The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Scope and Contents:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Biographical material includes biographical notes and curricula vitae, as well as several video recordings of documentaries about Spero by Patsy Scala and Irene Sosa which feature original footage of Spero at work. Correspondence is personal and professional, and includes letters from artists including Judy Chicago and Ana Mendieta, writers and curators such as Deborah Frizzell and Susanne Altmann, regarding Spero exhibition catalogs, monographs, and articles, and personal news from family members such as Spero's sons, and correspondence related to other aspects of Spero's career.
Interviews of Spero include transcripts, published interviews, and video recordings. Writings include many of Spero's statements about her work, as well as notes, published versions of articles written by Spero, and video recordings of talks and panel discussions she participated in.
Exhibition files for over 75 shows document the extent to which Spero's work has been widely exhibited in her lifetime with numerous solo exhibitions, including major retrospectives in London, Paris, Barcelona, and Madrid, and dozens of group exhibitions in which she participated over the course of her career.
Gallery and museum files supplement the exhibition files by further documenting Spero's dealings with numerous galleries and museums, including Galerie Lelong, which represents Spero's estate, Barbara Gross Galerie, the first gallery in Germany to represent Spero, the Museum of Fine Arts, Boston, the National Gallery of Canada, and many others. The series also documents Spero's involvement with A.I.R. Gallery, the first independent women's art venue in the United States.
Professional files document other aspects of Spero's career including, but not limited to, awards she received, organizations she participated in or contributed to, publishing projects related to her work, and individual projects she executed such as an installation at the Harold Washington Library in Chicago and the Artemis, Acrobats, Divas & Dancers mosaic tiles she created for the Metropolitan Transit Authority for the 66th Street/Lincoln Center subway station. Also included here are files related to works of art such as Codex Artaud, and Notes in Time.
Subject files, contents of which were presumably used as source material for Spero, document subjects of interest to her, many of which were incorporated into her work and consists primarily of printed material. Broad subject categories include animal rights and conservation, feminism, war, and women. One set of folders documents "museum and political actions" undertaken by Spero and other activists during the 1960s-1970s to fight for equal representation of women in the arts and challenge the male-dominated hierarchy of the art world. Subject files include multiple news articles on torture, rape, and other atrocities committed particularly against women during wartime and by repressive and autocratic political regimes, and also include source material on the archetypal images of women that were fundamental to her interpretation of the female experience.
Printed material documents Spero's entire career from the late 1950s on. Announcements, exhibition catalogs, invitations, news clippings, and periodicals provide comprehensive coverage of her many exhibitions and other events. Printed material also documents the activities of a few other artists, primarily from the 2000s, and includes periodicals, primarily about art, and video recordings of documentaries about art and various other subjects.
Photographic material includes photographs of Nancy Spero from the 1940s on, photos of Spero with family and friends, and photographs of artwork including the heads of Spero's 2007 Maypole: Take No Prisoners which was the last major work completed before her death, originally realized for the Venice Biennale. Also found are a few installation shots and prints, slides, and digital images of Notes in Time at A.I.R. Gallery in 1979.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1950-2009 (Box 1, FC 30; 0.85 linear feet, ER01-ER04; 9.58 GB)
Series 2: Correspondence, 1946-2009 (Boxes 1-4, 27; 2.75 linear feet)
Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.6 linear feet)
Series 4: Writings, 1950-2007 (Boxes 5-6; 1 linear foot)
Series 5: Exhibition Files, circa 1976-2009 (Boxes 6-9, 27, OV 28; 3.3 linear feet, ER09-ER10, ER14-ER17; 1.5 GB)
Series 6: Gallery and Museum Files, 1972-2009 (Boxes 9-14; 5.1 linear feet; ER05-ER08, ER12-ER13; 2.962 GB)
Series 7: Professional Files, circa 1967-2008 (Boxes 14-17, RD 29; 3.5 linear feet; ER15; 0.74 GB)
Series 8: Subject Files, 1950s-2009 (Boxes 17-19, 27, OV 28; 2.4 linear feet)
Series 9: Business Records, circa 1976-2008 (Boxes 19-20; 0.7 linear foot)
Series 10: Printed Material, 1949-2009 (Boxes 20-25, 27, OV 28; 5.5 linear feet)
Series 11: Photographic Material, 1940s-2009 (Boxes 25-27; 0.7 linear foot; ER18-ER19; 0.151 GB)
Biographical / Historical:
Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist based in New York City whose work was executed primarily on paper from the 1960s on, and often incorporated text. Spero was among the first feminist artists and a political activist whose convictions were expressed relentlessly in her work. Using archetypal representations of women to examine the range of female experience, Spero centered "woman as protagonist" whilst simultaneously examining the suffering women have long been subjected to through structural inequality, the systematic abuses of repressive political regimes, and the atrocities of war.
Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). Spero studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. Spero and Golub returned to New York in 1964 with their three sons.
Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became an activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery, and Spero's work from here on was primarily executed on paper.
Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In the 1970s archetypal representations of women in mythology, history, art, and literature became predominant in her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.
Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.
Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).
After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.
Related Materials:
Also among the holdings of the Archives of American Art are an interview with Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.
Provenance:
Following a gift of materials by Nancy Spero in 1979, the majority of the collection was donated by Spero's sons, Stephen Golub, Philip Golub, and Paul Golub, in 2013.
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:
Printmakers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Collagists -- New York (State) -- New York Search this
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The Walton Family Foundation. Funding for the digitization of the collection was provided by the Smithsonian American Women's History Initiative.
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.
Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.
The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.
Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.
Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.
Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.
Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.
Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.
Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.
Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.
There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.
Missing Title
Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)
Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)
Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)
Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)
Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)
Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)
Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)
Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)
Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)
Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.
Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.
After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.
In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.
In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.
In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.
Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).
In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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.
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
The papers of painter Irving Petlin measure 3.0 linear feet and date from 1952-2014. Materials include correspondence with other artists and collaborators, galleries, friends, and family; notes by Petlin related to his artistic process; exhibition and project files regarding the war in Vietnam and other projects; exhibition catalogs, announcements, and clippings related to Petlin's work and group and solo museum and gallery shows; periodicals related to the art world; books featuring Petlin as an illustrator or inscribed by author or editor friends of Petlin's; sketches by Petlin; an Italian contemporary art award; a piece of the Peace Tower collaboration with Mark di Suvero and other artists; and photographs of Petlin's works, installations, and Petlin in a studio.
Scope and Contents:
The papers of painter Irving Petlin measure 3.0 linear feet and date from 1952-2014. Materials include correspondence with other artists and collaborators, galleries, friends, and family; notes by Petlin related to his artistic process; exhibition and project files regarding the war in Vietnam and other projects; exhibition catalogs, announcements, and clippings related to Petlin's work and group and solo museum and gallery shows; periodicals related to the art world; books featuring Petlin as an illustrator or inscribed by author or editor friends of Petlin's; sketches by Petlin; an Italian contemporary art award; a piece of the Peace Tower collaboration with Mark di Suvero and other artists; and photographs of Petlin's works, installations, and Petlin in a studio.
Arrangement:
The collection is arranged as 7 series.
Series 1: Correspondence, 1968-2002 (0.25 linear feet, Box 1)
Series 2: Writings, 1952-1984 (0.18 linear feet) Box 1)
Series 3: Exhibition Files, 1974-1988 (0.20 linear feet, Box 1)
Series 4: Project Files, 1980-1984, 2007 (0.17 linear feet, Box 1)
Series 5: Printed Material, 1962-2014 (2.09 linear feet Box 1, 2, 3)
Series 6: Artwork, circa 1966-1974 (0.07 linear feet, box 3, 4)
Series 7: Photographic Material, circa 1970s-1978 (0.04 linear feet, Box 4)
Biographical / Historical:
Irving Petlin (1934-2018) was a painter in Paris, France; New York, New York; and Martha's Vineyard, Massachusetts. Petlin was born in Chicago to Polish Jewish immigrants, attended the Art Institute of Chicago, and earned a MFA from Yale University. Petlin specialized in the medium of pastel, first gaining recognition in Paris after his service in the United States army. From there he went to Los Angeles, where he was principal organizer of the "Artists Protest Movement Against the War in Vietnam," and the 1966 "Peace Tower," with Mark di Suvero and other artists. Petlin and his wife, Sarah, a poet, moved to New York City for 28 years before returning to Paris. Petlin was heavily influenced by the political landscape around him and was an active member of the Art Workers' Coalition. He used allegory, mythology, and symbolism to illustrate politics and the human condition. He often collaborated on projects with other artists and was inspired by writers and poets. In the last decades of his life, Petlin split his time between his studio in Paris and his family's 18th century farmhouse in Martha's Vineyard continuing his work as an artist and activist.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Irving Petlin conducted by James McElhinney September 13 and 15, 2016.
Provenance:
The collection was donated in 2019 by Sarah Petlin.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. 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.
The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and 2.99 Gb and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed and digital materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events.
Scope and Contents:
The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and 2.99 GB and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed and digital materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events.
The President's files appear to be complete and include files for presidents Yasuo Kuniyoshi, Louise Nevelson, Harry Waterson, Roy Gussow, Jacob and Gwendolyn Knight Lawrence, Karl Zerbe, Ernst Fiene, Sidney Laufman, Carolyn deLisser, Burt Hasen, and Bert Diener, among others. Committee files and meeting minutes are found, as well as general administrative and correspondence files which include information pertaining to the national level Association.
Event files include documentation of the Association's Art Thursday series, where they hosted talks and panels by artists. Artists referenced in these files include Jean Cohen, Charles Searles, Leon Golub, Doug Ashford, Bruno Palmer-Poroner, Dom Facci, Susan Teller, Eleanor Lipsky, Ted Berger, Hilton Kramer, Bernice Steinbaum, Laura Stirton, Jean Zaleski, Renee Philips, Denise Bibro, Dan Concholar, Irving Sandler, Angela Babin, Dorothy Gillespe, Donna Marxer, Nan Hall, Ivan Karp, Alan Gussow, Mary Carswell, Bill Smart, Charlotte Kotik, Klaus Kertess, Elaine Marinoff, and Judith Brodski. Additional events covered in this series include the annual awards dinner, masquerade balls, lectures, the Association's 55th Anniversary event, which includes recollections by Helen Frankenthaler, Sidney Simon, and Lorrie Goulet, as well as other events and programs. Videocassette and sound recordings of many of the events are found here.
Artists' and subject files contain mostly printed materials about a few artists and subjects or issues in which the Association was interested.
There are extensive files on individual members that include card files, applications, biographies, and clippings.
Project and exhibition files include material pertaining to the Artists Welfare Fund, the Art Bank artwork donation, and a few scattered exhibitions. Additional exhibition and event files are found in the series containing the Broome Street Gallery files.
Association publications consist of what appears to be a full run of Association newsletters and reports. The NYAEA newsletter changed its name to The Artists Proof in 1986. Additional printed materials include exhibition catalogs and announcements, programs, clippings, posters, and newsletters of other arts organizations. There are four scrapbooks (two unbound) that contain printed materials, and a few items of correspondence. One of the scrapbooks documents the annual "Bal Fantastique".
Artwork consists mostly of sketches and drawings by artists attending a 1948 dinner in honor of Yasuo Kuniyoshi. Photographs are of members and events. Photographers include Arnold Newman, Marvin Bolotsky, and Frances Avery, among others. Numerous notable artists are depicted in the images.
Arrangement:
The collection is arranged into sixteen series.
Missing Title
Series 1: History and Founding Documents, 1933-2000 (0.3 linear feet; Box 1, 27
Series 2: Presidents' Files, 1927-2007 (2.8 linear feet; Boxes 1-4)
Series 3: Board of Directors' Files, 1947-2003 (1.4 linear feet; Boxes 4-5)
Series 4: Committee and Meeting Files, 1950-2009 (1.5 linear feet; Boxes 5-6)
Series 5: General Administrative and Correspondence Files, circa 1930-2008 (2 linear feet; Boxes 7-8, 0.284 GB; ER01)
Series 6: Financial and Legal Files, 1947-2000 (1 linear foot; Box 9)
Series 7: Events and Programs, 1930-2010 (4.2 linear feet; Boxes 10-14, 27, 0.446 GB; ER02)
Series 8: Artists and Subject Files, 1930-1998 (0.4 linear feet; Box 14)
Series 9: Membership Files, 1920-2009 (4.4 linear feet; Boxes 14-18, 27, 2.26 GB; ER03)
Series 10: Project and Exhibition Files, 1934-2010 (2 linear feet; Boxes 19-20)
Series 11: Broome Street Gallery Files, 1990-2011 (2.7 linear feet; Boxes 21-23, 31)
Series 12: Association Publications, 1947-2012 (1 linear foot; Boxes 23-24)
Series 13: Printed Materials, 1930-2008 (1.6 linear feet; Boxes 24-25, 27, 31, OV 28, OV 29)
Series 14: Scrapbooks, 1947-1969 (0.3 linear feet; Box 25, OV 30)
Series 15: Artwork, 1947-2000 (0.1 linear foot; Box 26, 27)
Series 16: Photographs, 1930s-2004 (0.9 linear feet; Box 26, 27)
Biographical / Historical:
The New York Artists Equity Association (originally the Artists Equity Association) was created in 1947 to promote and support living American artists. Nine prominent New York artists founded the organization and elected Yasuo Kuniyoshi as the organization's first president. The original membership included 160 well-known American artists, but by the end of its first year, membership had grown to over one thousand. By the 1950s, the organization had grown into an influential national organization. Past and present members have included Milton Avery, Will Barnet, Romare Bearden, George Biddle, Isabel Bishop, Robert Blackburn, Paul Cadmus, Charles Burchfield, Stuart Davis, Jose de Creeft, Elaine and Willem de Kooning, Leon Golub, Chaim Gross, Rockwell Kent, Roy Lichtenstein, Robert Motherwell, Alice Neel, Isamu Noguchi, Jules Olitski, Philip Pearlstein, Henry Varnum Poor, Charles Scheeler, Ben Shahn, David Smith, Frank Stella, Andrew Wyeth, and many others.
In 1959, the New York Chapter, with more members than all of the other states combined, re-organized into the New York Artists Equity Association. The Association maintained it own gallery, Broome Street Gallery, from 1991-2011. The organization remains active today and is located in SoHo.
Provenance:
The records were donated to the Archives of American Art by the New York Artists Equity Association in several increments between 1980-2016.
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. Use of 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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
Authorizatin to publish, quote or reproduce requires written permission from Lenore Seroka. Contact Reference Services for more information.
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) -- Great Neck Search this
Painter; New York, N.Y.; b. 1922, in Chicago, Ill.; d. Aug. 8, 2004, in Manhattan, N.Y.
General:
An unrelated interview of Stuart Klonis conducted by B. Hooton is also on this tape.
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.
An interview of Don Baum conducted 1986 January 31 and May 13, by Sue Ann Kendall, for the Archives of American Art, in Chicago, Illinois.
Baum speaks about his childhood in Michigan; interests during his college years at Michigan State; classes at the School of the Art Institute of Chicago; friendship with artists such as Miyoko Ito and Ethel Spears; the Institute of Design and Laszlo Moholy-Nagy; faculty and classes at the University of Chicago; jam sessions at Gertrude Abercrombie's home; teaching at Roosevelt University; the influence of travel; June Leaf; Leon Golub; psychoanalysis and its influence on his work; collage; The Hyde Park Art Center; objects with a magical aura; writing and writers; dolls; the relationship of self to art; outsider art; transformation; Joseph Cornell; the Hairy Who artists; collectors; the Museum of Contemporary Art; the Illinois Arts Council; Chicago art and artists; and travel in Indonesia.
Biographical / Historical:
Don Baum (1922-2008) was a sculptor, assemblage artist, curator, and educator from Chicago, Illinois.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 5 hr., 23 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:
Patrons must use transcript.
Transcript available on the Archives of American Art website.
11.6 Linear feet ((partially microfilmed on 2 reels))
0.2 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1952-1994
Scope and Contents:
Primarily research material used for Andersen's book American Sculpture in Process, 1930-1970. Included are sculpture files, containing photographs and printed materials; writings and research notes; and 663 letters and ca. 50 statements of purpose from prominent American sculptors, among them Calvin Albert, Oliver Andrews, Leonard Baskin, Wolfgang Behl, Charles Biederman, Helen Beling, Harry Bertoia, Roger Bolomey, Lothar Brabant, Alexander Calder, Cosmo Campoli, Chryssa, Lindsey Decker, Jose de Rivera, Stephen DeStaebler, Nancy P. Dryfoos, Ted Egri, Herbert Ferber, Richard Filipowski, Francis Foster, Leon Golub, Florence Grippe, Peter Grippe, Dimitri Hadzi, Martha Hadzi, Tom Hardy, Wally Hendrick, Paul Keith, Robert Laurent, Pietro Lazzari, Israel Levitan, Jacques Lipchitz, Seymour Lipton, Jim Melchert, Joseph Messina, Henry Moore, G. W. Owen, Tony Padovano, Nathan Raisen, Richard Randell, George W. Rickey, Hugo Robus, John Rood, Bernard Rosenthal, Theodore Roszak, David Smith, George Spaventa, Takis, Michael Todd, Hugh Townley, Charles Umlauf, Vasa, David von Schlegell, Jane Wasey, and Elbert Weinberg. Also included are business correspondence and financial papers relating to Andersen's consulting work for the Boston Redevelopment Authority, E.A.T. (Experiments in Art and Technology), and the Federal Reserve Bank. A smaller set of papers consists of material relating to Andersen's longtime friend and mentor, art educator, philosopher, and artist Henry Schaefer-Simmern, including a questionnaire sent to Andersen from Raymond Berta along with his dissertation abstract on Schaefer-Simmern, 1988; correspondence, including letters from Schaefer-Simmern, 1952-1989; photos of art work admired by Schaefer-Simmern. Also included are clippings, and a keynote speech by Andersen, 1994, "A Global Revision of Historical Time."
Biographical / Historical:
Art historian, educator; Massachusetts. Born 1928.
Provenance:
Donated by Wayne Andersen, 1979 and 1994.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
11.8 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1942-ca. 1995
Scope and Contents:
Personal and professional files, the bulk consisting of research material used in publications and his teaching career at Stanford University. Included are correspondence, writings, notes, artists' files, photographs and printed material. A portion of Elsen's files on Seymour Lipton have been microfilmed.
REEL 4047 (0.6 linear ft.): Correspondence between Elsen and Lipton, 1955-1984, including an autobiographical letter written April 1960 by Lipton; draft manuscripts by Elsen, "The Sculpture of Seymour Lipton," with comments by Lipton and his family on Elsen's manuscript, 1965 and 1967, "The Sculpture of Seymour Lipton as a Portrait of the Artist," 1963, and "The Inclusive Sculpture of Seymour Lipton," 1969; writings and notes by Lipton, including his reflections on aesthetics, 1942, and an autobiographical note, 1960; ca. 70 photographs of Lipton's works executed between 1936 and 1968, and nine of exhibition installations at Betty Parsons Gallery, 1958, and the Marlborough-Gerson Gallery, 1965; a few clippings; and exhibition catalogs, 1960-1967.
UNMICROFILMED (11.2 ft.): Personal documents, including draft card, army papers, certificates and awards, and a school yearbook; correspondence with art historians, artists, publishers and others; research files for publications on Auguste Rodin, including Elsen's catalog for the 1981 exhibition "Rodin Rediscovered" at the National Gallery of Art, Paul Jenkins (1973), Law, Ethics and the Visual Artists (1979), and others; transcripts of interviews with Leon Golub, Oct. 12, 1986 (20 p.) and Miriam Schapiro, Nov. 9, 1986 (40 p.), both regarding artistic freedom; teaching files; artists' files; and files on various other art topics.
Biographical / Historical:
Art historian and educator; Stanford, California. Died 1995. Author of several publications on Auguste Rodin, and on sculptors Seymour Lipton, Paul Jenkins, James Rosati, and other general works on sculpture and art appreciation, including Purposes of Art: Introduction to the History of Appreciation of Art.
Related Materials:
Papers of Albert Edward Elsen, 1965-1994, are also located at Stanford University's University Archives.
Provenance:
Lipton related material on reel 4047 donated 1987 by Elsen. He donated an additional 0.2 ft. on Lipton in 1991. The remainder donated 1995 by his widow, Sharon Elsen.
The papers of painter, political activist, and educator Leon Golub are dated 1930s-2009 and measure 16.5 linear feet and 4.13 GB. His career as a painter and educator – and, to a far lesser extent, his personal interests and activities – are documented by correspondence, interviews, writings by Golub and other authors, subject files, printed and digital material, and audiovisual recordings. Also included are biographical materials, personal business records, and photographs of Leon Golub and wife Nancy Spero. Posthumously dated items are mostly condolence letters, obituaries, printed material, and inventories of his work.
Scope and Contents:
The papers of painter, political activist, and educator Leon Golub are dated 1930s-2009 and measure 16.5 linear feet and 4.13 GB. His career as a painter and educator – and, to a far lesser extent, his personal interests and activities – are documented by correspondence, interviews, writings, subject files, printed and digital material, and audiovisual recordings. Also included are biographical materials, personal business records, and photographs of Leon Golub and his art work. Posthumously dated items are mostly condolence letters, obituaries, printed material, and inventories of his work.
Biographical materials consist largely of video documentaries about Leon Golub and his work, obituaries, and information about his 2004 memorial service and a larger memorial tribute held later. Also found are educational records, passports, curricula vitae.
Correspondence is mostly of a professional nature, focusing on exhibitions, projects, collectors, articles submitted for publication, Golub's work, speaking engagements, awards, gifts of artwork, studio visits, and travel arrangements. Correspondents include dealers, curators, art historians, critics, collectors, writers, and editors. Scattered throughout are a small number of letters concerning personal business and politics.
Interviews with Leon Golub and joint interviews with Leon Golub and Nancy Spero were conducted for a variety of purposes. They are preserved as transcripts, video, and sound recordings. Writings by Golub include manuscripts and notes for articles, catalog essays, and miscellaneous writings. Notes and texts for talks, lectures, and panel discussions, include some transcripts and recordings. Among the writings by other authors are a dissertation, a thesis, academic papers, notes, texts of speeches, and a recording of a lecture by an unidentified speaker.
Subject files reflect Golub's professional and personal activities, interests and relationships. Of note are many files of "Images (source material)" used for a variety of artwork and projects. Personal business records documenting Golub's artistic output include many inventories and lists, and a comprehensive register of work, information about consignments, loans, photo permissions, and gifts or donations. Also found are extensive mailing lists.
Printed material includes clippings, exhibition catalogs and announcements, and a variety of miscellaneous printed items. Most material is about/mentions Golub, and/or includes reproductions of his work. Scattered throughout are items concerning topics of interest to Golub, and articles written by him.
The majority of the photographic materials are color digital prints of Golub's artwork. There are photographs of Leon Golub and Nancy Spero, family members, and friends and colleagues at exhibition events. Also found are a few photographs of Golub's plexibox sculptures.
Arrangement:
The collection is arranged in 8 series:
Missing Title
Series 1: Biographical Material, 1930s-2006 (Boxes 1-2; 1.4 linear feet, ER01-ER02; 3.82 GB)
Series 2: Correspondence, 1955-2004 (Boxes 2-3; 0.9 linear foot)
Series 3: Interviews, 1967-2004 (Boxes 3-4; 0.8 linear foot)
Series 4: Writings, 1948-2003 (Boxes 4-5, 21; 1.1 linear foot, ER03; 0.098 GB)
Series 5: Subject Files, 1959-2005 (Boxes 5-11, OV 18; 6.2 linear feet, ER04-ER06, 0.213 GB)
Series 6: Personal Business Records, 1965-2009 (Boxes 11-12; 1.4 linear feet)
Series 7: Printed Material, circa 1950s-2009 (Boxes 12-16, 21, OV 19; 3.9 linear feet)
Series 8: Photographs, 1940s-2004 (Boxes 16-17, OV 20; 0.6 linear foot)
Biographical / Historical:
Leon Golub (1922-2004) was a painter in New York City known for figurative work with political content, an anti-war activist, and professor of art at Rutgers University.
Chicago native Leon Golub studied art history at the University of Chicago (BA 1942) before serving as a cartographer with the U.S. Army Corps of Engineers in Europe during World War II. Upon returning home, Golub became identified with Monster Roster, a group of Chicago artists who believed art must be grounded in real events in order to be relevant to the viewer and society, an idea he held throughout his life. At the School of the Art Institute of Chicago, Golub pursued his interest in painting (BFA 1949, MFA 1950) and met fellow student Nancy Spero whom he married in 1951. After graduation he began teaching at local colleges, exhibited in Chicago and New York, and served as chair of "Exhibition Momentum" (1950). The couple and their two sons lived in Italy from 1956-1957. In 1959 they moved to Paris and, while there, a third son was born. Upon returning to New York City in 1964, Golub became actively involved with the Artists and Writers Protest Against the War in Vietnam, other anti-war groups, and civil liberties organizations. While his painting style changed with time, Golub continued to explore power, violence and conflict, often working in series with titles such as Combats, Napalm, Mercenaries, Interrogation, and Riot.
He first participated in a group show with other veterans at the School of the Art Institute of Chicago in 1947, and soon was included in group and solo exhibitions throughout the United States and in Europe, including the Guggenheim Museum's influential national traveling exhibition "Younger American Painters" (1954-1956). Golub and Spero exhibited their work in tandem and collaborated on installations. He continued to participate in group shows including "Documenta IX" (2002). Golub's work is included in the permanent collections of museums throughout the world.
Golub began his teaching career soon after graduation, first at a junior college in Chicago. In the later 1950s he served briefly on the faculties of Illinois Institute of Technology School of Design and Indiana University; in the 1960s at the Tyler School of Art in Philadelphia, and Fairleigh Dickinson University in New Jersey. He began a long tenure at Rutgers University, School of Visual Arts in 1970 and retired in 1991. In the early 1990s, both Golub and Spero were affiliated with Sommerakademie in Salzburg. Golub wrote and spoke on art, politics, and social issues; he also published many articles, statements, and book reviews, as well as contributing introductions and essays for exhibition catalogs.
Awards and honors included the Skowhegan Medal for Painting (1988), Chicago Committee to Defend the Bill of Rights Award (1989), Dickinson College Arts Award (1992), National Foundation of Jewish Culture Visual Arts Award (1995), and Hiroshima Art Prize shared with Nancy Spero (1996). Golub was awarded honorary doctorates of Fine Arts by the School of the Art Institute of Chicago (1982), Swarthmore College (1985), College of St. Rose (1995), Trinity College (1999), and Pratt Institute (2000). He was elected a member of the American Academy of Arts and Letters (2002).
Leon Golub died in New York City August 8, 2004 from complications following surgery.
Related Materials:
Also among the holdings of the Archives of American Art are oral history interviews with Leon Golub conducted for the Archives of American Art by Bruce Hooten 1965 and Irving Sandler 1968 October 28-November 18. The Nancy Spero papers, 1940s-2009, bulk 1970-2009, include documentation of many of the couple's collaborative projects, joint exhibitions, their family, and shared interests.
Provenance:
The Leon Golub papers were donated by Leon Golub in 1978; the majority of the papers were given in 2013 by The Nancy Spero and Leon Golub Foundation for the Arts via their sons Stephen, Philip and Paul Golub. Material loaned for microfilming in 1969 is included with the 2013 donation.
Restrictions:
Use of original materials 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.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Sound recordings include interviews produced by Video Data Bank, Fresh Air, and NPR, as well as interviews conducted by Studs Terkel for WFMT, Karl Fortess, and one labeled Baigell; an interview at Ox-bow, and Terkel's show on a Museum of Contemporary Art exhibition of 1974. Video includes a BBC program entitled "Modern Art Practices and Debates" taped at the Museum of Modern Art, and "Face to Face with Leon Golub."
Collection Restrictions:
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leon Golub papers, 1930s-2009. Archives of American Art, Smithsonian Institution.
