The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."
The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.
Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.
Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.
Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.
Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)
Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)
Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)
Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)
Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)
Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)
Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.
Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.
Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.
Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
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 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:
Marcia Tucker papers, 1973-1994. Archives of American Art, Smithsonian Institution.
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:
Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Preservation Fund.
Correspondence dates from 1938 to 1991 and documents Emily Genauer's relationships with artists, gallery owners, and other colleagues. Notable correspondents include Robert Anderson, Alfred H. Barr, Jr., S.N. Behrman, Dorothy Carnegie, Marc Chagall, Stuart Davis, Philip Evergood, Herbert Ferber, Martha Graham, Balcomb Greene, George Grosz, Harry F. Guggenheim, Philip Guston , Doris Humphrey, Robert Indiana, Yasuo Kuniyoshi , David Laventhol, Jack Levine, Jose Limon, Richard Lippold, Bill Moyers, Alice Neel, Clifford Odets, Irene Rice Pereira, Richard Pleasant, H.V. Rebay, Manuel Rivera, Harold Rome, Reuven Rubin, Antonio Salemme, David Smith, Oliver Smith, Stephen Sondheim, Clyfford Still, May Stevens, Rufino Tamayo, Virgil Thomson, Jack Tworkov, Max Weber, Frank Lloyd Wright, Ossip Zadkin, and William Zorach. Also included is a pair of rubber underpants that were sent to Emily Genauer by artist Clyfford Still, after she had reviewed his work unfavorably in the New York Herald Tribune. The attached note reads: "Hoping this will aid in concealing your Sunday afflictions. With the compliments of Clyfford Still."
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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:
Emily Genauer papers, circa 1920s-1990s. Archives of American art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Pool Fund.
Green was a Winnebago married to a Mesquakie woman. He mailed the manuscript to Michelson. It is marked as the first Fox text received by Michelson, but other manuscripts are similarly marked. He made some correction in the syllabary version and some notes.
REEL D6: Letters, manuscript poems, catalogs and a sketchbook dated March 10, 1832.
REEL D39: 2 v. of notebooks; 1825, and 18 v. of sketchbooks, 1827-1847. Cole sketches mainly in New York State, The White Mountains, England, Italy, and Catskill, N.Y.
REELS ALC 1- ALC 4: Correspondence with Cole, including letters from friends, family, artists, and others; journals; notes; essays; lectures; poetry; clippings; and financial records.
Correspondents include: William Althorpe Adams, Samuel James Ainsley, Francis Alexander, Theodore Allen, Washington Allston, Thomas B. Ashton, Edwin T. Bennet, Simeon D. Bloodgood, William C. Bryant, Edward L. Carey, Cephas G. Childs, Lewis G. Clark, Thomas S. Cummings, Franklin Dexter, William Dunlap, Asher B. Durand, Robert Gilmor, George W. Greene, Charles C. Ingham, Charles R. Leslie, Jonathan Mason, Samuel F. B. Morse, John L. Morton, Henry C. Pratt, Luman Reed, John P. Ridner, Jonathan Sturges, Ithiel Town, Isaiah Townsend, Charles B. Trego, William P. Van Rensselaer, Cornelius Ver Bryck, Daniel Wadsworth, Samuel Ward, Robert W. Weir, Ambrose Wright, and others.
Biographical / Historical:
Painter; Catskill, N.Y. Cole lived most of his life in New York City even though he studied abroad. He was elected member of National Academy in 1826.
Provenance:
Material on reels D6, D39, D40 lent for microfilming 1961 by the Detroit Institute of Art. Material on reels ALC 1-ALC 4 lent for microfilming 1964 by the New York State Library. Paintbrushes were discovered 1964 by S.J. Fishburne, Albany Institute restorer, in basement of Cole's house. He turned them over to the Institute's director, Janet MacFarlane, who donated them to AAA, 1965.
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.
Electricity and Modern Physics, Division of, NMAH, SI. Search this
Collection Creator:
Hammer, William J. (William Joseph), 1858-1934 (electrical engineer) Search this
Extent:
1 Item (Silver gelatin on paper, 6.5" x 4.2")
Type:
Archival materials
Studio portraits
Photographs
Date:
1891
Scope and Contents:
Studio portrait by Wood of Kalamazoo, Michigan.
Arrangement:
Series 4, box 85. folder George F. Green.
Local Numbers:
AC0069-0000012 (AC scan number)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Margaret Falkener DeLorme, Waldo C. Falkener, Cameron S. Falkener and Gilbert E. DeLorme
United States of America -- New Jersey -- Mercer County -- Princeton
Date:
1960
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
United States of America -- New Jersey -- Mercer County -- Princeton
Date:
1992
General:
The property was occupied by the British during the revolutionary war. Originally all surrounding farmland was part of the property.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
United States of America -- New Jersey -- Mercer County -- Princeton
Date:
1992
General:
The property was occupied by the British during the revolutionary war. Originally all surrounding farmland was part of the property. Northwest path to house from beside gate.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
