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Hopps, Walter

Collection Creator:
Bowman, Ruth, 1923-  Search this
Extent:
1 Sound tape reel
Container:
Box 17, Folder 15
Type:
Archival materials
Sound tape reels
Date:
1974 December 13
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. 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.
Collection Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Ruth Bowman papers
Ruth Bowman papers / Series 5: Interviews / WNYC "Views on Art" Radio Program
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowmruth2-ref1153

Hopps, Walter (1974 December 13), Digital Audio Recording

Collection Creator:
Bowman, Ruth, 1923-  Search this
Extent:
0.365 Gigabytes (One computer file)
Container:
Folder ER31
Type:
Archival materials
Gigabytes
Date:
2018
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. 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.
Collection Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Ruth Bowman papers
Ruth Bowman papers / Series 5: Interviews / WNYC "Views on Art" Radio Program
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowmruth2-ref1921

Interview with Walter Hopps

Creator:
Hopps, Walter, 1932-  Search this
Tuchman, Maurice, 1936-  Search this
Subject:
Diebenkorn, Richard  Search this
Type:
Sound Recording
Date:
1976 May 29
Record number:
(DSI-AAA)14381
See more items in:
Maurice Tuchman interviews, 1976
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14381

"The Artist and the Art World" symposium

Creator:
San Francisco Art Institute  Search this
Subject:
Bowles, John  Search this
De Forest, Roy  Search this
Hopps, Walter  Search this
Locks, Seymour  Search this
Type:
Sound Recording
Date:
1962 September 28
Record number:
(DSI-AAA)16142
See more items in:
Barbara Rose papers, 1962-circa 1969
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16142

Portrait of Walter Hopps

Photographer:
Swift, Mary, 1929-  Search this
Subject:
Hopps, Walter  Search this
Type:
Photographs
Date:
1970 or 1971
Topic:
Art museum curators  Search this
Record number:
(DSI-AAA)19764
See more items in:
Mary Swift papers, 1973-2004
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19764
Online Media:

Interview with Walter Hopps for the "Art scene" radio series

Creator:
Hopps, Walter, 1932-  Search this
Gore, Marian L.  Search this
Subject:
Berman, Wallace  Search this
Type:
Sound Recording
Date:
circa 1962
Topic:
Art galleries, Commercial  Search this
Gallery directors  Search this
Record number:
(DSI-AAA)12227
See more items in:
Marian Gore "Art Scene" interviews and papers, 1958-1969
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12227

Walter

Artist:
Michal Hunter  Search this
Sitter:
Walter Hopps  Search this
Unidentified Woman  Search this
Medium:
Oil on canvas
Dimensions:
213.4 x 152.4cm (84 x 60")
Type:
Painting
Date:
1978
Topic:
Home Furnishings\Furniture\Table  Search this
Home Furnishings\Furniture\Seating\Stool  Search this
Unidentified Woman: Female  Search this
Walter Hopps: Male  Search this
Portrait  Search this
Credit Line:
Owner: [UNLOCATED]
Object number:
UNL00858
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4152efa2d-aa20-4591-8f58-e027c5afd2c5
EDAN-URL:
edanmdm:npg_UNL00858

Alexander Liberman papers

Creator:
Liberman, Alexander, 1912-1999  Search this
Names:
André Emmerich Gallery  Search this
Bennington College  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Beaton, Cecil Walter Hardy, Sir, 1904-  Search this
Cartier-Bresson, Henri, 1908-  Search this
Chernow, Burt  Search this
Dalí, Salvador, 1904-  Search this
De Kooning, Willem, 1904-1997  Search this
Dietrich, Marlene  Search this
Emmerich, André  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hopps, Walter  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Leibovitz, Annie, 1949-  Search this
Motherwell, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Newton, Helmut, 1920-  Search this
Parks, Gordon, 1912-2006  Search this
Parsons, Betty  Search this
Penn, Irving  Search this
Picasso, Pablo, 1881-1973  Search this
Ritts, Herb  Search this
Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this
Steichen, Edward, 1879-1973  Search this
Vogel, Lucien  Search this
Vreeland, Diana  Search this
Extent:
59 Linear feet
Type:
Collection descriptions
Archival materials
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Date:
circa 1912-2003
Summary:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Scope and Contents:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.
Arrangement:
The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)
Biographical / Historical:
Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.
Related Materials:
Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.
Provenance:
The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.
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 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:
Publishers -- New York (State) -- New York  Search this
Graphic designers  Search this
Topic:
Photographers -- New York (State) -- New York  Search this
Photography  Search this
Sculptors -- France -- Paris  Search this
Sculptors -- New York (State) -- New York  Search this
Fashion photography  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- France -- Paris  Search this
Genre/Form:
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-libealex
Online Media:

Marian Gore "Art Scene" interviews and papers

Creator:
Gore, Marian L.  Search this
Names:
Ankrum Gallery  Search this
Ceeje Gallery  Search this
Comara Gallery  Search this
Dwan Gallery (Los Angeles, Calif.)  Search this
Ferus Gallery (Los Angeles, Calif.)  Search this
KPFK (Radio staion : Los Angeles, Calif.)  Search this
Silvan Simone Gallery  Search this
Albers, Josef  Search this
Albert, Michel (artist)  Search this
Ankrum, Joan  Search this
Blair, Streeter, 1888-1966  Search this
Brigante, Nicholas P., 1895-1989  Search this
Carter, Earl  Search this
Cremean, Robert, 1932-  Search this
Cuevas, José Luis, 1934-  Search this
Elliot, James, 1943-2011  Search this
Falkenstein, Claire, 1908-1997  Search this
Geoffrey, J. Iqbal, 1939-  Search this
Gerchik, Paul  Search this
Goeritz, Mathias, 1915-1990  Search this
Greene, Balcomb, 1904-1990  Search this
Hansen, Jurgen  Search this
Hopps, Walter  Search this
Kuntz, Roger, 1926-1975  Search this
Leavitt, Thomas W.  Search this
Lebrun, Rico, 1900-1964  Search this
Lipchitz, Jacques, 1891-1973  Search this
Luna, Mario  Search this
Mallary, Robert, 1917-1997  Search this
Nevelson, Louise, 1899-1988  Search this
Ortiz, Emilio, 1936-  Search this
Robles, Esther  Search this
Schniede, Otto  Search this
Schwaderer, Fritz (Fritz Karl), 1901-  Search this
Siqueiros, David Alfaro  Search this
Tamayo, Rufino, 1899-  Search this
Vicente, Esteban, 1903-2001  Search this
Wark, Robert R.  Search this
Wayne, June, 1918-2011  Search this
Extent:
2.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Photographs
Interviews
Transcripts
Date:
1958-1969
Summary:
The Marian Gore "Art Scene" interviews and papers measure 2.2 linear feet and date from 1958 to 1969, with all sound recordings dated between 1962 and 1964. The core of the collection consists of 37 radio programs recorded by Marian Gore for KPFK radio in Los Angeles, California, consisting of interviews with artists, collectors, gallerists, and museum curators. A series of artist files contains notes, correspondence and other materials related to her interview subjects, and a printed materials series contains mainly exhibition posters, programs, and announcements produced by the art spaces with which her subjects were affiliated.
Scope and Contents:
The Marian Gore "Art Scene" interviews and papers measure 2.2 linear feet and date from 1958 to 1969, with all sound recordings dated between 1962 and 1964. The core of the collection consists of 37 radio programs recorded by Marion Gore for KPFK radio in Los Angeles, California, consisting of interviews with artists, collectors, gallerists, and museum curators. A series of artist files contains notes, correspondence and other materials related to her interview subjects, and a printed materials series contains mainly exhibition posters, programs, and announcements produced by the art spaces with which her subjects were affiliated.

The "Art Scene" Interviews series contains 36 interviews from Gore's "Art Scene" radio series of interviews relating to the contemporary art scene in Los Angeles, particularly galleries and artists showing on La Cienega Boulevard in West Hollywood. Also found is a single episode of another KPFK program called "Seen at the galleries" and hosted by Earl Carter, featuring an interview with Jacques Lipchitz on the occasion of his retrospective at UCLA. Two interviews, with Mathias Goeritz and David Siqueiros, were conducted in Mexico City. Other interview subjects include Michel Albert, Josef Albers, Joan Ankrum, Streeter Blair, Nick Brigante, Robert Cremean, José Luis Cuevas, James Elliott, Claire Falkenstein, Balcomb Greene, Paul Gerchik, Jurgen Hansen, Walter Hopps, Roger Kuntz, Rico Lebrun, Dr. Thomas Leavitt, Jacques Lipchitz, Mario Luna, Robert Mallary, Louise Nevelson, Emilio Ortiz, Esther Robles, Otto Schniede, Fritz Schwaderer, Rufino Tamayo, Esteban Vicente, Robert Wark, and June Wayne.

Artist files include mainly brief, typewritten notes created for Gore's radio interviews, with the questions she asked her interview subjects and brief introductory or concluding remarks. Correspondence is also found in files for Robert Cremean, Iqbal Geoffrey, Balcomb Greene, Robert Mallary, Emilio Ortiz, and Esteban Vicente. Louise Nevelson's file also contains a transcript of her interview with Gore. Also found scattered in some files are notes, photographs, clippings, press releases, resumes, and exhibition programs. Note that not every person in this series has a corresponding sound recording in Series 1, and not every interviewee in Series 1 has a corresponding file in this series.

Most of the material in the Printed Materials series consists of exhibition announcements, programs, and posters from Galleries in the Los Angeles, California area, particularly those along La Cienega Boulevard. Of these, Ankrum Gallery, Ceeje Gallery, Comara Gallery, Dwan Gallery, Ferus Gallery, and Silvan Simone Gallery on Olympic Boulevard contain the most material, with many of the other files containing only one or two pieces. Of note are original prints promoting exhibitions at the Ferus and Ceeje Galleries, and a poster for an art walk along La Cienega Boulevard in the file for the Los Angeles County Museum of Art.
Arrangement:
The collection is arranged in 3 series:

Series 1: "Art Scene" Interviews (1.3 linear feet, Boxes 1-2, 4)

Series 2: Artist Files (0.2 linear feet, Boxes 2, 4)

Series 3: Printed Materials (0.7 linear feet, Boxes 3-4, OV 5)
Biographical / Historical:
Marian L. Gore (1914-2009) volunteered as a radio interviewer for KPFK between 1962-1964, conducting a series of interviews with Los Angeles-area artists, curators, collectors, and gallerists in response to a growing awareness of Los Angeles' rapidly growing role as a creative center and art market.

Born Marian Lucille Moore on Feb. 27, 1914, in Los Angeles to Fred and Lucille Moore. Fred Moore, an attorney, defended Nicola Sacco and Bartolomeo Vanzetti in the infamous 1921 trial. Following her divorce in the early 1960s, Gore approached the radio station KPFK, who was looking for someone to interview local artists. In a 1997 letter that accompanied her donation of the collection to the Archives, Gore writes,

"The early 1960's were an interesting and probably unique period for the Southern California art world. In Los Angeles on La Cienega Boulevard galleries had sprung up like mushrooms, and on Friday nights those who were interested in this scene would go from one gallery to another noting what artists were featured and what trends were apparent. It was a pleasurable way to meet artists as well as a social event where one could see friends and exchange impressions.

"Because I was searching for something to do, at the suggestion of a friend I had gone to radio station KPFK to volunteer my services in any way possible. It turned out to be a most fortuitous time for this offer. The management was interested in possible intervie3ws with artists, and so it all began. I had never done an interview in my life and was astounded to discover how easy it was to get artists, gallery owners, and even museum personnel to talk aobut what they did. Once this began I was swaped with requests for taped interviews, far more than I could manage."

Gore later became an antiquarian bookseller specializing in books on food and drink. She retired in 1994 and donated her book collection to the Los Angeles Public Library.
Provenance:
Donated 1997 by Marian Gore.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Curators -- California -- Los Angeles  Search this
Gallery owners -- California  Search this
Artists -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Photographs
Interviews
Transcripts
Citation:
KPFK "Art Scene" interviews, 1950-1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goremari
See more items in:
Marian Gore "Art Scene" interviews and papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-goremari

Oral history interview with Jay DeFeo

Interviewee:
DeFeo, Jay, 1929-1989  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
University of California, Berkeley -- Students  Search this
Conner, Bruce, 1933-2008  Search this
Francis, Sam, 1923-1994  Search this
Gechtoff, Sonia, 1926-2018  Search this
Hopps, Walter  Search this
Martin, Fred, 1927-  Search this
Extent:
83 Pages (Transcript)
1 Item (sound file (10 min. 21 sec.) Audio excerpt, digital)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1975 June 3-1976 January 23
Scope and Contents:
An interview of Jay DeFeo conducted 1975 June 3-1976 January 23, by Paul Karlstrom, for the Archives of American Art.
The interviews took place at DeFeo's home, in Larkspur, California. DeFeo speaks of her family background; the influences of her teachers; her education at the University of California at Berkeley; her friendships with Sam Francis and Fred Martin; working in Italy; jewelry making; the San Francisco arts community in the 1950s; her exhibitions; and her painting, "The Rose". She recalls Bruce Conner, Sonia Gechtoff, and Walter Hopps.
Biographical / Historical:
Jay DeFeo (1929-1989) was a painter and photographer from the San Francisco Bay area, California.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 6 digital wav file. Duration is 6 hr., 7 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.
Topic:
Jewelry making  Search this
Painters -- California -- Interviews  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.defeo75
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-defeo75

Oral history interview with John Coplans

Interviewee:
Coplans, John  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Artforum  Search this
Alloway, Lawrence, 1926-1990  Search this
Blum, Irving, 1930-  Search this
Fried, Michael  Search this
Hopps, Walter  Search this
Leider, Philip, 1929-  Search this
Rose, Barbara  Search this
Extent:
133 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1975 April 4-1977 August 4
Scope and Contents:
An interview of John Coplans conducted 1975 April. 4-1977 August 4, by Paul Cummings, for the Archives of American Art, in New York City.
Coplans speaks of his educational background; the founding and development of ARTFORUM magazine; ARTFORUM staff writers including Lawrence Alloway, Michael Fried, Philip Leider, and Barbara E. Rose; and the influence of Irving Blum and Walter Hopps on California artists and collectors. Coplans also discusses the art market in New York and in California, and talks about his career as a teacher, editor, gallery director, critic, and museum curator.
Biographical / Historical:
John Coplans (1920- 2003) was an art administrator, editor, photograph, and educator of New York, New York. Born in London, England; died in Manhattan, New York.
General:
Originally recorded on 4 sound tape reel. Reformatted in 2010 as 8 digital wav files. Duration is 8 hr., 6 min.
Provenance:
These interviews are 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 available on the Archives of American Art website.
Occupation:
Editors -- New York (State) -- New York -- Interviews  Search this
Topic:
Art publishing -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Educators -- New York (State) -- New York -- Interviews  Search this
Museum curators -- New York (State) -- New York -- Interviews  Search this
Gallery directors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.coplan75
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-coplan75

Judith Wechsler papers

Creator:
Wechsler, Judith  Search this
Names:
Museum at Large Ltd.  Search this
Universal Limited Art Editions (Firm)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Cage, John, 1912-1992  Search this
Callahan, Harry M.  Search this
Cohen, John, 1932-2019  Search this
Falkenberg, Paul  Search this
Hockney, David  Search this
Hopps, Walter  Search this
Johns, Jasper, 1930-  Search this
Menil, Dominique de  Search this
Meyerowitz, Joel, 1938-  Search this
Namuth, Hans  Search this
Pearlstein, Philip, 1924-  Search this
Siskind, Aaron  Search this
Steichen, Edward, 1879-1973  Search this
Stella, Frank  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
17.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Motion pictures (visual works)
Sound recordings
Date:
circa 1940-2003
bulk 1971-1994
Summary:
The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.
Scope and Contents:
The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.

Documentaries with production material in the collection include Jasper Johns: Take An Object, produced with Hans Namuth, Harry Callahan (1994), Aaron Siskind: Making Pictures (1991), and five episodes of The Painter's World: Changing Constants of Art from the Renaissance to the Present (1989), a six-part television series produced by WGBH in Boston. Episodes of the series for which records are found include "The Training of Painters," "The Arrested Moment," "Portraits," "Abstraction," and "Painting and the Public". Also found are two reels of soundtrack labeled "Two Photographers," a title for which no other documentation is found.

The Painter's World episodes "Abstraction," "The Arrested Moment," and "Portraits" address the evolution of painting style and traditions, and the "Painting and the Public" episode addresses the role of patronage and the evolution of art museums. Footage found for "The Training of Painters" consists of footage of Josef Albers teaching at Yale University shot around 1955, likely shot by John Cohen.

Jasper Johns: Take An Object was a collaborative project between Wechsler, Hans Namuth, and Paul Falkenberg, who worked together under the corporate name of Museum at Large. Footage consists of multiple interviews with Johns, a 1971 session of Johns working in his Houston Street studio, and a 1989 session of Johns working at Universal Limited Art Editions, as well as additional material of John Cage and others speaking about Johns' work.

In Harry Callahan, Callahan discusses the inspiration behind his work and recollects about his time with Ansel Adams, Alfred Stieglitz, Edward Steichen, and Aaron Siskind. For Aaron Siskind: Making Pictures, Siskind covers the beginning of his career, and the inspiration and methods behind his work. The "Two Photographers" content and relationship to the collection is unknown.
Arrangement:
The collection is arranged as 5 series.

Series 1: -- The Painters World: Changing Constants of Art from the Renaissance to the Present -- Production Records, 1985-1989 (5.5 linear feet; Boxes 1, 3-6, 15, 20)

Series 2: -- Jasper Johns: Take an Object -- Production Records, 1971-1972, 1989-1990 (5.9 linear feet, Boxes 2, 7-11, 20-24)

Series 3: -- Aaron Siskind: Making Pictures -- Production Records, 1990-2003 (2.5 linear feet; Boxes 2, 11-12, 16-18, 21)

Series 4: -- Harry Callahan -- Production Records, 1992-1994 (3.3 linear feet; Boxes 2, 12-14, 18-19, 21)

Series 5: Unidentified Program Material, circa 1940-1994 (0.3 linear feet; Boxes 2, 14, FC 147)
Biographical / Historical:
Judith Wechsler is an art historian, professor, and filmmaker. Wechsler studied at Brandeis University, Columbia University, and earned her Ph.D. at Univeristy of California, Los Angeles in 1972. She published On Aesthetics in Science in 1978 and A Human Comedy: Physiognomy and Human Caricature in 19th Century Paris, focusing on the work of Honoré Daumier, in 1982. She edited the memoirs of her father, literary scholar Nahum N. Glatzer, published in 1998, and has published dozens of articles, reviews, and catalog essays for American and European institutions and publications.

She has taught at Brown University, Harvard University, Massachusetts Institute of Technology, Hebrew University, and Rhode Island School of Design and joined the faculty at Tufts University in 1989, where she remained until her retirement in 2011.

Wechsler first worked on films with designer Charles Eames, co-directing films on her early scholarly subjects, Daumier and Cézanne. In the mid-1980s, she wrote and directed a series of art documentaries for television with the series title The Painter's World: Changing Constants of Art from the Renaissance to the Present. Since that time, Wechsler has directed dozens of films, primarily on artists and photographers, and in recent years has focused on the history of ideas in early twentieth century Europe, with films on Nahum Glatzer, Walter Benjamin, Aby Warburg, and Svetlana Boym.

Wechsler received a Chevalier dans l'Ordre des Arts et des Lettres from the French government in 2007, and became professor emerita at Tufts in 2011. She lives and works in Massachusetts.
Related Materials:
Release prints of each of the titles represented in the collection are held by the Harvard Film Archive. Digital video copies of edited films are available on Judith Wechsler's website (http://www.judithwechsler.com/films, accessed 2017).
Provenance:
Donated 2008, 2017, and 2019 by Judith Wechsler.
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 copy requires advance notice.
Rights:
The Painter's World: Copyright retained by Judith Wechsler.
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 -- Massachusetts -- Boston  Search this
Topic:
Art patronage  Search this
Art museums  Search this
Artists -- United States  Search this
Filmmakers--Massachusetts--Boston  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Sound recordings
Citation:
Judith Wechsler papers, 1940-2003, bulk 1971-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wechjudi
See more items in:
Judith Wechsler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wechjudi

Washington Gallery of Modern Art records

Creator:
Washington Gallery of Modern Art (Washington, D.C.)  Search this
Names:
Corcoran Gallery of Art  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Eisenstein, Julian Calvert, 1921-  Search this
Hopps, Walter  Search this
Millard, Charles  Search this
Nordland, Gerald  Search this
Extent:
15.7 Linear feet
0.523 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Date:
1959-1992
Summary:
The records of the Washington Gallery of Modern Art measure 15.7 linear feet and 0.523 GB and date from 1959 to 1992. The records document the history of the gallery through Board of Directors meeting minutes, various committee meetings minutes and agendas, bylaws, and other trustee records; correspondence and other materials associated with each of the four gallery directors over the course of the gallery's existence; general correspondence; exhibition files, proposed exhibitions, collection files, and other curatorial and registrar records; financial records; development and membership records; tour guide information, gift shop finances and orders, and other museum services; and clippings, catalogs, and other printed and digital material.
Scope and Contents:
The records of the Washington Gallery of Modern Art measure 15.7 linear feet and 0.523 GB and date from 1959 to 1992. The records document the history of the gallery through Board of Directors meeting minutes, various committee meetings minutes and agendas, bylaws, and other trustee records; correspondence and other materials associated with each of the four gallery directors over the course of the gallery's existence; general correspondence; exhibition files, proposed exhibitions, collection files, and other curatorial and registrar records; financial records; development and membership records; tour guide information, gift shop finances and orders, and other museum services; and clippings, catalogs, and other printed and digital material.

Trustee records includes general administrative documents such as the bylaws of the gallery, certificates of incorporation, permits, and a history of the organization. Also included are the agendas and minutes for quarterly board of trustee meetings between 1962 and 1968, correspondence and agendas for various committees, annual reports, and president's records belonging to Julian Eisenstein, Carleton B. Swift, Jr., and Helen "Leni" Stern.

Director's records are arranged according to the tenure of each director of the gallery: Adelyn Breeskin (June 1962-May 1964), Gerald Nordland (June 1964-July 1966), Charles Millard (July 1966-June 1967), and Walter Hopps (August 1967-October 1968). Documents include correspondence with notable individuals, reports made to the board of trustees, and documents regarding exhibitions during each director's tenure.

Correspondence is arranged by year and includes correspondence from 1987 and 1992 between various researchers and Dr. Julian Eisenstein, chairman of the Board of Trustees for the gallery, concerning the history of the gallery.

Curatorial records include loan agreements and other documentation regarding exhibitions held at the gallery, information regarding proposed exhibitions for the gallery, and the collection files for objects in the permanent collection. Also included are transcripts and recordings of interviews from the "Popular Image" exhibition.

Financial documents include general ledgers, miscellaneous accounts arranged alphabetically, copyright information, stocks, and financial reports. Development records include attendance and sales information for each exhibition at the gallery, membership drive statistics and solicitation forms, information from foundations who contributed to the gallery, and membership lists.

Museum service documents include consignment records, rental agreements, museum shop sales and catalog orders, guided tour documents, docent training information, and volunteer lists. Public relation records are primarily on benefits, recitals, and other special events hosted by the gallery. Printed materials include brochures, newspaper clippings, press releases and exhibition catalogs.
Arrangement:
The collection is arranged into nine series. The arrangement is based on a pre-existing finding aid created by the Washington Gallery of Modern Art.

Series 1: Trustee Records, 1959-1968 (1.8 linear feet; Boxes 1-2)

Series 2: Director's Records, 1962-1968 (1.4 linear feet; Boxes 2-4)

Series 3: Correspondence, 1961-1992 (0.9 linear feet; Boxes 4-5)

Series 4: Curatorial/Registrar Records, 1962-1969 (6.4 linear feet; Boxes 5-11, OV 18, 0.523 GB; ER01)

Series 5: Financial Records, 1962-1969 (1.5 linear feet; Boxes 11-13)

Series 6: Development/Membership Records, 1962-1968 (1.1 linear feet; Boxes 13-14)

Series 7: Museum Services, 1962-1968 (1.2 linear feet; Boxes 14-15)

Series 8: Public Relations, 1963-1968 (0.1 linear feet; Box 15)

Series 9: Printed Material, 1961-1968 (1.3 linear feet; Boxes 15-17, OV 18)
Biographical / Historical:
The Washington Gallery of Modern Art (established 1961; closed 1968) was a gallery in Washington, D.C. The Washington Gallery of Modern Art was a non-profit institution organized for the purpose of presenting significant exhibitions of contemporary American painting and sculpture. In conjunction with exhibitions, the gallery also sponsored lectures, concerts, films, tours, and an art rental service designed to encourage the understanding and appreciation of contemporary art. It was located at 1503 21st Street, NW, Washington, D.C. Among its directors were Gerald Nordland, Charles Millard, Adelyn Breeskin and Walter Hopps. In 1968, the Washington Gallery of Modern Art sold its permanent collection to the Oklahoma Art Center and its programs were incorporated into the Corcoran Gallery of Art. At that time, the Washington Gallery of Modern Art turned over all assets to the Corcoran.
Provenance:
Donated 1965 by the Washington Gallery of Modern Art, in 1996 and 2002 by the Washington Gallery of Modern Art via Dr. Julian Eisenstein, one of the founders of the Gallery and President of Board of Trustees (1961-1966), in 2004 via Linda Lichtenberg Kaplan, director of public affairs (1965-1967), and in 2015 by the Corcoran Gallery of Art via David S. Julyan representative for the Trustees of the Corcoran Gallery of Art. One announcement for an exhibition by Mary Meyer was donated in 2009 by former director and curator (1966-1974) Charles Millard.
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:
Arts administrators -- Washington (D.C.)  Search this
Function:
Arts organizations -- Washington (D.C.)
Genre/Form:
Interviews
Sound recordings
Citation:
Washington Gallery of Modern Art records, 1959-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.washgall
See more items in:
Washington Gallery of Modern Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-washgall
Online Media:

Barbara Rose papers

Creator:
Rose, Barbara  Search this
Names:
Adams, Ansel, 1902-1984  Search this
Andre, Carl, 1935-  Search this
Bannard, Walter Darby, 1934-  Search this
Bellamy, Richard  Search this
Bierman, A. K., 1923- (Arthur Kalme)  Search this
Bladen, Ronald, 1918-1988  Search this
Bowles, John  Search this
Castelli, Leo  Search this
Davis, Jim, 1901-1974  Search this
Davis, Ron, 1937-  Search this
De Forest, Roy, 1930-2007  Search this
Di Suvero, Mark, 1933-  Search this
Dzubas, Friedel, 1915-  Search this
Flavin, Dan, 1933-  Search this
Frazier, Charles  Search this
Geldzahler, Henry  Search this
Hare, David, 1917-1992  Search this
Hopps, Walter  Search this
Judd, Donald, 1928-  Search this
Karp, Ivan C., 1926-2012  Search this
Kauffman, Craig, 1932-2010  Search this
Krasner, Lee, 1908-1984  Search this
LeWitt, Sol, 1928-2007  Search this
Lefebre, John  Search this
Lichtenstein, Roy, 1923-1997  Search this
Locks, Seymour, 1919-  Search this
Lye, Len, 1901-1980  Search this
Mack, Heinz, 1931-  Search this
McCracken, John, 1934-2011  Search this
McShine, Kynaston  Search this
Meier, Richard, 1934-  Search this
Morris, Robert, 1931-2018  Search this
Motherwell, Robert  Search this
Mundt, Ernest Karl, 1905-  Search this
Murray, Robert, 1936-  Search this
Myers, John Bernard  Search this
Oldenburg, Claes, 1929-  Search this
Padovano, Anthony  Search this
Piene, Otto, 1928-  Search this
Poons, Larry  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rexroth, Kenneth, 1905-1982  Search this
Rose, Barbara  Search this
Rudolph, Paul, 1918-  Search this
Sandler, Irving, 1925-  Search this
Segal, George, 1924-2000  Search this
Stella, Frank  Search this
Taylor, Edward Silverstone  Search this
Wasserman, Tamara E.  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Transcripts
Sound recordings
Lectures
Date:
1962-circa 1969
Summary:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, writings, printed material, interviews with artists, panel discussions, and lectures relating to Barbara Rose's research as an art historian.
Scope and Contents:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, interviews with artists, panel discussions, lectures, writings, and printed material relating to Barbara Rose's work as an art historian and critic.

Letters consist of responses to queries and questionnaires Rose and Irving Sandler sent to contemporary artists as research for writing projects. Questionnaires were sesnt in preparation for an article in Art in America on artists' sensibility of the 1960s, with responses from Robert Motherwell, Robert Craig Kauffman, Len Lye, Robert Morris, George Segal, David Hare, and others. A separate query asked sculptors for their assessment of contemporary sculptor's needs and the potential for patronage, and responses are found from Carl Andre, Charles Frazier, Robert Murray, Anthony Padovano, Ron Bladen, Roy Lichtenstein, Len Lye, Sol LeWitt, Heinz Mack, Otto Peine, Dan Flavin, and Donald Judd.

Interviews conducted by Rose between 1965 and circa 1969 are found with Richard Bellamy, Leo Castelli, James E. Davis, Henry Geldzahler, Ivan Karp, Lee Krasner, John Lefebre, John Myers, Donald Judd with Frank Stella, and Tom Wesselmann. All interviews include original sound recordings, and the Judd and Stella, Krasner, and Myers interviews include transcripts. Panel discussions and lectures include sound recordings and transcripts of seven events on a variety of contemporary art and architecture subjects held between 1962 and 1968. Sound recordings are present for five of the events on 10 sound tape reels, and transcripts are present for all events. Participants in the panel discussions and lectures include Barbara Rose, Ronald Davis, Dan Flavin, Robert Kauffman, John Harvey McCracken, Friedel Dzubas, Ansel Adams, Arthur Bierman, Kenneth Rexroth, Edward Taylor, Ernst Karl Mundt, John Bowles, Roy Dean De Forest, Seymour Locks, Walter Hopps, Mark Di Suvero, Donald Judd, Robert Morris, Kynaston McShine, Walter Darby Bannard, Donald Judd, Larry Poons, Robert Rauschenberg, Richard Meier, Paul Rudolph, Claes Oldenburg, and Robert Murray.

Writings include photocopied typescripts of "Myth, Symbol, or Me," by Emily Wasserman and "Excerpts from a Work Journal on Flying Sculpture," by Charles Frazier. Printed material consists of two copies of the premiere issue of the 57th Street Review, from Nov. 15, 1966.
Arrangement:
This collection is arranged as 4 series.

Series 1: Letters (0.2 linear feet; Box 1)

Series 2: Interviews (0.6 linear feet; Box 1)

Series 3: Panel Discussions and Lectures (0.5 linear feet; Boxes 1-2)

Series 4: Writings and Printed Material (0.1 linear feet; Box 2)
Biographical / Historical:
Barbara Rose is an American art historian and critic who has published widely in the field of modern American art. Born in 1938 in Washington, DC, Rose studied at the Sorbonne, Smith College, Barnard, and finally, Columbia University under Meyer Shapiro. Rose became immersed in the New York-based circle of modernist artists and curators in the late 1950s and early 1960s, and made her substantial contribution to the discourse on contemporary art with the insider's perspective this afforded her. In 1961, she married the painter Frank Stella and they had two children before their divorce in 1969.

Rose taught at Yale University, Sarah Lawrence, University of California at Irvine and San Diego, and the American University Art in Italy program, and was senior curator at the Museum of Fine Arts, Houston, from 1981-1985. A prolific writer, Rose is the author of American Art Since 1900 (1967), The Golden Age of Dutch Painting (1969), American Painting: The 20th Century (Skira, 1969), and monographs on the artists Magdalena Abankawicz, Helen Frankenthaler, Robert Rauschenberg, Alexander Liberman, Larry Rivers, and others, as well as dozens of exhibition catalog essays. She held editorial positions at Art in America, Vogue, Artforum, Partisan Review, and Journal of Art, and her writing has also appeared in Art International, Studio International, Arts Magazine, and ARTnews, among many others.
Related Materials:
Barbara Rose papers, 1940-1993 (bulk 1960-1985) are located at The Getty Research Institute Special Collections.
Separated Materials:
Additional papers of Barbara Rose are held by The Getty Research Institute.
Provenance:
Donated 1971-1977 by Barbara Rose.
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.
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
Art critics -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Genre/Form:
Interviews
Transcripts
Sound recordings
Lectures
Citation:
Barbara Rose papers, 1962-circa 1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosebarb
See more items in:
Barbara Rose papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosebarb

Oral history interview with James Newman

Interviewee:
Newman, James, 1933-  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Dilexi Gallery  Search this
Anderson, Jeremy, 1921-1982  Search this
Hopps, Walter  Search this
Kauffman, Craig, 1932-2010  Search this
Wiley, William T., 1937-  Search this
Extent:
47 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1974 May 13
Scope and Contents:
An interview of James Newman conducted 1974 May 13, by Paul Karlstrom, for the Archives of American Art. Newman speaks of his initial interest in art at Stanford University; meeting Walter Hopps and opening his first gallery with him in the 1950s; the history of the Dilexi Gallery in San Francisco; and his philosophy of collecting. He recalls Robert Craig Kauffman, William T. Wiley, and Jeremy Anderson.
Biographical / Historical:
James Newman (1933- ) is an art dealer from San Francisco, Calif.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 48 min.
Related Materials:
Also in the Archives of American Art are the records of the Dilexi Gallery, 1957-1971, founded and directed by James Newman.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Art dealers -- California -- San Francisco -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- San Francisco
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.newman74
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newman74

Oral history interview with John Mason

Interviewee:
Mason, John, 1927-2019  Search this
Interviewer:
Smith, Paul J.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Chouinard Art Institute (Los Angeles, Calif.) -- Students  Search this
Ferus Gallery (Los Angeles, Calif.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Otis Art Institute -- Students  Search this
Ballard, Richard  Search this
Coplans, John  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Hopps, Walter  Search this
Kienholz, Edward, 1927-  Search this
Koshalek, Richard  Search this
Marer, Fred  Search this
McClain, Mac  Search this
Melchert, Jim, 1930-  Search this
Peterson, Susan, 1925-2009  Search this
Price, Kenneth, 1935-2012  Search this
Sheets, Millard, 1907-1989  Search this
Soldner, Paul  Search this
Sullivan, Louis H., 1856-1924  Search this
Voulkos, Peter, 1924-2002  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
47 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2006 August 28
Scope and Contents:
An interview of John Mason conducted 2006 August 28, by Paul Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Smith's office, in New York, N.Y.
Mason speaks of his childhood in rural Nevada; early interests in photography and jazz; moving to Los Angeles to attend the Los Angeles County Art Institute, now Otis College of Art and Design; attending Chouinard Art Institute; experiences working at Vernon Kilns and with the head designer Elliot House; opening Glendale Boulevard Studio with Peter Voulkos; his association with Ferus Gallery; and teaching experiences at Pomona College, University of California at Berkeley, University of California at Irvine, and Hunter College. He also discusses the development of the Hudson River series exhibition; solo exhibitions at Los Angeles County Museum of Art, LA Louver Gallery, Pasadena Art Museum, now Norton Simon Museum of Art, and others; participation in group exhibitions such as, "Sculpture Off the Pedestal" at Grand Rapids Museum of Art; imagery found in his work including the orbit, the figure, the torque, the spear form, the vertical form, the cross or X form, symmetry and the monolith; an interest in Frank Lloyd Wright and Louis Sullivan; the architectural qualities in his work; the foresight of Buckminster Fuller; and the accelerating change in technology that has taken place over the course of his career. Mason recalls Susan Peterson, Kenneth Price, Paul Soldner, Mac McClain, Fred Marer, Millard Sheets, Edward Kienholz, Walter Hopps, James Melchert, John Coplans, Richard Ballard, Richard Koshalek, and others.
Biographical / Historical:
John Mason (1927-2019 ) was a ceramicist of Los Angeles, California. Paul Smith (1931- ) is Director Emeritus, American Craft Museum of New York City, N.Y.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hrs., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Ceramicists -- California -- Los Angeles -- Interviews  Search this
Sculptors -- California -- Los Angeles -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mason06
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mason06

Oral history interview with Sam Gilliam

Interviewee:
Gilliam, Sam, 1933-  Search this
Interviewer:
Forgey, Benjamin  Search this
Names:
Corcoran Gallery of Art  Search this
District of Columbia Arts Center, Inc.  Search this
Jefferson Place Gallery  Search this
Washington Coalition of Artists  Search this
Washington Gallery of Modern Art (Washington, D.C.)  Search this
Washington Project for the Arts (D.C.)  Search this
Downing, Thomas, 1928-1985  Search this
Hopps, Walter  Search this
Krebs, Rockne, 1938-2011  Search this
Extent:
4 Items (Sound recording, sound cassettes)
54 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 Nov. 4-11
Scope and Contents:
An interview of Sam Gilliam conducted 1989 Nov. 4-11, by Ben Forgey for the Archives of American Art. Gilliam speaks of his decision to come to Washington, D.C., from Louisville, Ky.; his shift from figurative painting to abstract painting; meeting Washington painters Robert Gates and Tom Downing; the "stature" of Tom Downing in the Washington art scene in the 1960s and Walter Hopps' role; influential exhibitions at the Jefferson Place Gallery and the Washington Gallery of Modern Art; being a Washington artist and a black artist; artist/teachers at American University; the Johnson Avenue Workshop grant; his relationship with Rockne Krebs; the history of the Washington Coalition of Artists; the Corcoran Gallery and the Washington Project for the Arts' relationship to Washington artists; his involvement with the District of Columbia Art Center; teaching; and his working methods. Gilliam also discusses various paintings, processes, materials, ideas and experiments at length. He recalls Gene Davis, Howard Mehring, Ken Noland, Morris Louis, Nesta Dorrance, Alma Thomas, Lou Stovall, Al Nodal, Jock Reynolds, Michael Botwinick, Willem de Looper, Paul Reed, and others.
Biographical / Historical:
Sam Gilliam (1933- ) was a painter of Washington, D.C.
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.
Occupation:
Painters -- Washington (D.C.)  Search this
Topic:
Art -- Washington (D.C.)  Search this
Art -- Technique  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
African American artists  Search this
African American painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gillia89
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gillia89

Jacob Kainen papers

Creator:
Kainen, Jacob  Search this
Kainen, Ruth Cole.  Search this
Names:
Addison Gallery of American Art  Search this
Australian National Gallery  Search this
Baltimore Museum of Art  Search this
British Museum  Search this
Brooklyn Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran School of Art (Washington, D.C.)  Search this
Middendorf Gallery  Search this
National Gallery of Art (U.S.)  Search this
Smithsonian American Art Museum  Search this
Acton, David, 1953-  Search this
Agee, William C.  Search this
Berman, Avis  Search this
Broun, Elizabeth  Search this
Butler, Bryce  Search this
Cole, Phoebe  Search this
Fine, Ruth, 1941-  Search this
Fort Wayne Museum of Art  Search this
Frohlich, Newton, 1936-  Search this
Gilkey, Gordon  Search this
Gorky, Arshile, 1904-1948  Search this
Halasz, Piri  Search this
Harrison, Carol  Search this
Holden, Donald  Search this
Holladay, Wilhelmina Cole, 1922-  Search this
Hopps, Walter  Search this
Jackson, John Baptist, 1701-1780?  Search this
Jordon, Jim  Search this
Kalonyme, Louis  Search this
Lunn, Harry, 1933-1998  Search this
Morse, Peter  Search this
Nordland, Gerald  Search this
O'Connor, Francis V.  Search this
Pollack, Jerome  Search this
Powell, Richard J., 1953-  Search this
Purcell, Ann  Search this
Rand, Harry  Search this
Reynolds, Jock  Search this
Ries, Martin, 1926-  Search this
Solman, Joseph, 1909-2008  Search this
Steinberg, Leo  Search this
Taylor, Joshua Charles, 1917-  Search this
Taylor, Prentiss, 1907-1991  Search this
Tejera, V. ((Victorino))  Search this
Thornton, Valerie  Search this
Weber, Joanne  Search this
Extent:
33.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Transcripts
Videotapes
Visitors' books
Lectures
Prints
Greeting cards
Interviews
Scrapbooks
Date:
1905-2009
bulk 1940-2001
Summary:
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diaries, calendars, inventories, interview transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.
Scope and Content Note:
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diary and journal entries, calendars, inventories, interview and "dialog" transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.

Biographical materials include items concerning Kainen's career as a curator and artist, in addition to a useful bibliography, detailed biographical outline, and a copy of an FBI report compiled on him. Also included are five videocassette recordings of Kainen.

Alphabetical correspondence/subject files comprise the bulk of the collection and include both Jacob's and Ruth's correspondence with family, friends, colleagues, artists, art critics, curators, museums, arts organizations, galleries, and many others. There is a significant amount of correspondence with David Acton, the Addison Gallery of Art and Jock Reynolds, William Agee, Australian National Gallery, Baltimore Museum of Art, Avis Berman, the British Museum, Brooklyn Museum, Elizabeth Broun and the Smithsonian American Art Museum, Bryce Butler, Pheobe Cole, the Corcoran Gallery and School of Art, Richard Field, Ruth Fine, Fort Wayne Museum of Art, Newton Frohlich, Gordon Gilkey and the Pacific Northwest College of Art, Arshile Gorky, Piri Halesz, Carol Harrison, Donald Holden, Wilhelmina Holladay, John Baptist Jackson, Jim Jordon, Lou Kantor, Harry Lunn Jr., Middendorf Gallery, National Gallery of Art, Peter Morse, Gerald Nordland, Francis O'Connor, Jerome Pollack, Richard Powell, Ann Purcell, Harry Rand, Martin Ries, Joseph Solman, Leo Steinberg, Prentiss Taylor, Victorino Tejera, Valerie Thornton, Joanne Weber, and numerous family members.

Writings are by and about Jacob Kainen. Kainen's writings include articles, lectures, exhibition catalog essays, notes, travel notebooks, short stories, poems, and written statements about his artistic motivations and justifications. There are writings about Kainen by Avis Berman, Ruth Cole Kainen, and others. The bulk of the numerous diary entries are from Ruth Cole Kainen's diaries, many of which concern Jacob and their family. There are also annotated and revised diary entries. There is one folder of diary entries and one folder of journal entries by Jacob Kainen and two dismantled journal-like notebooks. The papers include daily calendars and travel itineraries from 1972 through 2001.

The papers include transcripts of formal interviews and informal conversations with Jacob Kainen. Transcripts are of informal dinner, telephone, and general conversations between friends, colleagues, artists, and Ruth Cole Kainen. Included are conversations with Avis Berman, Walter Hopps, Harry Rand, Joshua Taylor, and several others. Many of these transcripts were also annnotated by Jacob and Ruth Kainen. Also found are numerous transcripts of more formal interviews with Kainen by art historians, art critics, and students.

There are inventories, appraisals, and lists of sold and not sold paintings, as well as color photographs of some of Kainen's works of art. Also found are inventories of the Kainens' art collection. Printed materials include Kainen's exhibition catalogs and announcements, clippings of articles by and about Jacob Kainen, and an exhibition guestbook.

Photographs are of Kainen with his family and friends, at exhibition openings, and working in his studios. Works of art by others includes handmade greeting cards, limited edition prints, and portfolios given to Jacob Kainen. Nine scrapbooks containing news clippings and exhibition publications document the entirety of Kainen's career as an artist.
Arrangement:
The Jacob Kainen papers are arranged into 11 series.

Series 1: Biographical Material, 1938-2001 (Boxes 1, 32; 0.8 linear feet)

Series 2: Correspondence/Subject Files, 1936-2003 (Boxes 1-12, 32-33; 11.8 linear feet)

Series 3: Writings, circa 1920s-2002 (Boxes 12-13, 33; 1.6 linear feet)

Series 4: Diaries, circa 1952-2002 (Boxes 13-18, 33-38; 10.0 linear feet)

Series 5: Calendars, 1953-2008 (Boxes 18-20, 38; 1.7 linear feet)

Series 6: Transcripts, circa 1975-1994 (Boxes 20-21, 38; 1.4 linear feet)

Series 7: Inventories, 1927-2001 (Boxes 21-22; 1.0 linear feet)

Series 8: Printed Material, 1938-2003 (Box 22, 38, OV 31; 0.6 linear feet)

Series 9: Photographs, 1905-2000 (Boxes 22-25, 38, OV 31; 3.3 linear feet)

Series 10: Works of Art by Others, 1942-2000 (Boxes 25-26, OV 31; 1.2 linear foot)

Series 11: Scrapbooks, 1936-1998 (Boxes 27-30, 38; 1.3 linear feet)
Biographical Note:
Jacob Kainen (1909-2001) was a painter, printmaker, and curator who worked primarily in Washington, D.C.

Born on December 7, 1909 in Waterbury, Connecticut, Jacob Kainen moved with his family to New York City in 1918. Kainen studied at the Pratt Institute in Brooklyn from 1927 until 1930, and at the Art Student's League. In the early 1930s, Kainen became involved in social causes and formed close friendships with the early abstractionists, including John Graham, Arshile Gorky, and Stuart Davis. He joined the Artists' Union and a contributor to its journal, Art Front, along with Stuart Davis and Harold Rosenberg. Jacob's participation in the Artists' Union was later investigated by the FBI.

From 1935 until 1942, Kainen worked for the Graphic Arts Division of the Works Progress Administration in New York City and began exhibiting with the New York School. It was during this period that he married Bertha Friedman. Jacob and Bertha had two sons together, Dan and Paul, and divorced in 1968.

In 1942, Kainen made a life-changing decision to leave New York City and move to Washington, D.C. to accept what he thought would be a temporary position as a scientific aide in the Division of Graphic Arts at the Smithsonian Institution. Kainen quickly became Assistant Curator and Curator in 1946. He served as Curator for twenty years, completely reshaping the department and building the graphic arts collection. His print exhibitions brought the work of S.W. Hayter, Josef Albers, Adja Yunkers, Louis Lozowick, Karl Schrag, José Guerrero, Louis Schanker, Werner Drewes, and Boris Margo to Washington audiences - graphic work that might not have been shown that early in the area.

1947 marked the opening of the Washington Workshop Center for the Arts, where Kainen served as a teacher and guide to several important artists, helping to make the workshop a magnet for new talent and instrumental in furthering the careers of several artists. Although Kainen taught Gene Davis and Alma Thomas and introduced Morris Louis to Leon Berkowitz, he never considered himself a member of the "Washington Color School."

In 1949, the Corcoran Gallery of Art held a retrospective of Kainen's prints and three years later Kenneth Noland organized Kainen's first painting retrospective at Catholic University. Kainen's paintings from the 1940s illustrated a shift away from social realism toward abstract expressionism. In 1956, Jacob Kainen received a grant from the American Philosophical society to conduct research in Europe for his monograph on the English woodcut artist, John Baptist Jackson. He traveled to Europe again in 1962 to study paintings and prints from the Mannerist Period.

From 1966 until 1970, Kainen worked as the Curator of prints and drawings at the National Collection of Fine Arts (now the Smithsonian American Art Museum). He married Ruth Cole in February of 1969. Kainen retired from the Smithsonian a year later to devote himself full-time to his art, but continued to serve as a special consultant to the Smithsonian American Art Museum for nineteen years. In 1971 and 1972, Kainen taught painting and the history of printmaking at the University of Maryland. A retrospective of Kainen's paintings was held in 1993 at the National Museum of American Art (SAAM).

Throughout his artistic career, Kainen experimented with different mediums and explored different styles, yet he identified himself as a painter. Jacob Kainen participated in at least twenty-five one man shows and several group exhibitions. His works are in collections across the United States and abroad, including the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the British Museum. He worked in his studio up until the time of his death on March 19, 2001 at his home in Chevy Chase, Maryland.
Related Material:
Found among the holdings of the Archives of American Art is an oral history interview of Jacob Kainen conducted by Avis Berman in 1982 for the Archives' "Mark Rothko and His Times" oral history project. Also found are microfilm copies of Bertha Kainen's correspondence with Avis Berman regarding Berman's essay about Jacob Kainen.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 565, 2147-2149, and 2200) including correspondence, writings by Kainen, and papers relating to the Smithsonian Institution Loyalty Board's investigation of Jacob Kainen from 1942-1954. Most, but not all, of the loaned materials were included in later gifts. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Jacob and Ruth Kainen first lent the Archives of American Art material for microfilming from 1973-1981, the bulk of which was included in the later gifts. Papers were then donated in multiple accretions between 1981-2007 by Jacob and Ruth Kainen, and in 2009 from the estate of Ruth Kainen via executor Teresa Covacevich Grana. Also in 2003, eight photographs of Jacob and Ruth Kainen were transferred from the National Portrait Gallery to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Washington (D.C.)  Search this
Curators -- Washington (D.C.)  Search this
Art teachers -- Washington (D.C.)  Search this
Topic:
Painting, Modern -- Washington (D.C.)  Search this
Painting, Abstract -- Washington (D.C.)  Search this
Artists' studios -- Photographs  Search this
Art -- Collectors and collecting -- Washington (D.C.)  Search this
Printmakers -- Washington (D.C.)  Search this
Genre/Form:
Photographs
Diaries
Transcripts
Videotapes
Visitors' books
Lectures
Prints
Greeting cards
Interviews
Scrapbooks
Citation:
Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kainjaco
See more items in:
Jacob Kainen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kainjaco
Online Media:

Oral history interview with Henry Tyler Hopkins

Interviewee:
Hopkins, Henry, 1928-2009  Search this
Interviewer:
Chamberlin, Wesley  Search this
Names:
Art Institute of Chicago -- Student  Search this
Fort Worth Art Museum  Search this
Los Angeles County Museum of Art  Search this
San Francisco Museum of Modern Art  Search this
Bell, Larry, 1939-  Search this
Bengston, Billy Al  Search this
Bereal, Edmund, 1937-  Search this
Blum, Shirley Neilsen.  Search this
Copley, William Nelson, 1919-1996  Search this
Cornell, Joseph  Search this
Goode, Joe, 1937-  Search this
Hopps, Walter  Search this
Irwin, Robert, 1928-  Search this
Kline, Franz, 1910-1962  Search this
Miyashiro, Ron  Search this
Pollock, Jackson, 1912-1956  Search this
Price, Kenneth, 1935-2012  Search this
Ruscha, Edward  Search this
Extent:
7 Sound cassettes (Sound recording)
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1980 Oct. 24-Dec. 17
Scope and Contents:
An interview of Henry Tyler Hopkins conducted 1980 Oct. 24-1980 Dec. 17, by Wesley Chamberlin, for the Archives of American Art.
Hopkins speaks of his childhood and family background in Idaho; his education in Idaho and at the Art Institute of Chicago; his U.S. Army service as a photographer; the influence upon him of the early abstract expressionists; moving to California and getting involved in the museum community; working as a curator at the Los Angeles County Museum of Art, and developing its collection of modern works; becoming the director of the San Francisco Museum of Modern Art; the value of art appreciation over art entertainment; problems with corporate and federal support; the psychological aspects of Jackson Pollack's work; pop art; the Bay area art scene; and the role of art museums. He recalls Shirley and Walter Hopps, Ed Ruscha, Joe Goode, Larry Bell, Ed Bereal, Ron Miyashiro, Jackson Pollack, Joseph Cornell, Billy Al Bengston, Kenny Price, Robert Irwin, William Copley, Franz Kline, and many others.
Biographical / Historical:
Henry Hopkins (1928-2009) was a director of San Francisco Museum of Modern Art.
Provenance:
These interviews are 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 available on the Archives of American Art website.
Topic:
Abstract expressionism  Search this
Art -- California -- San Francisco  Search this
Pop art  Search this
Museum directors -- California -- San Francisco -- Interviews  Search this
Function:
Art museums -- California -- San Francisco
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hopkin80
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hopkin80

Oral history interview with George Herms

Interviewee:
Herms, George, 1935-  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Ferus Gallery (Los Angeles, Calif.)  Search this
Alexander, Robert  Search this
Asher, Betty  Search this
Berman, Wallace, 1926-1976  Search this
Di Prima, Diane  Search this
Dwan, Virginia  Search this
Hopps, Walter  Search this
Kienholz, Edward, 1927-  Search this
Lamantia, Philip, 1927-  Search this
McClure, Michael  Search this
Parker, Charlie, 1920-1955  Search this
Extent:
8 Sound cassettes (Sound recording (60 min.), analog)
162 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Date:
1993 Dec. 8-1994 Mar 10
Scope and Contents:
An interview of George Herms conducted 1993 Dec. 8-1994 Mar. 10, by Paul Karlstrom, for the Archives of American Art.
Herms discusses the development of his ideas and art. He recalls individuals and events associated with avant-garde art activity in California from the 1950s to present (1990s). He recalls Philip Lamantia, Charlie Parker, Wallace Berman, Robert Alexander, Ferus Gallery, Walter Hopps, Edward Kienholz, Virginia Dwan, Betty Asher, Michael McClure, and Diane di Prima, among others.
Biographical / Historical:
George Herms (1935- ) is an assemblage and collage artist of Los Angeles and San Francisco, Calif. Central participant in the West Coast Beat culture.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Beat generation  Search this
Identifier:
AAA.herms93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-herms93

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