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Loren Madsen papers, 1969-2019

Creator:: Madsen, Loren, 1943- Search this; Madsen, Loren, 1943- Search this

Subject:: Pecorino, Jessica Search this; Los Angeles County Museum of Art Search this; National Endowment for the Arts Search this; Pollock-Krasner Foundation Search this

Type:: Photographs; Sketchbooks; Sketches

Topic:: Installations (Art) Search this; Sculptors -- California Search this; Awards Search this

Record number:: (DSI-AAA_CollID)17449; (DSI-AAA_SIRISBib)387258; AAA_collcode_madslore

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_coll_387258

Online Media:

Loren Madsen papers

Creator:: Madsen, Loren, 1943- Search this

Names:: Los Angeles County Museum of Art Search this; National Endowment for the Arts Search this; Pollock-Krasner Foundation Search this; Pecorino, Jessica Search this

Extent:: 5.2 Linear feet; 45.82 Gigabytes

Type:: Collection descriptions; Archival materials; Gigabytes; Photographs; Sketchbooks; Sketches

Date:: 1969-2019

Summary:: The papers of artist Loren Madsen measure 5.2 linear feet and 45.82 GB and date from 1969 to 2019. The collection primarily consists of project and exhibition files, and also includes personal business records, correspondence, writings, photographic material, and artwork. There are materials in physical and digital format.

Scope and Contents:: The papers of artist Loren Madsen measure 5.2 linear feet and 45.82 GB and date from 1969 to 2019. The collection primarily consists of project and exhibition files, and also includes personal business records, correspondence, writings, photographic material, and artwork. There are materials in physical and digital formats.

Project and exhibition files consist of two subseries: exhibition files, and installations and proposals. These files include materials related to Madsen's solo and group exhibitions, installations, and proposals for unrealized projects. Correspondence, photographic material, sketches, planning documents, clippings, and other material are included in these files in physical and digital format.

Personal business records include materials related to Madsen's New Talent Purchase Award from the Modern and Contemporary Art Council of the Los Angeles County Museum of Art, his NEA Fellowship and Pollock-Krasner Grant, gallery files, and sales and other financial information.

Correspondence consists of letters and cards both to and from Madsen. The majority of the correspondence is professional in nature.

Writings includes a work by Madsen completed in pursuit of his Master of Arts, notes, an article about Madsen by Jessica Pecorino, teaching materials, and notebooks. Teaching lectures and supporting materials are in digital format.

Photographic material consists of photographs, negatives, and slides of Madsen's artwork.

Artwork includes eleven sketchbooks; Long Scroll, a 30-foot timeline scroll on paper; and Ephemera, an ongoing series. Also included are extensive digital files depicting Madsen's artwork and work processes through video recordings, photographs, and documents.

Arrangement:: The collection is arranged in six series.

Series 1: Project and Exhibition Files, 1969-2005, 2011-2016 (Boxes 1-3; 3 linear feet, ER1-120; 9.28 GB)

Series 2: Personal Business Records, 1969-2017 (Box 4; 0.2 linear feet, ER121; 0.008 GB)

Series 3: Correspondence, 1973-2015 (Box 4; 3 folders)

Series 4: Writings, 1970-1983, 2001-2005 (Box 4; 0.2 linear feet, ER122-124; 0.399 GB)

Series 5: Photographic Material, 1969-2005 (Box 4; 0.4 linear feet)

Series 6: Artwork circa 1973-1983, 1992-1999, 2012-2019 (Boxes 4-6, RD 7; 1.2 linear feet, ER125-160; 36.13 GB)

Biographical / Historical:: Loren Madsen (1943- ) is an artist in Laytonville, California working mainly in sculpture. Madsen attended Reed College (1961-1963) and UCLA and graduated from UCLA with an MA in 1970. In the 1970s and 1980s he made sculpture using bricks and wood suspended, propped, or balanced in studies of countervailing forces. In the early 1990s, Madsen turned his attention to what he calls "data art," using statistics to determine sculptural form.

Restrictions:: Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate access copies requires advance notice.

Occupation:: Artists -- California Search this

Topic:: Installations (Art) Search this; Sculptors -- California Search this; Awards Search this

Genre/Form:: Photographs; Sketchbooks; Sketches

Citation:: Loren Madsen papers, 1969-2019. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of the collection was provided by Gerald and Bente Buck.

Identifier:: AAA.madslore

See more items in:: Loren Madsen papers

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-madslore

We Are Here! Eiteljorg Contemporary Art Fellowship 2012: Skawennati

Creator:: National Museum of the American Indian Search this

Type:: YouTube Videos

Uploaded:: 2012-05-23T19:15:52.000Z

YouTube Category:: Education Search this

Topic:: Native Americans;American Indians Search this

See more by:: SmithsonianNMAI

Data Source:: National Museum of the American Indian

YouTube Channel:: SmithsonianNMAI

EDAN-URL:: edanmdm:yt_GX4JLsFwQIs

No Image Available

Instalaciones III

Author:: Glusberg, Jorge Search this; Centro Cultural Recoleta (Buenos Aires, Argentina) Search this; Centro de Arte y Comunicación (Buenos Aires, Argentina) Search this

Physical description:: [22] pages illustrations 30 cm

Type:: Exhibitions; Exhibition catalogs

Date:: 199u; 20th century

Topic:: Installations (Art) Search this

Call number:: N6494.I56 I57 1990z

Data Source:: Smithsonian Libraries

EDAN-URL:: edanmdm:siris_sil_1032343

David Ireland Papers

Artist:: Ireland, David, 1930-2009 Search this

Names:: American Academy in Rome Search this; Arts Club of Chicago Search this; California College of Arts and Crafts (San Francisco, Calif.) Search this; Center for the Arts at Yerba Buena Gardens Search this; Gallery Paule Anglim Search this; Helmhaus Zürich Search this; Mattress Factory Search this; New Museum of Contemporary Art (New York, N.Y.) Search this; Perth Institute of Contemporary Arts Search this; San Francisco Art Institute Search this; San Francisco Museum of Modern Art Search this; Skowhegan School of Painting and Sculpture Search this; Stanford University Search this; Walker Art Center Search this; Washington State Arts Commission Search this; Western Washington University Search this; Coppola, Eleanor Search this; Grobart, Jeffrey Search this; Lee, Margie Search this; Lienhard, Marie-Louise Search this; Marion, Paul Search this; Tingle, Alta Search this

Extent:: 24.8 Linear feet; 8.39 Gigabytes

Type:: Collection descriptions; Archival materials; Gigabytes; Video recordings; Sketches; Interviews; Prints; Sound recordings; Drawings; Photographs

Date:: circa 1910s-circa 2009; bulk 1960-2005

Summary:: The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.

Scope and Contents:: The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.

Arrangement:: This collection is arranged as 11 series.

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)

Biographical / Historical:: David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.

Provenance:: The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.

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:: Sculptors -- California -- San Francisco Search this; Conceptual artists -- California -- San Francisco Search this

Topic:: Artists' studios -- Photographs Search this; Art -- Study and teaching Search this; Installations (Art) Search this; Public art Search this

Genre/Form:: Video recordings; Sketches; Interviews; Prints; Sound recordings; Drawings; Photographs

Citation:: David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of this collection was provided by The David Ireland Revocable Trust.

Identifier:: AAA.ireldavi

See more items in:: David Ireland Papers

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-ireldavi

Oral history interview with Kiki Smith, 2017 July 20 and August 16

Interviewee:: Smith, Kiki, 1954- Search this; Smith, Kiki, 1954- Search this

Interviewer:: Lyon, Christopher, 1949- Search this

Subject:: Pollock-Krasner Foundation Search this

Type:: Interviews; Sound recordings

Topic:: Installations (Art) Search this; Printmakers -- New York (State) -- New York -- Interviews Search this; Sculptors -- New York (State) -- New York -- Interviews Search this; Women artists -- New York (State) -- New York -- Interviews Search this

Record number:: (DSI-AAA_CollID)17502; (DSI-AAA_SIRISBib)390043; AAA_collcode_smith17

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_oh_390043

Online Media:

Oral history interview with Dara Birnbaum, 2017 May 30-31

Interviewee:: Birnbaum, Dara, 1946- Search this; Birnbaum, Dara, 1946- Search this

Interviewer:: Yablonsky, Linda, 1948- Search this

Subject:: Pollock-Krasner Foundation Search this

Type:: Interviews; Sound recordings

Topic:: Installations (Art) Search this; Women artists -- New York (State) -- New York -- Interviews Search this

Record number:: (DSI-AAA_CollID)17472; (DSI-AAA_SIRISBib)388185; AAA_collcode_birnba17

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_oh_388185

Online Media:

Lucy R. Lippard papers

Creator:: Lippard, Lucy R. Search this

Names:: Addison Gallery of American Art Search this; Alliance for Cultural Democracy Search this; Art Workers Coalition Search this; Museum of Modern Art (New York, N.Y.) Search this; Political Art Documentation/Distribution (Organization) Search this; Printed Matter, Inc. Search this; Studio International (Firm) Search this; University of Colorado -- Faculty Search this; Women's Caucus for Art Search this; Andre, Carl, 1935- Search this; Chicago, Judy, 1939- Search this; Darboven, Hanne Search this; Edelson, Mary Beth Search this; Hammond, Harmony Search this; Henes, Donna Search this; Johnson, Ray, 1927- Search this; Judd, Donald, 1928- Search this; LeWitt, Sol, 1928-2007 Search this; Pearson, Henry, 1914-2006 Search this; Stevens, May Search this

Extent:: 56.5 Linear feet; 0.454 Gigabytes

Type:: Collection descriptions; Archival materials; Gigabytes; Sound recordings; Interviews; Photographs

Date:: 1930s-2007; bulk 1960-1990

Summary:: The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

Scope and Contents:: The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

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

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

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

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

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

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

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

Arrangement:: The collection is arranged as eight series:

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

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

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

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

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

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

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

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Biographical / Historical:: New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

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

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

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

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

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

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.

Related Materials:: Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.

Provenance:: Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.

Restrictions:: Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Art critics Search this

Topic:: Curators -- New York (State) -- New York Search this; Art -- Study and teaching Search this; Art, Modern -- 20th century Search this; Artists -- Political activity Search this; Authors -- New York (State) -- New York Search this; Conceptual art Search this; Art criticism -- New York (State) -- New York Search this; Feminism and art Search this; Minimal art Search this