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Jean Shin & Brian Ripel : unlocking / Cassandra Coblentz ; with Jean Shin and Brian Ripel

Title:
Jean Shin and Brian Ripel : unlocking
Unlocking
Author:
Shin, Jean 1971-  Search this
Ripel, Brian  Search this
Coblentz, Cassandra  Search this
Scottsdale Museum of Contemporary Art  Search this
Subject:
Shin, Jean 1971-  Search this
Ripel, Brian  Search this
Shin, Jean 1971-  Search this
Ripel, Brian  Search this
Physical description:
[36] p. : col. ill. ; 15 x 23 cm
Type:
Exhibitions
Interviews
Place:
Arizona
Scottsdale
Date:
2010
C2010
Topic:
Site-specific installations (Art)  Search this
Locks and keys in art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_974748

Emeka Ogboh

Artist:
Ogboh, Emeka  Search this
Physical description:
124 pages illustrations (chiefly color) 21 cm
Type:
Books
Place:
Nigeria
Lagos
Date:
2014
Topic:
Sound installations (Art)  Search this
Installations sonores (Art)  Search this
Call number:
NX650.S68 O36 2014
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1145884

Installation art and the museum presentation and conservation of changing artworks Vivian van Saaze

Author:
Saaze, Vivian van 1975-  Search this
Physical description:
1 online resource (225 pages) illustrations (chiefly color)
Type:
Electronic resources
Electronic books
Date:
2013
20th century
21st century
Topic:
Installations (Art)--Conservation and restoration  Search this
Art, Modern--Conservation and restoration  Search this
Museum exhibits  Search this
Art museums  Search this
History of art--art and design styles  Search this
The arts  Search this
ART--History--General  Search this
Art conservation  Search this
Call number:
N410 .S33 2013 (Internet)
N6494.I56 S23 2013 ONLINE (Internet)
Restrictions & Rights:
OAPEN (Open Access Publishing in European Networks). All rights reserved
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1147320

Oral history interview with Alexis Smith

Creator:
Smith, Alexis, 1949-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Names:
Holly Solomon Gallery  Search this
Honor Fraser Gallery  Search this
Margo Leavin Gallery  Search this
Mizuno Gallery  Search this
Nicholas Wilder Gallery  Search this
University of California, Irvine -- Students  Search this
University of California, Los Angeles -- Faculty  Search this
Bell, Larry, 1939-  Search this
Burden, Barbara  Search this
Burden, Chris, 1946-  Search this
Celmins, Vija, 1938-  Search this
Chicago, Judy, 1939-  Search this
Coplans, John  Search this
Gehry, Frank O., 1929-  Search this
Grieger, Scott  Search this
Howard, Coy  Search this
Irwin, Robert, 1928-  Search this
Krull, Craig  Search this
Moses, Avilda  Search this
Ruppersberg, Allen, 1944-  Search this
Sedivy, Richard  Search this
Solomon, Jerry  Search this
Extent:
5 Items (Sound recording: 5 sound files (3 hr., 11 min.), digital, wav)
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
France -- description and travel
Date:
2014 January 24-April 14
Scope and Contents:
An interview with Alexis Smith conducted 2014 January 24 and April 14, by Hunter Drohojowska-Philp, for the Archives of American Art at Smith's studio, in Venice, California.
Ms. Smith discusses growing up in Southern California and her early years living with her parents on the grounds of Metropolitan State Hospital, a mental institution in Norwalk, California; her mother's death when Ms. Smith was 11; the family's time in Whittier and Palm Springs and being raised as an only child by her father; her early interest in French studies and travel to France as a student; her interest in studying art beginning with a John Coplans class at UC Irvine; her time at at UC Irvine in the early days of the university and her growing attraction to the life of an artist; the origin of her name Alexis Smith; and the encouragement of her fellow artists to continue pursuing her cut-up collages from literature, photos, magazines, and Hollywood ephemera. Ms. Smith also describes her time with her artist women's group in the 70s; her husband Scott Grieger; working for Frank Gehry; her showing with the Nicholas Wilder Gallery; her relationship with Chris Burden and her time with him during his period of performance pieces in the 70s; the Riko Mizuno Gallery; her work with terrazzo and its use for installations at the LA Convention Center, Ohio State University, and other installations; the appropriation of text and the assistance of Jerry Solomon utilizing custom frames in her artwork; the impact of women from history, media and literature on her art; her relationship with Coy Howard; the Holly Solomon Gallery; her Jane series; her On the Road series; her installation Snake Path at UC San Diego; her piece for SITE Santa Fe Red Carpet; teaching at UCLA; her installation of the piece Scarlet Letter at Las Vegas Central Library and its subsequent removal; her associations with Margo Leavin Gallery and Honor Fraser gallery; and the loss of her long-time studio space and the challenges of storing her artwork. Ms. Smith also recalls Judy Chicago, Robert Irwin, Vija Celmins, Larry Bell, Barbara Burden, Richard Sedivy, Avilda Moses, Craig Krull, and Allen Ruppersberg among others.
Biographical / Historical:
Alexis Smith (1949- ) is a collage, multimedia, and installation artist in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
General:
Originally recorded as 5 sound files. Duration is 3 hr., 11 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:
Transcript available on the Archives of American Art website.
Occupation:
Collagists -- California -- Los Angeles  Search this
Topic:
Art -- Study and teaching  Search this
Installations (Art)  Search this
Multimedia (Art)  Search this
Women artists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.smith14
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cf7d681a-7826-4d6b-9c1f-4565e032b593
EDAN-URL:
ead_collection:sova-aaa-smith14
Online Media:

Embedded metaphor / Nina Felshin, guest curator

Author:
Felshin, Nina  Search this
Independent Curators Incorporated  Search this
John and Mable Ringling Museum of Art  Search this
Physical description:
77 p. : ill. (some col.) ; 26 cm
Type:
Exhibitions
Place:
United States
Date:
1996
C1996
20th century
Topic:
Beds in art  Search this
Metaphor in art  Search this
Installations (Art)  Search this
Art, American  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_609539

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Creator:
Finch College. Museum of Art  Search this
Varian, Elayne H.  Search this
Names:
Acconci, Vito, 1940-  Search this
Anderson, David K., 1935-  Search this
Benglis, Lynda, 1941-  Search this
Benyon, Margaret, 1940-  Search this
Bochner, Mel, 1940-  Search this
Brooks, James, 1906-1992  Search this
Castelli, Leo  Search this
Chase, Doris, 1923-  Search this
Cross, Lloyd G.  Search this
Davis, Douglas  Search this
Dwan, Virginia  Search this
Feigen, Richard L., 1930-  Search this
Glimcher, Arnold B.  Search this
Gottlieb, Adolph, 1903-1974  Search this
Graham, Dan, 1942-  Search this
Hollander, Irwin  Search this
Insley, Will, 1929-2011  Search this
Jackson, Martha Kellogg  Search this
Janis, Sidney, 1896-1989  Search this
Kirby, Michael  Search this
Levine, Les, 1935-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Mazur, Michael, 1935-2009  Search this
Meyer, Ursula, 1915-  Search this
Nauman, Bruce, 1941-  Search this
O'Doherty, Brian  Search this
Parsons, Betty  Search this
Richter, Hans, 1888-1976  Search this
Siegelaub, Seth, 1941-  Search this
Smith, Tony, 1912-1980  Search this
Sonfist, Alan  Search this
Weiner, Sam  Search this
Wise, Howard  Search this
Extent:
20.9 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Date:
1943-1975
bulk 1964-1975
Summary:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.
Scope and Contents:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)
Biographical / Historical:
The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.
Provenance:
The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Video artists -- New York (State) -- New York  Search this
Museum administrators -- New York (State) -- New York  Search this
Museum curators -- New York (State) -- New York  Search this
Topic:
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Gallery directors  Search this
Gallery owners  Search this
Genre/Form:
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.finccoll
See more items in:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ed5f13a2-eeb3-452a-8735-204ff25576b5
EDAN-URL:
ead_collection:sova-aaa-finccoll
Online Media:

Oral history interview with Dara Birnbaum

Interviewee:
Birnbaum, Dara  Search this
Interviewer:
Yablonsky, Linda, 1948-  Search this
Extent:
7 Items (sound files (5 hrs., 2 min.), digital, wav)
97 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 May 30-31
Scope and Contents:
An interview with Dara Birnbaum conducted 2017 May 30-31, by Linda Yablonsky, for the Archives of American Art, at Birnbaum's home and studio in New York, N.Y.
Biographical / Historical:
Dara Birnbaum (1946- ) is a video and installation artist in New York, New York. Linda Yablonsky (1948- ) is a writer in New York, New York.
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 recording is restricted. Contact Reference Services for more information.
Occupation:
Video artists -- New York (State) -- New York  Search this
Topic:
Installations (Art)  Search this
Women artists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.birnba17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9256a9cfd-211c-47d8-b683-26496f6fabb4
EDAN-URL:
ead_collection:sova-aaa-birnba17
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
Heresies Collective, Inc.  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:
70.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2010
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 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.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 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.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:

Missing Title

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)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)
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, 2006, 2015 and 2021.
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:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Willie Doherty : requisite distance : ghost story and landscape / Charles Wylie ; with a contribution by Erin K. Murphy

Title:
Requisite distance
Author:
Wylie, Charles  Search this
Murphy, Erin K  Search this
Dallas Museum of Art  Search this
Snite Museum of Art  Search this
Subject:
Doherty, Willie  Search this
Physical description:
96 p. : chiefly col. ill. ; 23 x 26 cm
Type:
Exhibitions
Place:
Northern Ireland
Date:
2009
C2009
Topic:
Photography, Artistic  Search this
Landscape photography  Search this
Video art  Search this
Installations (Art)  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_921812

Gorod Rabov : Masterskaia van Liskhaut = Slave city : cradle to cradle : Atelier van Lieshout

Title:
Slave city : cradle to cradle : Atelier van Lieshout
Gorod Rabov : slave city : cradle to cradle
Cradle to cradle
Author:
Atelier van Lieshout  Search this
Vinzavod tsentr sovremennogo iskusstva  Search this
Museum Folkwang Essen  Search this
Subject:
Lieshout, Joep van  Search this
Atelier van Lieshout  Search this
Physical description:
144 p. : col. ill. ; 28 cm
Type:
Exhibitions
Date:
2009
Topic:
Installations (Art)  Search this
Art and society  Search this
Imaginary societies in art  Search this
Call number:
N6953.A83 A4 2009
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_955799

Installation view of Eileen Cowin's Between the beasts and the angels at Roy Boyd Gallery

Subject:
Cowin, Eileen  Search this
Roy Boyd Gallery  Search this
Type:
Photographs
Date:
1991
Citation:
Installation view of Eileen Cowin's Between the beasts and the angels at Roy Boyd Gallery, 1991. Eileen Cowin papers, circa 1900-2020. Archives of American Art, Smithsonian Institution.
Topic:
Installations (Art)  Search this
Record number:
(DSI-AAA)18158
See more items in:
Eileen Cowin papers, circa 1900-2020
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_18158

52 artists a feminist milestone

Title:
Fifty-two artists
Feminist milestone
Curator:
Smith-Stewart, Amy  Search this
Curator of original exhibition:
Lippard, Lucy R  Search this
Artist:
Abish, Cecile  Search this
Aycock, Alice  Search this
Wapner, Grace Bakst  Search this
Host institution:
Aldrich Museum of Contemporary Art (Ridgefield, Conn.)  Search this
Physical description:
191 pages illustrations (chiefly color) 27 cm
Type:
Exhibitions
Exhibition catalogs
Date:
2022
20th century
21st century
Topic:
Women artists  Search this
Feminism and art  Search this
Installations (Art)  Search this
Art, Modern  Search this
ART / Women Artists  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1159987

We Are Here! Eiteljorg Contemporary Art Fellowship 2012: Duane Slick

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2012-05-23T19:00:22.000Z
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__n9QZY9_W8g

Installation Art

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Extent:
(clipping)
Container:
Box 14, Folder 31
Type:
Archival materials
Date:
1993
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material on Chicano art
Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw933a5b584-7e1e-4a0e-8407-ad42e5c55d60
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref921

Indicators artists on climate change organized by David R. Collens, Nora R. Lawrence, and Sarah Diver ; foreward by John P. Stern

Title:
Artists on climate change
Organizer:
Collens, David  Search this
Curator:
Lawrence, Nora  Search this
Diver, Sarah  Search this
Writer of foreward:
Stern, John P  Search this
Issuing body:
Storm King Art Center  Search this
Physical description:
96 pages illustrations (chiefly color) 27 cm
Type:
Exhibitions
Expositions
Exhibition catalogs
Catalogues d'exposition
Date:
2018
21st century
21e siècle
Topic:
Climatic changes  Search this
Nature (Aesthetics)  Search this
Installations (Art)  Search this
Climat--Changements  Search this
Nature (Esthétique)  Search this
Call number:
N72.S3 I62 2018
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158629

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

We Are Here! Eiteljorg Contemporary Art Fellowship 2012: Anna Tsouhlarakis

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2012-05-23T19:26:24.000Z
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_PaS3ULdFNFI

Oral history interview with Jim Hodges

Interviewee:
Hodges, Jim, 1957-  Search this
Interviewer:
Carr, C.  Search this
Names:
Fort Wright College of the Holy Names  Search this
Pratt Institute -- Students  Search this
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Arning, Bill  Search this
Chatham, Rhys  Search this
Feher, Tony, 1956-  Search this
Fuller, Marnie  Search this
Gonzalez-Torres, Felix, 1957-1996  Search this
Hoffman, Nancy, 1944-  Search this
Kaiser, Karen  Search this
McCarty, Lynn  Search this
Montano, Linda, 1942-  Search this
Morris, Bob  Search this
Nechvatal, Joseph  Search this
Nyzio, David, 1958-  Search this
Reynolds, Hunter, 1959-  Search this
Safranek, Doug, 1956-  Search this
Smith, Scott  Search this
Vallenciano, Robert  Search this
Extent:
16 Items (Sound recording: 16 sound files (3 hr., 44 min.), digital, wav)
87 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 March 9-May 25
Scope and Contents:
Oral history interview with Jim Hodges, conducted 2017 March 9 and May 25, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Hodges' studio in Queens, New York.
Hodges speaks of his childhood in Spokane, Washington; exposure to art-making in high school and at Fort Wright College; attending Pratt Institute in 1983; his first New York gallery job in 1984; discovering his sexuality and becoming interested in queer life and history; the early years of the AIDS crisis; taking a studio with the Dannheisser Foundation; his body of work in mixed media; his gallery exhibitions in the late 1980s and early '90s; becoming sober in 1990; and the influence of the AIDS crisis on his artwork and art-making process. Hodges also recalls Karen Kaiser, Scott Smith, Marnie Fuller, Davie Nyzio, Lynn McCarty, Robert Vallenciano, Bob Morris, Linda Montano, Joseph Nechvatal, Rhys Chatham, Nancy Hoffman, Hunter Reynolds, Tony Feher, Bill Arning, Felix Gonzalez-Torres, Doug Safranek, and others.
Biographical / Historical:
Jim Hodges (1957- ) is an installation artist in New York, New York. Cynthia Carr (1950- ) is a writer in New York, New York.
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.
Topic:
AIDS (Disease)  Search this
Art -- Exhibitions  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Installations (Art)  Search this
Mixed media (Art)  Search this
Artists (LGBTQ)  Search this
Gay artists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.hodges17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b9961c06-6188-4bf5-85b8-65197d690c0b
EDAN-URL:
ead_collection:sova-aaa-hodges17
Online Media:

Saving abstraction Morton Feldman, the de Menils, and the Rothko Chapel Ryan Dohoney

Author:
Dohoney, Ryan  Search this
Physical description:
1 online resource illustrations, portraits, music
Type:
Electronic resources
Date:
2019
20th century
20e siècle
Topic:
Art, Abstract  Search this
Installations (Art)  Search this
Art and music  Search this
Call number:
ML410.F2957 D64 2019 (Internet)
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1160645

1.8 Renwick

Artist:
Janet Echelman, born Tampa, FL 1966  Search this
Medium:
knotted and braided fiber with programmable lighting and wind movement above printed textile flooring
Dimensions:
96 x 45 x 40 ft.
Type:
Installation Art
Crafts
Date:
2015
Topic:
Abstract  Search this
Allegory\time  Search this
Modern art movement\installation interior  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase made possible by the American Art Forum
Copyright:
© 2015, Janet Echelman
Object number:
2017.7
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Renwick Gallery
On View:
Renwick Gallery, Grand Salon
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk718f76c70-7bf0-454e-ad68-773435758272
EDAN-URL:
edanmdm:saam_2017.7

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