Search Results

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

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

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

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

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

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.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

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

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

Sponsor:

Funded by the Pollock-Krasner Foundation.

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

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.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

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

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

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

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

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

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

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

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

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

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

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

Sponsor:

Funded by the Keith Haring Foundation.

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

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

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