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Introduction to art

Creator:
California State University, Chico  Search this
California State University, Chico  Search this
Subject:
Benton, Fletcher Chapman  Search this
Hertlein, Grace  Search this
Type:
Videorecording
Date:
1973
Topic:
Computer art  Search this
Kinetic art  Search this
Record number:
(DSI-AAA)11808
See more items in:
Fletcher Benton papers, 1934-2014
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11808

Oral history interview with Hans Haacke, 2009 Aug. 20-21

Interviewee:
Haacke, Hans, 1936-  Search this
Haacke, Hans, 1936-  Search this
Interviewer:
Richards, Judith Olch, 1947-  Search this
Type:
Sound recordings
Interviews
Record number:
(DSI-AAA_CollID)15712
(DSI-AAA_SIRISBib)283572
AAA_collcode_haacke09
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_283572

Franz H. Denghausen papers, ca.1933-1978

Creator:
Denghausen, Franz H., 1911-  Search this
Denghausen, Franz H., 1911-  Search this
Topic:
Kinetic art  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7499
(DSI-AAA_SIRISBib)209658
AAA_collcode_dengfran
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209658

Len Lye papers, 1966

Creator:
Lye, Len, 1901-1980  Search this
Lye, Len, 1901-1980  Search this
Topic:
Kinetic art  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10108
(DSI-AAA_SIRISBib)212994
AAA_collcode_lyelenpa
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212994

Kinetic Art

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 10, Folder 33
Type:
Archival materials
Date:
1955-1960s
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
William Chapin Seitz papers / Series 4: Research and Writing Files / 4.2: People and Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref322

Stuyvesant Collection

Collection Creator:
Seitz, William Chapin  Search this
Container:
Box 16, Folder 33
Type:
Archival materials
Date:
1960s
Scope and Contents note:
(Kinetic Art)
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
William Chapin Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
See more items in:
William Chapin Seitz papers
William Chapin Seitz papers / Series 4: Research and Writing Files / 4.2: People and Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-seitwill-ref465

"Kinetic Art" (1976)

Collection Creator:
Baxter Art Gallery  Search this
Container:
Box 5, Folder 38-39
Type:
Archival materials
Date:
1975-1976
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Baxter Art Gallery records, 1962-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Baxter Art Gallery records
Baxter Art Gallery records / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-baxtart-ref26

"Kinetic Art" (1976)

Collection Creator:
Baxter Art Gallery  Search this
Container:
Box 21, Folder 32
Type:
Archival materials
Date:
circa 1976
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Baxter Art Gallery records, 1962-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Baxter Art Gallery records
Baxter Art Gallery records / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-baxtart-ref836

Exhibition Catalogs

Collection Creator:
Benton, Fletcher, 1931-  Search this
Container:
Box 5, Folder 15
Type:
Archival materials
Date:
1989
Scope and Contents:
Includes the book Motion Motion: Kinetic Art
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
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:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Fletcher Benton papers
Fletcher Benton papers / Series 5: Printed Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bentflet-ref265

Legal Records about Fletcher Benton's Book on Kinetic Art, Benton vs Ed Marquand

Collection Creator:
Benton, Fletcher, 1931-  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1986-1987
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
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:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Fletcher Benton papers
Fletcher Benton papers / Series 1: Biographical Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bentflet-ref20

Biographical Materials

Collection Creator:
Benton, Fletcher, 1931-  Search this
Extent:
0.3 Linear feet (Box 1 and 9)
Type:
Archival materials
Date:
1934-2013
Scope and Contents:
Biographical material includes four folders of photographs from Benton's childhood to the present and a number of personal photographs of the artist with family members and art personalities including Harold Paris, Edward Lucie-Smith, Dewain Valentine and Peter Selz. There is also a home video on 1 videocassette (VHS) by the artist showing part of his home studio and some of the sculptures from his garden. Among the legal documents and certificates there is a folder with materials about Benton's law suit against Ed Marquand, an editor that was hired to work on a book about Benton's Kinetic Art between 1986 and 1987.
Arrangement:
Photographs and moving images of Benton working in his studio, of his artwork, and art-related events are found in series 7, Photographic and Moving Image Materials. Additional photographs and moving images related to exhibitions and commissions are found in series 4, Exhibitions and Commission files.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
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:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bentflet, Series 1
See more items in:
Fletcher Benton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bentflet-ref7

Paul Ryan papers

Creator:
Ryan, Paul, 1943-  Search this
Names:
Dalton School (New York, N.Y.)  Search this
Earth Environmental Group  Search this
Earthscore Foundation  Search this
Gaia Institute  Search this
New School for Social Research (New York, N.Y.)  Search this
Raindance Corporation  Search this
Savannah College of Art and Design  Search this
Anderson, Myrdene, 1934-  Search this
Berg, Peter, 1937-2011  Search this
Berman, Morris  Search this
Berry, Thomas, 1914-2009  Search this
Bianchi, Lois  Search this
Bijvoet, Marga, 1948-  Search this
Dunn, David  Search this
Johnson, Avery  Search this
Kevelson, Roberta  Search this
Lansing, Gerrit  Search this
Lira, Aldo  Search this
Lord, Chip  Search this
Lowenstein, Oliver  Search this
Ponsol, Claude  Search this
Procter, Jody, 1943-1998  Search this
Robbins, Al  Search this
Segura, Phyllis Gershuny  Search this
Shamberg, Michael  Search this
Sibert, Jodi  Search this
Sturken, Marita, 1957-  Search this
Zerella, Lida  Search this
Extent:
19.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Illustrations
Video recordings
Writings
Date:
1931-2009
Summary:
The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.
Scope and Contents:
The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.

Biographical materials include family papers, early correspondence among Ryan family members, school records, selective service records, photographs of Paul Ryan, and career documentation such as résumés, CVs, recommendation letters, and narratives written by Ryan describing his career. Records related to Ryan's time in the seminary and monastery include letters home during this period, and his letter of resignation from 1965.

Correspondence is mainly professional in nature, and spans Ryan's career. Correspondence between Ryan and family members is also found. Professional correspondence is found with Myrdene Anderson, Peter Berg of Planet Drum, Morris Berman, Avery Johnson, Marga Bijvoet, Thomas Berry, Lois Bianchi, David Dunn, Roberta Kevelson, Gerrit Lansing, Aldo Lira, Oliver Lowenstein, Chip Lord, Claude Ponsol, Jody Procter, Jodi Sibert, Phyllis Gershuny Segura, Michael Shamberg, and Marita Sturken. Corporate correspondence is found regarding job applications, manuscript submissions to publishers, and video submissions to museums and broadcasters.

Writings include mainly articles and notebooks by Ryan, but also drafts of books, lectures, poetry, short stories, a treatment for a television show, and writings by others in various genres. Most of Ryan's prose writing is theoretical in nature, although personal writings and notes from projects are also found. Articles include both published and unpublished writings, with some published multiple times under different titles. Over one hundred notebooks spanning forty years contain a variety of content including drafts of letters, articles, grant proposals, lectures, and other writings. Ryan's two major publications, Cybernetics of the Sacred and Video Mind, Earth Mind, are documented with drafts, contracts, correspondence with publishers, layout documents, and notes.

Organizational records include writings, correspondence, printed material, financial records, grant proposals, and other records concerning various organizations, collectives, and companies in which Ryan participated, mostly having to do with environmental advocacy, video production, or a combination of the two. Organizations with substantial records in this series include the Earth Environmental Group, the Earthscore Foundation, Environment '89 (and '90, '91, and '92), the Gaia Institute, and the Raindance Corporation, among others. Documentation is most comprehensive for The Earthscore Foundation, including by-laws, grant proposals, extensive writings, financial records, and printed materials.

Project files contain video recordings, production notes, photographs, proposals, correspondence, a computer program designed by Ryan, prints for exhibition, illustrations and designs, posters, circulars, contracts, and scripts. Many of the projects documented in this series relate to Ryan's many explorations of the use of video to monitor and interpret two seemingly different subjects, environmental change and human behavior in relationships, expressed through a ritual of interaction among three persons designed by Ryan and called "Threeing," or "Triadic Behavior." The most thoroughly documented projects in this series include "Nature in New York City," "New York City Eco-Channel for Sustainable Television (NEST)," Talking Wood (a publication that incorporated the project "Watershed Watch"), "Inventing Triadic Behavior" (also known as the "Triadic Tapes"), "Tethys"(with artist Bob Schuler), and "Video Wake for my Father," a performance for video that saw many iterations, including a private performance, a public performance, an edited video program, and a published script.

Video recordings are found for three projects, including "Nature in New York City," "Inventing Triadic Behavior," and a threeing workshop held at the Kitchen entitled "Video Variations on Holy Week." A printout of records in a videotape database kept by Ryan is found in this series, with a proposal for video preservation; the list of tapes includes those found in the collection as well as tapes not extant.

Teaching files include documentation of Ryan's work at Dalton School, Hudson School, the New School for Social Research, and Savannah College of Art and Design, and many other workshops and training programs Ryan taught. Included are grade books, correspondence, curricula, training materials, and reports. Two of his programs, the Black Rock Rangers at the Dalton School, and the Urban Conservation Corps Pilot Video Program involve the implementation of the Earthscore Notational System in school curricula.

Printed material includes books, newspaper clippings, conference programs and published proceedings, exhibition catalogs and announcements, film and video programs, flyers, periodicals, poetry publications, posters, and materials relating to the artist Al Robbins, which includes an obituary written by Ryan. Also found are publications of the Raindance Corporation, which include the book, Guerrilla Television (1971), and four issues of their magazine, Radical Software (1971-1972). Most of the printed material was either written by Paul Ryan, contains articles by Paul Ryan, or documents activities of Paul Ryan. Other materials found contain works by Ryan's associates and collaborators.

Artwork contains artists' books, doodles, illustrations, prints, and photographs by named and unnamed artists. None of the artwork in this series appears to be by Ryan. Notable is an artist's book entitled "Patterns" by Lida Zerella, which incorporates still images from Ryan's Triadic Tapes in a small album. Two illustrations are found by Claude Ponsot, who also illustrated many of Ryan's publications relating to Kleinform and threeing.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, 1931-2003 (0.8 linear feet; Boxes 1, 20)

Series 2: Correspondence, 1965-2007 (2 linear feet; Boxes 1-3)

Series 3: Writings, 1955-2001 (6.8 linear feet; Boxes 3-10, 20)

Series 4: Organizational Records, 1968-1996 (1.2 linear feet; Boxes 10-11, 20, OV 21)

Series 5: Project Files, 1968-2008 (6.5 linear feet; Boxes 11-17, 20, OV 21-22, 24, RD 26)

Series 6: Teaching Files, 1967-2008 (0.7 linear feet; Box 17)

Series 7: Printed Materials, 1968-2009 (1.6 linear feet; Boxes 18-20, OV 23, 25)

Series 8: Artwork, 1965-2003 (0.1 linear feet; Boxes 19-20, OV 22)
Biographical / Historical:
Paul Ryan was a pioneering video artist, writer, teacher, and theoretician based in New York City and the Hudson Valley of New York State. Born in 1943, Ryan spent his early adulthood as a seminarian and later a member of the Roman Catholic order of Passionist monks, which he left in 1965. He eventually received a B.A. from New York University. During the Vietnam War, Ryan received conscientious objector status and studied with Marshall McLuhan at Fordham University as alternative service. It was McLuhan's influence that led Ryan to begin to explore the possibilities of the medium of video.

In 1969, Ryan participated in the landmark exhibition "TV as a Creative Medium" curated by Howard Wise, which served to link the kinetic art movement of the 1960s with the emergent medium of video art. The first exhibition in the United States devoted to video, "TV as a Creative Medium" signaled radical changes and defined an emerging artistic movement. In 1969 Ryan co-founded the Raindance Corporation along with Ira Schneider, Michael Shamberg, David Cort, Beryl Korot, Phyllis Gershuny, and others. Raindance was an influential media collective that proposed radical theories and philosophies of video as an alternative form of cultural communication. Influenced by the communications theories of Marshall McLuhan and Buckminster Fuller, the collective produced tapes and writings that explored the relation of cybernetics, media, and ecology. From 1970-1974, Raindance published the seminal video journal Radical Software, which provided a network of communications for the fledgling alternative video movement. In 1971, Shamberg published Guerrilla Television, a summary of the group's principles and a blueprint for a decentralization of television through access to public and cable programming. The original Raindance collective dispersed in the mid-1970s; the nonprofit Raindance Foundation continued into the 1990s. Ryan's core writings from the Raindance era were gathered into his 1973 publication Birth and Death and Cybernation, republished in 1974 as Cybernetics of the Sacred.

Ryan's work to develop alternative uses of video technology continued long after his involvement with Raindance. He began to implement his theories about the use of video monitoring and feedback within dynamic systems with the work that came to be known as the Earthscore Notational System. With Steve Kolpan and Bob Schuler, he founded the Earthscore Foundation, through which he raised money for the exploration and development of this applied practice. Earthscore, based largely on the writings of philosopher Charles Sanders Pierce and Gregory Bateson's work on cybernetics, provided the theoretical and logical underpinnings of both the ecosystem documentation and interpretation process, and the triadic rituals of interpersonal behavior, that became the core of Ryan's work for much of his life. These ideas were implemented in a wide variety of projects such as eco-channel design, video scores specific to certain locations, threeing projects exploring interpersonal behavior with video and computer technology, and a curriculum for combining media production training with environmental education.

Ryan later worked with organizations such as Talking Wood, The Earth Environmental Group, and Environment '89, (re-named in later years Environment '90, '91, and '92) to implement Earthscore systems and prototypes. He co-founded The Gaia Institute, hosted at Cathedral of St. John the Divine, and co-directed it from 1985-1991. The Institute fostered dialogs between science, religion, and art through workshops, lectures, exhibitions and events. He was an artist-in-residence for Earth Environmental Group in 1988 via a grant from the New York State Council on the Arts, and used the residency to carry out his video project "Nature in New York City," documenting city ecosystems and demonstrating how an eco-channel might work. Environment '89 organized a coordinated campaign for a cable channel devoted to the environment, the New York City Eco-channel for a Sustainable Tomorrow (NEST).

Ryan spent his later years as a professor of media production and theory at Savannah College of Art and Design, and then at the New School for Social Research. His work has been exhibited widely in the United States, including "The Primitivism Show" in The Museum of Modern Art (1984), "The American Century Show" at the Whitney Museum of American Art (1999-2000), and the Venice Biennale (2002). He died in 2013.
Provenance:
The papers of Paul Ryan were donated to the Archives of American Art by Ryan in 2008.
Restrictions:
Use of original papers and 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
Topic:
Art -- Study and teaching  Search this
Monasticism and religious orders  Search this
Authors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Prints
Illustrations
Video recordings
Writings
Citation:
Paul Ryan papers, 1931-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ryanpaul
See more items in:
Paul Ryan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ryanpaul

Len Lye papers

Creator:
Lye, Len, 1901-1980  Search this
Extent:
41 Pages ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Pages
Date:
1966
Scope and Contents:
Lye's typed description of his kinetic work "Sun, Land, and Sea."
Biographical / Historical:
Painter, kinetic artist; New York, N.Y.
Provenance:
Provenance unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Kinetic artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Kinetic art  Search this
Identifier:
AAA.lyelenpa
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lyelenpa

Oral history interview with Hans Haacke

Interviewee:
Haacke, Hans, 1936-  Search this
Interviewer:
Richards, Judith Olch  Search this
Extent:
8 Items (Sound recording: 8 sound files (5 hr., 13 min.), digital, wav file)
105 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 Aug. 20-21
Scope and Contents:
An interview of Hans Haacke conducted 2009 Aug. 20 and 21, by Judith Olch Richards, for the Archives of American Art, at Haacke's home, in New York, N.Y.
Interview of Hans Haacke, conducted by Judith O. Richards for the Archives of American Art, in New York, New York on August 20, 21 and 28, 2009. Haacke speaks of growing up in pre-war Germany; the effect of war on his childhood; his grandfather's interest in art and it's early influence on him; traveling across Europe during high school; attending art school in Kassel, Germany where he majored in painting and studied under Fritz Winter; an early belief that all contemporary art must be abstract; his interaction with Otto Piene through the Zero Group in Düsseldorf, Germany during the 1960s; his determination to become an artist; his involvement with the early days of documenta in Kassel; two post graduate grants, the DAAD which took him to Stanley William Hater's Atelier 17 in Paris and the Fulbright Scholarship that brought him to Tyler School of Fine Arts at Temple University in Pennsylvania; his first three dimensional objects and his interest in reflective materials and water; the importance of viewer participation and interaction in his works; moving back to Germany for two years and returning to the United States in 1965 and making New York City his permanent residence; his interest in what was called 'kinetic art' and his relationship with Willoughby Sharp; the element of play in his work; the term 'real time systems' as applied to his own work and the meaning of 'system' when applied to art work in general; his long teaching post at Cooper Union from 1967-2002 and a love of teaching; the critique of the institution and its role in his work; the Art Workers Coalition; Westbeth Artist Community in New York City; the work Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971, the closing of his show at the Guggenheim Museum in New York because of the controversy over the piece; his continued interest in presenting information rather than commentary; various works that ask the visitor questions; various works that question provenance and proper ownership of major works of art; showing at galleries when his work was forced out of shows at major museums around the world; his studio practices; the role computer technology plays in helping him realize new projects; participating in competitions; his work entitled Germania [1993] that won him the Golden Lion at the Venice Biennale and several other works touch on the themes of German nationalism, including To the Population [2000] and Memorial to Rosa Luxemburg [2006]; the relationship between his art and works of sociology; showing at the Paula Cooper Gallery in New York City; his interest in writing as a way to articulate his ideas to critics, viewers and other artists; his experiences in the art world over the past 40 years. Haacke also recalls Günther Uecker, Heinz Mack, Arnold Bode, Vassilakis Takis, John Hendricks, Leon Golub, David Pease, Al Held, Robert Morris, Yvonne Rainer, George Wittenborn, Robert Motherwell, Lucio Fontana, the Gutai Group, George Rickey, Jesús Rafael Soto, Jack Burnham, Howard Wise, Jon Hendricks, Edward Fry, Thomas Messer, Kynaston McShine, Charles Saatchi, Seth Siegelaub, Robert Projansky, Nam June Paik, Norman Poster, Pierre Bourdieu, Kasper König, Howard Becker, Andrea Fraser, Johann Kresnik, Maria Eichhorn, Benjamin Buchloh, Eva Cockroft and others. Total: 2 digital recording discs; 2 hours, 10 min.; transcribed 105 pages.
Biographical / Historical:
Interviewee Hans Haacke (1936- ) is a conceptual artist and educator in New York, N.Y. He taught at Cooper Union in New York, N.Y. Interviewer Judith Olch Richards (1947- ) is former Executive director of iCI in New York, N.Y.
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.
Rights:
Authorization to quote or reproduce for the purposes of publication requires written permission from Hans Haacke. Contact Reference Services for more information.
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.haacke09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-haacke09

Franz H. Denghausen papers

Creator:
Denghausen, Franz H., 1911-  Search this
Extent:
ca.125 items.
Type:
Collection descriptions
Archival materials
Date:
ca.1933-1978
Scope and Contents:
Letters; exhibition catalogues and announcements; photographs of Denghausen and his sculpture; clippings and other printed material; a cassette tape and super 8 film on kinetic art; and a book of poems, FIFTY FEELINGS, by Denghausen, 1978.
Biographical / Historical:
Sculptor (Pigeon Cove, Mass.)
Provenance:
Donated 1981 by Franz H. Denghausen.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Sculptors -- Massachusetts -- Pigeon Cove  Search this
Topic:
Kinetic art  Search this
Identifier:
AAA.dengfran
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dengfran

Fletcher Benton papers

Creator:
Benton, Fletcher, 1931-  Search this
Names:
André Emmerich Gallery  Search this
Galerie Denino  Search this
Bury, Pol, 1922-2005  Search this
De Wilde, Dan  Search this
Finn, David  Search this
Jones, Lillian E.  Search this
Louchheim, Marlene  Search this
Lucie-Smith, Edward  Search this
Marquand, Ed  Search this
Neubert, George W.  Search this
Rickey, George  Search this
Sanders, Pieter  Search this
Tooker, Dan  Search this
Valentine, De Wain, 1936-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
8.7 Linear feet
1.47 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Drawings
Video recordings
Transcripts
Sound recordings
Photographs
Christmas cards
Date:
1934-2014
Summary:
The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career as a sculptor with international presence through certificates, personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, and photographs, sound and video recordings, and motion picture film documenting his work and career.
Scope and Contents:
The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career through personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, photographs, sound and video recordings motion picture film, some of which also appears in digitized form.

Biographical Materials include personal photographs, legal documents related to a court case with book designer Ed Marquand, biographical texts, interview transcripts, and a home video made by the artist. Correspondence is with other artists, friends, galleries, museums and other institutions, including George W. Neubert, André Emmerich Gallery, Pieter Sanders, Pol Bury, George Rickey, Ulfert Wilke, Marlene Louchheim, DeWain Valentine, Lillian E. Jones, and Edward Lucie-Smith. Interviews include sound recordings of interviews with Benton by academics and journalists, including Edward Lucie-Smith, Dan Tooker, and Dan De Wilde.

Exhibition and Commission Files consist of correspondence with galleries, museums and commission patrons; financial records; shipping and subcontracting documentation; motion picture film, video, and sound recordings related to exhibitions and installations; and planning and design materials. Series includes a significant amount of oversized drawings and plans for site-specific work. There is a large volume documentation from the Folded Circle-Arc commission by Stanley Consultants, Inc. in Muscatine, Iowa; the California/International Arts Foundation Traveling Sculpture Exhibition; Double Folded Circle Ring in Brussels and Double Circle Folded by Cedars Sinai Medical Center in Los Angeles.

Printed Materials include news clippings related to Benton's career, as well as brochures, exhibition catalogs, posters and other printed materials related to exhibitions and commissions. Broadcast materials include television news footage, radio and television interviews, documentaries, and promotional materials made by galleries and other cultural institutions.

Photographic and Moving Image Materials include art-related images showing Benton in his studio and images of exhibitions, installations and inaugurations. Also found are still photographs and motion picture films of artworks, including paintings, sculptures, and kinetic drawings, and a series of photographs of sculptures taken by David Finn.

Artwork consists of an editioned art Christmas card created by Benton for Galeria Bonino in New York from 1969. An American Artist Moving Image Materials consist of 13 videocassettes (VHS) which document the production process of the documentaryFletcher Benton: An American Artist by Morgan Cavett. There is footage from interviews with Benton and with curator George W. Neubert, footage of San Francisco with comments from Benton about his time there, interviews with the artist's studio assistants, images of his studio in Dore street and a couple of almost finished rough versions of the documentary.
Arrangement:
This collection is arranged as nine series.

Series 1: Biographical Material (0.3 linear feet; boxes 1, 9)

Series 2: Correspondence (1 linear foot; boxes 1, 2, OV 10)

Series 3: Interviews (0.3 linear feet; box 2)

Series 4: Exhibition and Commission Files (2 linear feet, 0.50 GB; boxes 2-4, OV 11-13, RD 14, FC 15, ER01)

Series 5: Printed Materials (2.3 linear feet; boxes 4-6, OV 10)

Series 6: Broadcast Materials (1.1 linear foot; boxes 6-7)

Series 7: Photographic and Moving Image Materials (0.5 linear feet, 0.97 GB; boxes 7, 9, FC 16-17, ER02)

Series 8: Artwork (1 item; box 7)

Series 9: -- An American Artist -- Video Recordings (0.6 linear feet; boxes 7-8)
Biographical / Historical:
Fletcher Benton was born in Jackson, Ohio in 1931 to Fletcher and Nell Cavett Benton and was the oldest of three children. Benton graduated from Jackson High School in 1949. After serving in the Navy he graduated from Miami University (Oxford, Ohio) in 1956 and moved to San Francisco, where he started working as an instructor at the California College of Arts and Crafts in 1959. He was in San Francisco during the flourishing of the Beat generation, where he had a studio in the North beach area and exhibited at coffee house galleries.

After travelling around Europe in 1960, Benton moved to New York City where he tried to make his living through painting and teaching privately. During those years he was supported by Jackson's local arts patron and family friend, Lillian E. Jones. In 1960 he had his first solo exhibition at Gump's gallery in San Francisco, but his work was taken down after one day because it was considered obscene for including female nudes. He returned to San Francisco in late 1961.

In 1966 Fletcher started teaching at the San Francisco Art Institute and established himself as a primary figure of American kinetic art. In 1966, Peter Selz included his work in the exhibition Directions in Kinetic Sculpture at the University Art Gallery in Berkeley, CA. During the exhibition Benton met the artists Pol Bury and George Rickey with whom he became friends. The exhibition, along with an article "The Movement Movement" that appeared in Time magazine the same year, established Benton's reputation as a significant American Kinetic artist. He also started teaching at the California State University in San José in 1967 where he continued working until 1986.

By 1974 Benton abandoned kinetic art to continue exploring sculpture in three dimensions in a style that became known as "new constructivism." The artworks were conceived in the series Folded Circles and Folded Square Alphabets and were produced in bronze, aluminum and steel. It was also during the 1970s that he started doing large-scale commissions such as the 1977 IBM commission.

Between 1981 and 1984 Benton constructed his studio in Dore Street in the Market district of San Francisco where he continues to work today. During the 1980s Benton started his Balanced/Unbalanced series, which introduced the idea of gravity using geometric forms in different formats and sizes.

From 1984 he began to show more work in Europe, especially in Germany, where in 1993 he got a major commission to create a colossal public sculpture in Cologne entitled Steel Watercolor Triangle Ring. It was also in Germany where Benton encountered the work of Wassily Kandinsky and Kazimir Malevich, and he began work on his Construct Relief series in reponse, which he dedicated to Kandinsky. These geometric constructions are flat, canvas-like steel structures that combine features of painting and sculpture. As the series evolved, the work became more like painting, constructed to hang on the wall without a back piece, so they seem to be floating in the space.

Benton continues to live and work in San Francisco and is represented by multiple galleries in the United States and Germany.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Fletcher Benton conducted by Paul J. Karlstrom, 1989 May 2-4 is available on the Archives of American Art website.
Provenance:
Donated 2005-2006 and 2014 by Fletcher Benton. Benton's wife, Bobbie Benton, organized the material by subject matter and date.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco  Search this
Sculptors -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Drawings
Video recordings
Transcripts
Sound recordings
Photographs
Christmas cards
Citation:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bentflet
See more items in:
Fletcher Benton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bentflet

Folder 19 Arte Programmata: Kinetic Art (1965)

Collection Creator::
Smithsonian Institution. Traveling Exhibition Service  Search this
Container:
Box 6 of 92
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 290, Smithsonian Institution, Traveling Exhibition Service, Records
See more items in:
Records
Records / Series 1: DISPERSAL FILES, ALPHABETIC BY EXHIBIT TITLE / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0290-refidd1e1083

Alejandro Otero: Kinetic Art

Collection Creator::
Hirshhorn Museum and Sculpture Garden. Department of Painting and Sculpture  Search this
Container:
Box 7 of 35
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 469, Hirshhorn Museum and Sculpture Garden. Department of Painting and Sculpture, Curatorial Records
See more items in:
Curatorial Records
Curatorial Records / Box 7
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0469-refidd1e3794

Folder 22 Malina, Frank J., publications, photographs. Molina is an internationally known figure in kinetic art, and most of this material deals with his artistic work.

Collection Creator::
National Air and Space Museum. Department of Astronautics  Search this
Container:
Box 24 of 64
Type:
Archival materials
Collection Rights:
Box 33 contains copyrighted materials; see finding aid. Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Record Unit 398, National Air and Space Museum. Department of Astronautics, Correspondence
See more items in:
Correspondence
Correspondence / Series 1: GENERAL CORRESPONDENCE, 1940-1980, AND UNDATED. / Box 24
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0398-refidd1e7972

Vera Simons Papers

Creator:
Simons, Vera  Search this
Extent:
23.5 Cubic feet ((22 boxes))
Type:
Collection descriptions
Archival materials
Philately
Photographs
Newspaper clippings
Press releases
Color slides
Audiotapes
Reports
Date:
bulk 1960s-1980s
Scope and Contents:
This collection consists of approximately 23 cubic feet of material relating to Vera Simons' ballooning and art careers. Types of materials include: newspaper articles, flight covers, photographs, slides, audio recordings, and reports relating to Simons' time with Winzen Research, inc. and her "Da Vinci" and "Aerolus" projects.
Biographical / Historical:
Vera Simons (1920-2012) played an important role in balloon development and exploration. Born in Germany, she grew up in Detroit, Michigan and married Otto Winzen; together they created Winzen Research Inc., one of world's first plastic balloon companies. Simons held over two-thirds ownership of the company and became its vice president. She supervised and trained her "balloon girls" to handle polyethylene and build the giant balloons, and obtained four patents for her work improving construction techniques and envelope redesign. During the 1950s and 1960s, Winzen created balloons for the United States Navy Projects Helios, Skyhook and Strato-Lab and for the United Sates Air Force Project Manhigh, and Simons was a central figure in planning and executing those manned research flights. Simons earned her gas balloon license in 1957 and she represented the United States at the 30th Annual International Gas Balloon Races in Holland where she received a gold medal for her contributions to balloon research. When Simons divorced Otto Winzen, she sold her interest in Winzen Research and enrolled in art school. By the early 1970s she had made a name for herself in international art circles by combining art and ballooning. In 1972, Simons began planning a series of balloon flights called "DaVinci" that combined science with original kinetic art. She spent two years designing and supervising the construction of a two-decker fiberglass gondola and an 11 story tall polyethylene balloon in which she eventually set a new overland distance record in the U.S. in 1979. During the same flight, Simons dropped tiny tetrahedron balloons carrying Douglas Fir seedlings into cleared areas, took time-lapse photographs, made sound recordings, and used mirrors to create special lighting effects in the clouds for the spectators on the ground. During other "DaVinci" flights, Simons collected temperature and airflow data, and tracked the mix and movement of urban air pollutants, while also photographing landscape and cloud images that she later used in producing works of art. In 1984 Simons launched another flight, "Project Aerolus," in which three plastic balloons were launched simultaneously into the nighttime sky; one of the balloons was piloted by Joe Kittinger.
Provenance:
Don Crowell, Gift, 2015
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Balloons  Search this
Kinetic art  Search this
Aeronautics  Search this
Genre/Form:
philately
Photographs
Newspaper clippings
Press releases
Color slides
Audiotapes
Reports
Citation:
Vera Simons Papers, Accession 2016-0013, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2016.0013
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2016-0013

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