Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
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:
Marvin Harden papers, circa 1936-2005. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
American Crafts Council. Museum of Contemporary Crafts Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Thomas Tibbs, 1996 March 19-May 9. Archives of American Art, Smithsonian Institution.
An interview of Thomas Tibbs conducted 1996 March 19-May 9, by Paul Karlstrom, for the Archives of American Art, at the artist's home, in Fallbrook, California.
Tibbs discusses his family background and early interest in the arts that led him to the University of Rochester (N.Y.), where he had his first museum experience and studied music and literature before doing post-graduate work as curator of prints and of education; the museum field in the late 1940s and the professionals he knew, among them his mentor Phillip Adams of the Cincinnati Art Museum and Grace McCann Morley; the changing ideas of contemporary art, regionalism, and New York's emergence as the center in the 1950s; his experiences with the New York school artists in the 1950s and his observations of their interests and individuality, and the Louis Comfort Tiffany exhibition at the Crafts Museum in 1958, an event which he credits the Tiffiany fashion "rage" of the 1960s. Tibbs recalls artists Adolph Gottlieb, Mark Rothko, Franz Kline, Betty Parsons, Barnett Newman, Jackson Pollock, and Peggy Guggenheim, David Campbell, Earl Parten, Wharten Escherick, Margret Craver Withers, and Arlene Fisch.
Biographical / Historical:
Thomas Tibbs (1917-2002) was a museum director and educator from San Diego, California. Tibbs was founding director (1956-1960) of the Museum of Contemporary Crafts in New York and the La Jolla Museum of Contemporary Art (1968), now Museum of Contemporary Art, San Diego, where he promoted an interest in crafts, their collection and exhibition as art. He was director of the new museum in Huntington, W.V., where he initated a crafts competition as a means to "fill the museum." His long-time interest in modern and contemporary art led him to hire I.M. Pei to design the new museum wing in Des Moines when he was director. Tibbs is professor emeritus of San Diego State University where he taught contemporary art.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 5 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. Funding for the transcription of this interview provided by Pasadena Art Alliance.
African, Oceanic, pre-Columbian and American Indian art the property of various owners ... public auction, Friday, October 14, 1977 ... Saturday, October 15, 1977 .
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
An interview of David Avalos conducted 1988 June 16-July 5, by Margarita Nieto, for the Archives of American Art. Avalos speaks of his childhood, education at the University of California at San Diego; his involvement with the Centro Cultural de la Raza; the socio-political environment that produced the San Diego Chicano Muralist movement (specifically Chicano Park); the formation of the Border art Workshop (BAW/TAF); the collaboration between the Centro and the La Jolla Museum of Contemporary Art (presently the San Diego Museum of Contemporary Art); art activity in San Diego; Chicano activity distinct from Los Angeles; his philosophy on conceptual art; and his art career.
Biographical / Historical:
David Avalos (1947-) is a painter and administrator from San Diego, California.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 44 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- California -- San Diego -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with David Avalos, 1988 June 16-July 5. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- California -- San Diego -- Interviews Search this
This subseries primarily contains letters concerning McCoy's career in architectural history and criticism. Her career in fiction writing is covered to a lesser degree. Among the correspondents are researchers, writers, professors, architects, art professionals, publishers, and professional associations. Topics covered include research and writing projects, Los Angeles area preservation and restoration projects, and grant projects.
Major correspondents in this series include the American Institute of Architects, the Graham Foundation, City of Los Angeles Cultural Heritage Board, Domus Magazine, Los Angeles Times, editor Monica Pidgeon, architectural critics Reyner Banham, David Gebhard, William Jordy, Robin Middleton, Allan Temko, and Nathan Shapira, and architects J. R. Davidson, Craig Ellwood, Joseph Giovannini, Hans Hollein, A. Quincy Jones, and Bruno Zevi. Also found is extensive correspondence with the University of California, Berkeley, Santa Barbara, and Santa Cruz. Correspondence for 1959 contains a letter from Albert Camus requesting McCoy's assistance with helping Spanish refugees, and correspondence for 1989 contains photographs of Esther McCoy and others at the Athenaeum at Caltech for the third annual gala of the Historical Society of Southern California.
See Appendix for a list of selected correspondents from Series 2.3.
Arrangement note:
Material is arranged chronologically. The bulk of McCoy's correspondence with architects is arranged in Series 6: Architect Files. Additional correspondence pertaining to specific projects can be found in Series 4: Architectural Writings and in Series 5: Project Files. Correspondence in this series complements the files found in these other series and they should be consulted together for a better understanding of McCoy's career.
Appendix: Selected Correspondents from Series 2.3:
Abbot, Mary Squire (McIntosh and Otis, Inc.), 1949, 1950, 1953, 1957
Adahura, Yuki, 1942
Adams, Christopher, 1962
Albinson, Don, 1989
Alexander, Christopher, 1965
Allen, Albert, 1968
Amantea, Kirjah, 1982
Ambre, Reuth, 1986
American Academy in Rome, 1970
American Federation of Arts, 1966
American Film Institute, 1975
American Institute of Architects, 1959, 1967, 1968, 1969, 1972, 1973, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1987, 1988, 1989
American Institute of Interior Designers, 1974
Anderson, Sherwood, undated
Andrews, Wayne, 1983
Architecture -- , 1985
Architecture in Australia, 1974
Architectural Forum -- , 1965, 1966, 1968
Architectural History Foundation, Inc., 1982, 1983, 1984
Architectural Publishing Co., 1967
Architectural Record -- , 1959
Archive of Women in Architecture, 1975
Archives of American Art, 1984, 1985, 1986, 1987, 1989
Graham Foundation for Studies in the Fine Arts (Carter Manny), 1964, 1965, 1966, 1968, 1969, 1970, 1971, 1974, 1975, 1978, 1979, 1981, 1983, 1984, 1985, 1986, 1987, undated
Granger, Kathleen, 1981
Gray, Paul, 1977
Greenbaum, Katherine, 1980
Greene, Herb, 1971, 1972, 1976, undated
Greenhill, Nigel, 1973
Gregory, Dan, 1982, 1984, 1986, 1987
Guss, Jack, 1961
Hall, Milly, 1970, 1976, 1977
Hanks, David, 1986
Harnish, John, 1960
Harper and Row, 1979
Harper's Bazaar -- , 1951, 1952, 1961
Harris, Robert, 1981, 1982
Harvard Architecture Review -- , 1977, 1979
Harvey, Harold E., 1972, 1973
Haupt, Peter, 1967
Hayden, Dolores, 1984, undated
Helene Wurlitzer Foundation of New Mexico, 1967, 1969
Hernandez, Diana, 1976, undated
Herron, Ron, 1969
Hess, Alan, 1985
Hillyer, Elinor, 1949
Hinerfeld, Susan and Robert, 1984
Hines, Tom, 1971, 1975
Historical Society of Southern California, 1988, 1989
University of California, Santa Barbara, 1966, 1969, 1972, 1982, 1987
University of California, Santa Cruz, 1972, 1973, 1974, 1978, 1979
University of Cambridge, Department of Architecture, 1975
University of Oklahoma, 1949, 1985
University of Pennsylvania, 1984
University of Southern California, 1970
University Press of Kentucky, 1974
University Prints, 1957
University Women's Club, 1972, 1975, 1983
Vaccarino, Donna, 1989
Van Doren, Phyllis, 1984
Veret, Jean-Louis, 1960
Ventre, Francis T., 1985
Veronesi, Giulia, 1966, 1974
Via -- , 1976
Victor Gruen Foundation for Environmental Planning, 1972
Victor, Michael, 1983
Voelcker, John, 1968
Von Breton, Harriette, 1969
Von Eckardt, Wolf, 1981, 1983, 1984
Vreeland, Thomas, 1965, 1969, 1974, 1984
W. W. Norton and Co., 1966
Walker Art Center, 1975
Walker, Derek, 1982
Walker, Sam, 1985
Walton, Billy, 1986
Ward, Robert and Sandra Williams Photography of Architecture, 1977, 1978
Ward, Robertson, 1981
Wasserman, Steve, 1984, 1985, 1986
Waugh, Arthur B., 1959
Wayne, June, 1981, 1985
Weirick, James, 1970, 1974
Weiss, Peggy, 1982, 1984
Wemple, Emmet L., 1974, undated
Western Association of Art Museums, 1967
Wicks, Ebba L., 1949
Wight, Frederick S., 1966
Wilk, Christopher, 1987
William Morris Agency, 1957
William Morrow and Company, Inc., 1950
Williams, Alexander Kruse, 1985
Williams, Wayne R., 1952, 1953, 1972
Wills, David, 1969
Wilson, Forrest, 1972, 1975, 1983,1987
Wilson, Richard Guy, 1981
Winslow, Carleton Monroe, 1969, undated
Winter, Bob, 1964, 1975, 1976, undated
Woman's Building, 1987
Woman's Day -- , 1957
Women's Architectural League, 1981
Wood, Donna, 1981
Woodbridge, Sally, 1977, 1982
Woollen, Evans, 1983, 1984
Wright, Eric Lloyd, 1984
Writers Guild of America, West, 1967, 1969
Wurster, William, 1964
Zevi, Bruno, 1959, 1960, 1963, 1965, 1974
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies 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:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
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:
Sidney Janis Gallery exhibition catalogs, 1951-1998. Archives of American Art, Smithsonian Institution.
