Visual Arts and the AIDS Epidemic: An Oral History Project Search this
Century 21 Exposition (1962 : Seattle, Wash.) Search this
Type:
Interviews
Sound recordings
Place:
Germany -- description and travel
New York (N.Y.) -- Description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Douglas Crimp, 2017 January 3-4. Archives of American Art, Smithsonian Institution.
Visual Arts and the AIDS Epidemic: An Oral History Project Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Alexandra Juhasz, 2017 December 19-21. Archives of American Art, Smithsonian Institution.
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery. There is an 85.5 linear foot unprocessed addition to this collection donated in 2023 that includes artist files, exhibition files, correspondence, audiovisual material, archtectural plans and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Scope and Content Note:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.
The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.
Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.
Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.
The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.
There is an 85.5 linear foot unprocessed addition to this collection donated in 2022 that includes artist files, exhibition files, correspondence, audiovisual material, architectural plans, and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Arrangement:
The collection is arranged as 4 series:
Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)
Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)
Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)
Series 4: Unprocessed Addition, circa 1970-2018 (Boxes 53-138, OV 139-146; 85.5 linear feet)
Historical Note:
The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.
Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.
The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.
Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.
Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.
Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich Rückriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.
Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).
Related Material:
Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)
Provenance:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in thre accessions in 2006, 2009 and 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Transcripts
Photographs
Citation:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Quotes and excerpts must be cited as follows: Oral history interview with Zoe Leonard, 2017 May 31-July 7. Archives of American Art, Smithsonian Institution.
An interview with Zoe Leonard conducted 2017 May 31 and July 7, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Finkelstein's home and studio in Brooklyn, New York.
Biographical / Historical:
Zoe Leonard (1961- ) is a photographer and sculptor 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.
Restrictions:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Occupation:
Photographers -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
An interview with Douglas Crimp, conducted 2017 January 3-4, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Crimp's home in New York, New York.
Crimp speaks of growing up in Coeur d'Alene, Idaho; his athleticism in water skiing and ice skating; sibling rivalry as a child; seeing art for the first time at the Seattle World Fair; being closeted and conflicted as a young gay man in 1950s Idaho; attending Tulane University in New Orleans and the culture shock he experienced there; his first year in Tulane's rigorous architecture program and ultimately changing his major to art history; the pageantry of Mardi Gras parades and the gay society he explored; writing an undergraduate paper analyzing Marcel Duchamp's "The Large Glass"; deciding to go to New York City; finding his voice as an art critic while beginning his career at Art News and Art International; his extensive analysis of Joan Jonas; attending Firehouse dances sponsored by Gay Activist Alliance and coming into his sexuality; being a patient of esteemed doctor Dr. Dan William; first learning of the AIDS crisis and epidemic through a New York Times article in 1981 describing a gay cancer; receiving an NEA art critic grant and spending a year in Germany from 1985-86; returning to find friends and acquaintances sick with HIV/AIDS or having died from it; the Dia Conversations; his role as editor of October and bringing queerness and AIDS to the forefront; joining ACT UP; the genesis of October's AIDS double issue in 1987-1988 and its success; how the journal issue changed the course of his career and steered him to teach gay studies and further his work with AIDS activism; the inner workings of ACT UP meetings; the sense of community ACT UP provided and the empowerment everyone felt; noting a sense of personal and professional urgency during the crisis; the timeline of his AIDS writings; his reaction to seeing the AIDS quilt for the first time at the March on Washington; writing to a wide, non-academic audience; his 1988 course at Rutgers University on AIDS video; his complex relationships with Rosalind Krauss and Annette Michelson; the poor coverage of the AIDS epidemic in the media and how it informed his writing; the understanding of the need for safe sex practices and writing "How to Have Promiscuity in an Epidemic;" teaching courses on AIDS at the University of Rochester and how his teaching interest evolved into queer theory and studies; evaluating Warhol's work with a queer lens; writing about his experience with queer life in New York City in the 1970s to counter the condescending conservative narrative; his current writing projects and interests; experience in demonstrations held by ACT UP; and the tremendous communal support he felt during his seroconversion. Crimp also recalls Marilynne Summers (Robinson), Bernard Lemann, Marimar Benetiz, Ida Kohlmeyer, Lynn Emory, Diane Waldman, Betsy Baker, Lucinda Hawkins, Christian Belaygue, Krzysztof Wodiczko, Rosalind Krauss, Joan Copjec, Gregg Bordowitz, Terri Cafaro, Rene Santos, Craig Owens, Fernando Torm, Bill Olander, Richard Elovich, Daniel Wolfe, Hector Caicedo, Lynne Cooke, and Zoe Leonard.
Biographical / Historical:
Douglas Crimp (1944- 2019) was a professor and art critic in New York, New York. Alex Fialho (1989- ) is a curator and arts writer who is the Programs Director for Visual AIDS 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.
Occupation:
Art critics -- New York (State) -- New York -- Interviews Search this
Educators -- New York (State) -- New York Search this
An interview with Alexandra Juhasz conducted 2017 December 19 and 21, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Juhasz's home in Brooklyn, New York.
Juhasz speaks of her commitment to AIDS activism; her intellectual, bohemian, culturally Jewish upbringing; developing her feminism, political consciousness and activism in high school and college; her relationship with James "Jim" Robert Lamb; moving to New York for graduate school in 1986; the beginning of her AIDS activism and video-making practice in the late '80s; reflecting on her privilege and positionality in her activist work; her commitment to making marginal work; Jim Lamb's role in Video Remains, followed by his death and enduring inspiration for her work; the striking and surprising aspects of participating in an oral history; historical and theoretical underpinnings of video-making as an activist strategy and process; making activist video with the WAVE collective; the stakes, challenges, and costs of marginalized communities fighting for self-representation; making activist video with Swarthmore college students; the artistic milieu of New Queer Cinema; producing The Watermelon Woman and recently re-releasing it; moving to Los Angeles and having a period of silence in AIDS activism; returning to AIDS activism by making Video Remains; her ongoing collaborative writing about AIDS with Theodore Kerr; and her most recent projects. Juhasz also recalls Eve Sedgwick, Joe Guimento, Jon Engebretson, Jean Carlomusto, Tom Kalin, Avram Finkelstein, Amber Hollibaugh, Maxine Wolfe, Miguel Prieto, Robert Vasquez-Pacheco, Charles Ludlam, Everett Quinton, Carolyn Lesjak, Yannick Durand, Juanita Mohammed, Sharon Penceal, Aida Matta, Glenda Hasty, Marcia Edwards, Kenrick Cato, Megan Cunningham, Cheryl Dunye, Zoe Leonard, Pato Hebert, Alisa Lebow, Sarah Schulman, Todd Haynes, Ellen Spiro, and others.
Biographical / Historical:
Alexandra Juhasz (1964- ) is an AIDS activist, media maker, and scholar in New York, New York. Theodore Kerr (1979- ) is a writer and organizer 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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate 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:
David S. Rubin papers, 1960-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, circa 1961-2018. Archives of American Art, Smithsonian Institution.
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 26
Type:
Archival materials
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Mouth open, teeth showing (ZL-51-SC) Documentation and Instructions
Collection Creator:
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 26, Folder 24
Type:
Archival materials
Date:
2003
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Extent:
6 Folders
Container:
Box 26, Folder 25-30
Type:
Archival materials
Date:
1992-2002
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27
Type:
Archival materials
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Paula Cooper Gallery Exhibition (Mar. 21 - Apr. 19, 2003)
Collection Creator:
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27, Folder 1
Type:
Archival materials
Date:
2003
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27, Folder 2
Type:
Archival materials
Date:
1993-2001
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Paula Cooper Gallery Exhibition (Oct. 21 - Nov. 25, 2000)
Collection Creator:
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27, Folder 3
Type:
Archival materials
Date:
2000
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27, Folder 4
Type:
Archival materials
Date:
circa 1999-2000
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27, Folder 5
Type:
Archival materials
Date:
2000
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery Search this
Container:
Box 27, Folder 6
Type:
Archival materials
Date:
1998-1999
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.
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:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
