Search Results

Subject:

Caja, Jerome D.  Search this

Type:

Photographs

Date:

1981 or 1982?

Citation:

Jerome Caja in drag at the Florida in Cleveland mail art show at Cleveland State University, 1981 or 1982?. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)16064

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_16064

Collection Creator:

Fine, Jud  Search this

McCarren, Barbara  Search this

Container:

Box 1, Folder 32

Type:

Archival materials

Date:

circa 1973-1979

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.

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:

Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.

See more items in:

Jud Fine and Barbara McCarren papers

Jud Fine and Barbara McCarren papers / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b5fb6666-320c-40d1-94c6-ef19002b1235

EDAN-URL:

ead_component:sova-aaa-finejud-ref60

Creator:

Berman, Wallace, 1926-1976  Search this

Names:

Bengston, Billy Al  Search this

DeFeo, Jay, 1929-1989  Search this

Di Prima, Diane  Search this

Duncan, Robert Edward, 1919-  Search this

Fonda, Peter, 1940-  Search this

Ginsberg, Allen, 1926-1997  Search this

Heinecken, Robert, 1931-  Search this

Herms, George, 1935-  Search this

Hirschman, Jack, 1933-  Search this

Hopper, Dennis, 1936-  Search this

Jess, 1923-  Search this

Johnson, Ray, 1927-  Search this

Jordan, Patricia M., 1937-1989  Search this

Lamantia, Philip, 1927-  Search this

McClure, Michael  Search this

Meltzer, David  Search this

Miller, Henry, 1891-  Search this

Patchen, Kenneth, 1911-1972  Search this

Perkoff, Stuart Z.  Search this

Ruscha, Edward  Search this

Sherman, Donald  Search this

Wieners, John, 1934-  Search this

Extent:

5 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sound recordings

Photographs

Date:

1907-1979

bulk 1955-1979

Summary:

The Wallace Berman papers date from 1907 to 1979 (bulk 1955-1979). The collection measures 5 linear feet and presents a cursory overview of Berman's career as an assemblage artist and poet. The collection contains business correspondence, letters from other artists and writers of the Beat movement, writings by others, scattered artwork by Berman, photographs by Robert F. Heinecken, and sound recordings of poetry readings.

Scope and Content Note:

The Wallace Berman papers, 1907-1979 (bulk 1955-1979), measure 5 linear feet and present a cursory overview of Berman's career as an assemblage artist and poet. The collection is valuable not only for its documentation of the work of Wallace Berman, but for its documentation of the California beat movement of the late 1950s through the early 1970s.

Found are numerous letters, writings, poems, and other published material which portray the thoughts, attitudes, and trends popular in a prominent underground culture which eventually led to radical changes in America and American art. The collection contains business correspondence, letters from other artists and writers of the beat movement, writings by others, scattered artwork by Berman, and photographs by Robert F. Heinecken. In addition, the collection contains files for Berman's mail art publications Semina and S.M.S. Also of note is the large volume of printed material (2.7 feet), much of it in the form of books and other published material. Sound recordings include poets Michael McClure, Kenneth Patchen, David Melzer, and another unidentified writer performing their work.

Arrangement:

The collection is arranged into nine series which generally reflect material type.

With the exception of the letters in Series 1, each series is arranged chronologically. The original arrangement of the letters has been maintained, with a chronological arrangement of miscellaneous business letters and an alphabetical arrangement of the letters from Berman's more prominent colleagues.

Missing Title

Series 1: Letters, 1957-1979, undated (box 1, 0.5 linear feet)

Series 2: Notes from Interview, 1967 (box 1, 1 folder)

Series 3: Writings by Others, 1972, undated (box 1, 6 folders)

Series 4: Artwork, 1956-1976 (box 1, 4 folders)

Series 5: Semina, 1955-1967 (boxes 1-2, 26 folders)

Series 6: S. M. S., 1968 (box 2, 1 folders)

Series 7: Printed Material, 1907-1976 (boxes 2-5, 2.7 linear feet)

Series 8: Photographs, 1956-1976 (box 5, 6 folders)

Series 9: Sound Recordings, 1962-1965 (box 5, 6 folders)

Biographical Note:

Wallace Berman was born in 1926 in Staten Island, New York. In the 1930s, his family moved to the Jewish district in Los Angeles. After being expelled from high school for gambling in the early 1940s, Berman immersed himself in the growing West Coast jazz scene. During this period, he briefly attended the Jepson Art School and Chouinard Art School, but departed when he found the training too academic for his needs.

In 1949, while working in a factory finishing antique furniture, he began to make sculptures from unused scraps and reject materials. By the early 1950s, Berman had become a full-time artist and an active figure in the beat community in Los Angeles and San Francisco. Many art historians consider him to be the "father" of the California assemblage movement. Moving between the two cities, Berman devoted himself to his mail art publication Semina, which contained a sampling of beat poetry and images selected by Berman.

In 1963, permanently settled in Topanga Canyon in the Los Angeles area, Berman began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976.

Provenance:

The Wallace Berman papers were donated by Tosh Berman, Wallace Berman's son, in 1992.

Restrictions:

The collection is open for research. Patrons must use microfilm copy. Use of 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:

Assemblage artists  Search this

Topic:

Works of art  Search this

Poets  Search this

Collage  Search this

Art -- California -- San Francisco Bay Area  Search this

Assemblage (Art)  Search this

Beat generation  Search this

Photography, Artistic  Search this

Genre/Form:

Drawings

Sound recordings

Photographs

Citation:

Wallace Berman papers, 1907-1979 (bulk 1955-1979). Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bermwall

See more items in:

Wallace Berman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973f521c3-2c7a-47d5-8b9a-c53bf766ee89

EDAN-URL:

ead_collection:sova-aaa-bermwall

Creator:

Jordan, Patricia M., 1937-1989  Search this

Names:

Anger, Kenneth  Search this

Beattie, Paul, 1924-1988  Search this

Berman, Wallace, 1926-1976  Search this

Brakhage, Stan  Search this

Cornell, Joseph  Search this

Duncan, Robert Edward, 1919-  Search this

Herms, George, 1935-  Search this

Jess, 1923-  Search this

Jordan, Larry, 1934-  Search this

Snyder, Gary, 1930-  Search this

Extent:

2.4 Linear feet

Type:

Collection descriptions

Archival materials

Illustrated letters

Mail art

Photographs

Date:

1870

1949-1984

Summary:

The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.

Scope and Contents:

The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.

About one-half of the collection consists of correspondence; many items of which could be considered works of art or mail art. There are letters, illustrated letters, photographs, collages, postcards, greeting and holiday cards, and exhibition invitations. Letters are addressed to Patricia Jordan, her husband Larry, and/or daughter Lorna and are from family and friends, including many Beat artists and poets such as Kenneth Anger, Steve Arnold, Paul Beattie, Wallace Berman, Stan Brakhage, Jess Collins, Joseph Cornell (with whom Larry Jordan studied in 1965), Robert Duncan, George Herms, and Gary Snyder. Family letters are from Patricia's parents, sisters, daughter, and husband Larry.

The papers contain a large number of photographs and are primarily portraits taken by Patricia Jordan of friends and family including her husband Larry, daughter Lorna, Geroge Herms, and Wallace Berman. Many of the subjects are not identified. Some photographs are candid snapshots, while others are prints and test prints of images featured in the 1975 exhibition, "A Kind of Beatness," at Focus Gallery in San Francisco.

The remainder of the collection is comprised of scattered writings, exhibition files, printed material, and artwork.

Arrangement:

The collection is arranged as 6 series

Missing Title

Series 1: Correspondence, circa 1950-1977 (1.1 linear feet; Box 1, OV 4)

Series 2: Writings, circa 1959-1970s (0.1 linear foot; Box 2)

Series 3: Exhibition Files, 1962-1978 (0.1 linear foot; Box 2)

Series 4: Printed Material, circa 1920-1984 (0.2 linear feet; Box 2)

Series 5: Photographs, circa 1870-1970s (0.7 linear feet; Box 2-3)

Series 6: Artwork, 1949-circa 1970s (0.2 linear feet; Box 2-3)

Biographical / Historical:

Patricia Jordan (1937-1988) was a photographer and integral part of the Beat circle in San Francisco during the late 1950s and 1960s. Through her photography, she captured intimate portraits of the artists and poets in San Francisco at that time. Patricia Jordan, née Topalian, married Larry Jordan, assemblagist and avant-garde filmmaker, in the late 1950s. They lived in San Francisco, Larkspur, and finally settled in San Anselmo, California. Patricia and Larry Jordan had one daughter, Lorna, born in 1960.

Provenance:

Patricia Jordan donated her papers to the Archives of American Art in 1988.

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.

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:

Photographers -- California -- San Francisco  Search this

Topic:

Beat generation  Search this

Women artists  Search this

Women photographers  Search this

Genre/Form:

Illustrated letters

Mail art

Photographs

Citation:

Patricia Jordan papers, 1870, 1949-1984. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jordpatr

See more items in:

Patricia Jordan papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw985cd4ab0-f55c-4702-bec8-2a3579f6ebd4

EDAN-URL:

ead_collection:sova-aaa-jordpatr

Creator:

Berensohn, Paulus  Search this

Extent:

7.7 Linear feet

9.1 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Sound recordings

Date:

circa 1950-2017

bulk 1976-2010

Summary:

The papers of artist Paulus Berensohn measure 7.7 linear feet and 9.1 GB and date from circa 1950-2017, bulk 1976-2010. The collection documents his career as a poet, ceramic artist, dancer, and educator in Penland, North Carolina, through biographical material, correspondence, writings, teaching files, printed materials, photographs of artwork, and works of art on paper and mail art.

Scope and Contents:

The papers of artist Paulus Berensohn measure 8.6 linear feet and 9.1 GB and date from circa 1950-2017, bulk 1976-2010. The collection documents his career as a poet, ceramic artist, dancer, and educator in Penland, North Carolina, through biographical material, correspondence, writings, teaching files, printed materials, photographs of artwork, and works of art on paper and mail art.

The biographical material series includes digital video and audio interviews as well as a daily planner from the mid-1990s and various awards and resumes.

Correspondence includes letters from notable individuals as well as letters of recommendation. Also found are examples of correspondence art between Berensohn and his artistic community, many the result of workshops on creating envelopes and binding.

Writings include lecture journals Berensohn used to organize his talks, draft manuscripts of books and articles, as well as writings by others including poetry by M.C. Richards. Also included are sound recordings by Berensohn on his tapestry making.

Teaching files include instruction materials and lesson plans for the topics of pottery, movement, journaling, and making envelopes. Also included are materials related to Berensohn's Pebble Ritual, including a sound recording that would have been played during this instruction and ritual.

The printed material series includes various source materials including articles and journals, as well as promotional material for Berensohn's workshops and printed material regarding collaborators and friends.

Photographic material includes printed photographs, snapshots, slides and negatives of the artist, instructional events, nature and artwork. Also included are digital photographs of the same subjects.

Artwork includes works on paper by Berensohn, handmade cards, enveloped and bound booklets, and works by others.

Arrangement:

The collection is arranged in seven series:

Series 1: Biographical Material, circa 1990-2017 (0.2 linear feet; Box 1, 7.21 gigabytes; ER01-ER03)

Series 2: Correspondence, circa 1956-2017 (bulk 1985-2010) (0.8 linear feet; Box 1)

Series 3: Writings, circa 1970-2016 (2.4 linear feet; Boxes 204, 11, 0.072 gigabytes; ER04-ER06)

Series 4: Teaching Files, circa 1970s-2005 (0.3 linear feet; Box 4, 0.152 gigabytes; ER07)

Series 5: Printed Material, circa 1970s-2009 (0.7 linear feet; Boxes 4-5, OV13)

Series 6: Photographic Material, circa 1950-2011 (2.6 linear feet; Boxes 5, 7-12, 1.659 gigabytes; ER08-ER19)

Series 7: Artwork, circa 1980s-2010 (1.7 linear feet; Boxes 5-6, 12, OV14)

Biographical / Historical:

Paulus Berensohn (1933-2017) was a ceramicist, dancer, and arts instructor in Penland, North Carolina.

Berensohn was born Paul Bernsohn in New York City in 1933. Despite being dyslexic as a child, he was accepted into Yale University before dropping out in his first semester to attend Juilliard School, and later Bennington College. While in college, Paulus was finally able to pursue his childhood interest in modern dance and upon returning to New York City studied with Merce Cunningham and performed for Martha Graham.

Berensohn was first inspired to study pottery during a visit to the Land commune, a community of artists near Stony Point, N.Y., where he met the potters Karen Karnes and M.C. Richards. Richards would become a lifelong friend and collaborator. In the late 1960s Berensohn settled at the Penland School of Craft in the Blue Ridge Mountains in North Carolina where he taught workshops in pottery, movement, and journaling. Berensohn purposely avoided becoming a commercial artist, and for years refused to fire his clay works, often returning them to the earth. He became well-known particularly for his pinch pottery technique, and he published the book Finding One's Way with Clay: Pinched Pottery and the Color of Clay in 1972. He travelled extensively throughout the 1990s and early 2000s teaching workshops and lecturing on various topics. Later in his life he lectured frequently on the environmental and ecological philosophical topic of deep ecology, and how it related to his lifelong endeavors in the arts.

Related Materials:

Also found at the Archives of American art is an oral history interview with Paulus Berensohn, 2009 March 20-21, conducted by Mark Shapiro.

Provenance:

Donated in 2017 by Paulus Berensohn Estate via Jon Ellenbogen, executor.

Restrictions:

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 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:

Art teachers -- North Carolina -- Penland  Search this

Dancers -- North Carolina -- Penland  Search this

Ceramicists -- North Carolina -- Penland  Search this

Topic:

Art -- Study and teaching  Search this

Genre/Form:

Interviews

Sound recordings

Citation:

Paulus Berensohn papers, circa 1950-2017, bulk 1976-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.berepaul

See more items in:

Paulus Berensohn papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92dadbebc-2d89-4e97-8155-987a9e6b7785

EDAN-URL:

ead_collection:sova-aaa-berepaul

Creator:

Artists Talk on Art  Search this

Names:

Barnet, Will, 1911-2012  Search this

Bourgeois, Louise, 1911-2010  Search this

Christo, 1935-  Search this

De Niro, Robert, Sr., 1922-1993  Search this

Denes, Agnes  Search this

Goldberg, Michael, 1924-2007  Search this

Jeanne-Claude, 1935-2009  Search this

Longo, Robert  Search this

Mendieta, Ana, 1948-1985  Search this

Morris, Robert, 1931-2018  Search this

Murray, Elizabeth, 1940-  Search this

Neel, Alice, 1900-1984  Search this

Pavia, Philip, 1915-2005  Search this

Sleigh, Sylvia  Search this

Wilke, Hannah  Search this

Wojnarowicz, David  Search this

Extent:

64.4 Linear feet

317.43 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sound recordings

Scrapbooks

Transcripts

Video recordings

Date:

circa 1974-2018

Summary:

The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

Scope and Contents:

The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.

Arrangement:

The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)

Biographical / Historical:

Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.

Provenance:

The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.

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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art critics  Search this

Art dealers  Search this

Art historians  Search this

Artists  Search this

Topic:

Art, American  Search this

Historians  Search this

Genre/Form:

Photographs

Sound recordings

Scrapbooks

Transcripts

Video recordings

Citation:

Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.artitalk

See more items in:

Artists Talk on Art records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c4de66ef-397b-4e6e-9fde-d6deca12fa3a

EDAN-URL:

ead_collection:sova-aaa-artitalk

Creator:

Truck, Fred  Search this

Names:

Des Moines Festival of the Avant-garde (1979)  Search this

Brown, Jean, 1911-1994  Search this

Gibbs, Michael, 1949-2009  Search this

Held, John, 1947-  Search this

Welch, Chuck, 1948-  Search this

Extent:

15.4 Linear feet

Type:

Collection descriptions

Archival materials

Performances (creative events)

Motion pictures

Sound recordings

Video recordings

Date:

1960-2019

Summary:

The papers of multimedia and computer artist Fred Truck measure 15.4 linear feet and date from 1960-2019. Records include biographical material, correspondence including mail art, writings by Truck, project files, rare printed material including artist books and small press publications, artwork, and sound and video recordings. Additionally, a substantial portion of the collection is in electronic format, including Truck's hard drive and software programs developed by him.

Scope and Contents:

The papers of multimedia and computer artist Fred Truck measure 15.4 linear feet and date from 1960-2019. Records include biographical material, correspondence including mail art, writings by Truck, project files, rare printed material including artist books and small press publications, artwork, and sound and video recordings. Additionally, a substantial portion of the collection is in electronic format, including Truck's hard drive and software programs developed by him.

Correspondence and mail art documents Truck's involvement with the mail art network throughout his career and includes letters and mail art from artists including Anna Banana, Michael Gibbs, John Held Jr., Jürgen Olbrich, Lon Spiegelman, Chuck Stake, Chuck Welch, and many others. Also found here is a substantial group of letters from Jean Brown to Truck in which Brown comments on Truck's work, her connections with other artists, and her collecting activities focusing on Fluxus and the avant-garde, for the Jean Brown Archives.

Writings include early short stories, a play, and published articles and artist statements by Truck.

Truck's project files touch on all aspects of his career, including his making of artist books, his involvement in early and developing computer art and software, and his forays into virtual reality. Files also record his involvement in collaborative works of early electronic art including his significant contributions to the Art Com Electronic Network (ACEN), and his collaborations in performance art including The Des Moines Festival of the Avant-Garde, the Electric Bank, and the Performance Bank. Records include motion picture film of events that took place during the Des Moines Festival of the Avant Garde.

Exhibition files document six exhibitions including the group exhibition Almost Warm and Fuzzy (1999), at the Des Moines Art Center, and Here and There: Photography as a Cross-Cultural Mirror (2007), with Mano Tohei in Japan. Other professional activities are documented in files covering Truck's attendance and presentations at conferences and symposiums, on panels, and at the Banff Centre for the Arts where he undertook a residency in 1991. This series and Truck's personal business records also include scattered documentation of consignments, sales, and exhibitions with Vail Giesler/Steven Vail Galleries, and Karolyn Sherwood Gallery.

Printed material includes coverage of Truck's career in press reviews of his work and copies of two of his books, Around the House and The Hot Rod Show. The series also houses Truck's significant collection of rare artist books, artist publications, and small press publications. Additionally, Truck's printed material includes announcements, catalogs, newsletters, postcards, and other printed material for art events, literary press events, and mail art events primarily from the 1970s-1990s, including a substantial group of material from Franklin Furnace.

Artwork by Truck includes digital artwork and Fred Truck's print collection. Photographs include Truck's index to his digital photographs, some of his fine art photographic prints, and a series of snapshots taken of Truck and others on the occasion of La Mamelle Inc./Art Com's donation of its records to Stanford University.

Unprocessed born digital material appears to document Truck's research and practice in computer technology and art over several decades, including the online activities of ACEN. Additional born digital records include programs and software such as Truck's ArtEngine and Bottega.

Arrangement:

With the exception of some unsorted material, papers were generally organized alphabetically across projects, institutions, and individuals by Fred and Lorna Truck before donation to the Archives. Notes on Truck's career and an inventory of the sorted material providing folder labels and broad series types was included with the donation and both were used extensively during arrangement and description of the material. Series were further refined to facilitate access and merged with unsorted material. The collection was arranged as 10 series.

Series 1: Biographical Material, circa 1980s-2017 (Box 1; 3 folders)

Series 2: Correspondence and Mail Art, 1974-2017 (Boxes 1-4; 3.5 linear feet)

Series 3: Writings by Truck, circa 1960s-circa 2000s (Box 4; 0.25 linear feet)

Series 4: Project Files, circa 1960s-2017 (Boxes 4-7, 14, FC 15-16; 4.4 linear feet)

Series 5: Exhibition Files, 1988-2007 (Boxes 8-9; 0.25 linear feet)

Series 6: Other Professional Files, 1988-2001 (Box 9; 0.6 linear feet)

Series 7: Personal Business Records, 1960s-2006 (Box 9; 0.2 linear feet)

Series 8: Printed Material and Artist Books, 1960-2017 (Boxes 9-13; 3.2 linear feet)

Series 9: Artwork by Truck, circa 1990s-circa 2000s (Box 13; 0.15 linear feet)

Series 10: Photographs, 1980s-2019 (Box 13; 0.15 linear feet)

Series 11: Unprocessed Born Digital Material, circa 1970s-circa 2019 (Boxes 18-20; 2.5 linear feet)

Biographical / Historical:

West Des Moines, Iowa, multimedia and computer artist Fred Truck (b. 1946) played a pivotal role in the burgeoning computer art world of the 1970s, was an early and vital participant in the Art Com Electronic Network (ACEN; 1986–1999), one of the first virtual artist communities, and has been active in the mail art network throughout his career. Truck is a sculptor, a photographer, and a creator of artist books, software, and virtual reality artwork.

Born in Mount Pleasant, Iowa, Truck graduated from Iowa Wesleyan College in 1969 with a B.A. and then briefly attended American University in Washington, D.C.. From the mid-1970s to mid-1980s he worked in the printing trade and attended printing school in Ankeny, Iowa, where he was able to print the books he had been writing and making. His work included the offset book Camping Out (1975), and George Maciunas, Fluxus and the Face of Time (1984), in which which used his own Jean Brown Ultrabold typeface.

Truck was a co-founder and systems engineer for the Art Com Electronic Network (ACEN), an artist-built virtual social network established in the early internet era before the development of web-based graphics through which artists communicated and performed in text-based graphics. Truck established a menu-driven structure that would allow easy access to ACEN content invented collectively by Truck and co-founders Carl Loeffler and Anna Couey. In the late 1980s to 1990s Truck developed ArtEngine, a stand-alone software application applying artificial intelligence to graphics, text analysis, and design. His software Bottega was an interactive CD-ROM developed for the Macintosh which allowed users to explore a digital artist's workshop and also introduced users to Analog Engine, a steam-powered visual analog of his ArtEngine software.

Truck is also known for his work with virtual reality and in 1993, with the assistance of programmers, built Labyrinth, a flight simulator based on Leonardo da Vinci's flying machine. The project took place at Carnegie Mellon University under the supervision of Carl Loeffler.

In 1998 Truck created the fictitious Badge of Quality Corporation with Mr. Milk Bottle as it's public representative and himself as president and CEO of the corporation. In 2007 he was commissioned to build a 62" tall steel sculpture of Mr. Milk Bottle dissolving into nature.

Truck became interested in digital photography in 2005 and joined Flickr in 2009, where he continues to post his photographs. Truck is a pioneer in the use of stereographic projections and anaglyph images and describes his work as using digital processing to move his 2-D images into "a 3-D arena via anaglyph techniques, stereograms or 360 720 panoramas."

Provenance:

The collection was donated in 2020, 2021, and 2022 by Fred Truck.

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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Computer artists -- Iowa -- Des Moines  Search this

Multimedia artists -- Iowa -- Des Moines  Search this

Topic:

Mail art  Search this

Fluxus (Group of artists)  Search this

Performance art  Search this

Genre/Form:

Performances (creative events)

Motion pictures

Sound recordings

Video recordings

Citation:

Fred Truck papers, 1960-2019. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.trucfred

See more items in:

Fred Truck papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9735e3576-a15c-4e97-8844-500946f6cb4b

EDAN-URL:

ead_collection:sova-aaa-trucfred

Collection Creator:

Stephen Wirtz Gallery  Search this

Container:

Box 3, Folder 3

Type:

Archival materials

Date:

1996

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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:

Stephen Wirtz Gallery records, 1952-2016. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Stephen Wirtz Gallery records

Stephen Wirtz Gallery records / Series 1: Artist Files / Drew Beattie and Daniel Davidson

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d9bb741b-62a9-4491-bddd-c67b310bfaae

EDAN-URL:

ead_component:sova-aaa-stepgall-ref110

Collection Creator:

Jordan, Patricia M., 1937-1989  Search this

Extent:

1.1 Linear feet (Box 1, OV 4)

Type:

Archival materials

Date:

circa 1950s-1977

Scope and Contents:

Correspondence comprises about one half of the collection. Many items of correspondence border on works of art, or mail art, and include letters, illustrated letters, photographs, collages, postcards, greeting and holiday cards, and exhibition invitations. Letters are addressed to Patricia, Larry, and/or Lorna Jordan from friends and family. Correspondence from friends include many artists and poets including Wallace Berman, Stan Brakhage, Joseph Cornell (with whom Larry Jordan studied in 1965), Robert Duncan, Jess Collins, George Herms, Paul Beattie, Steve Arnold, Gary Snyder, and Kenneth Anger. Some items of correspondence include revealing stories about famous beat poets. Family letters are from Patricia's parents, sisters Joanna Doyle and Dee Beattie (married to Paul Beattie), daughter Lorna, and husband Larry. One file contains corresponce between Patricia and Larry.

Collection 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.

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:

Patricia Jordan papers, 1870, 1949-1984. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jordpatr, Series 1

See more items in:

Patricia Jordan papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974994ef2-53df-43dd-b6f0-1a3e386aa9fa

EDAN-URL:

ead_component:sova-aaa-jordpatr-ref12

Creator:

Dreva, Jerry  Search this

Subject:

Dreva, Jerry  Search this

Type:

Correspondence

Date:

1978 March

Citation:

Mail art from unifentified sender to Jerry Dreva, 1978 March. Jerry Dreva papers, 1964-1984. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24944

See more items in:

Jerry Dreva papers, 1964-1984

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24944

Creator:

Evans, John, 1932-  Search this

Names:

Ackerman, Blaster Al, 1939-2013  Search this

Arenella, Roy  Search this

Banana, Anna, 1940-  Search this

Behmenburg, Christa  Search this

Bleus, Guy  Search this

Caldera, Leslie  Search this

Chew, C. T. (Carl T.), 1948-  Search this

Cleveland, Buster, -1998  Search this

Cohen, Ryosuke, 1948-  Search this

Crozier, Robin  Search this

D'Angelo, Jerome, D.  Search this

Dorenfeld, Morris David  Search this

Dreva, Jerry, 1945-1997  Search this

Evans, Donald  Search this

Evans, James  Search this

Evans, Walt  Search this

Gaglione, Bill  Search this

Held, John  Search this

Higgins, E. F., 1949-  Search this

Janssen, Ruud, 1959-  Search this

Johnson, Ray, 1927-  Search this

Jorgenssen, Tod  Search this

Kasnowski, Chester  Search this

Kaufmann, Peter W.  Search this

Küstermann, Peter, 1950-  Search this

Leigh, Michael  Search this

Miller, David M.  Search this

Morilla, Robert  Search this

Pittore, Carlo  Search this

Plunkett, Edward M. (1922-2011)  Search this

Random, S. (Steven), 1954-  Search this

Rocola, Robert  Search this

Rosenberg, Marilyn K.  Search this

Senser, Andreas, 1942-1989  Search this

Spiegelman, Lon  Search this

Tavenner, Pat  Search this

Tisa, Benedict J.  Search this

Tostada, John  Search this

Trianfellos, Marya  Search this

Von der Burg, Sonja  Search this

Warren, Robert Penn, 1905-  Search this

Artist:

Kawara, K. (Japanese)  Search this

Extent:

7.1 Linear feet

1 Gigabyte

Type:

Collection descriptions

Archival materials

Gigabytes

Illustrated letters

Date:

1957-2012

bulk 1970-2012

Summary:

The papers of John Evans, 1957-2012, bulk 1970s-2000, measure 7.1 linear feet and 1.00 GB and document the collage artist's involvement with mail art. The vast majority of letters are from mail artists, often with embellished envelopes and include and a digital version of Collected Essays by John Held, Jr. Writings include a thesis about mail art by Marya Trianfellos. Subject files concern art stamps, mail art shows and events, Ray Johnson's death and memorial tributes to him. The most thoroughly documented mail art project, "John Evans Fake Collages," is of unknown origin. In addition, there are a few items relating to projects conceived by Evans and more substantial documentation of projects initiated by Christina Behmenburg, Leslie Caldera, Ryosuke Cohen, Peter W. Kaufmann, Angela and Peter Netmail.

Scope and Contents:

The papers of John Evans, 1957-2012, bulk 1970s-2000, measure 7.1 linear feet and 1.00 GB and document the collage artist's involvement with mail art. The vast majority of letters - many with embelllished envelopes - are from mail artists. There is also a digital version of Collected Essays by John Held, Jr. Writings include a thesis about mail art by Marya Trianfellos. Subject files concern art stamps, Ray Johnson's death and subsequent memorial tributes, mail art shows and other events. The most thoroughly documented mail art project, "John Evans Fake Collages," is of unknown origin. In addition, there are a few items relating to projects conceived by Evans, and more substantial documentation of projects initiated by Christina Behmenburg, Leslie Caldera, Ryosuke Cohen, Peter W. Kaufmann, Angela and Peter Netmail.

Evans's mail art correspondents include: Dr. Al Ackerman (Blaster), Anna Banana (Banana Productions), Roy Arenella, Guy Bleus (The Administration Centre 42.292), buZ blurr, Richard C., Leslie Caldera (Creative Thing), Carl T. Chew, Buster Cleveland, Ryosuke Cohen, Chuck Welch (Cracker Jack Kid), Robin Crozier, Jerome D'Angelo, Irene Dogmatic (Dogmmystique/Dogmatique Misticky), Morris David Dorenfeld, Jerry Dreva, Donald Evans, James Evans, Walt Evans, Fa Ga Ga Ga, A. M. Fine, Bill Gaglione (Picasso Gaglione), John Held, Jr., HICO, E. F. Higgins, III, Rudd Janssen, Dianne Jenkins, Ray Johnson, Tod Jorgenssen, Chester Kasnowski, On Kawara, Gene Laughter, Michael Leigh (A.1. Waste Paper Co., Ltd.), David M. Miller, Minoy, Mohammed, Robert Morilla, Art Nahpro (Paul Jackson), Carlo Pittore, E. M. Plunkett, Steve Random, Robert Rocola, Marilyn K. Rosenberg, Andreas Senser, Skooter, Smegma (Scarlatina Lust, Alex Torrid Zone Igloo, Pardon My Myrth, Alexander Josef Hirka), D. C. spaulding, Lon Spiegelman, John Tostada (Tostdada, Oh Boy Mailart!), Pat Tavenner (Mail Queen), Third Story, Benedict J. Tisa, Sonja Van der Burg (Afzed), Whitson (Peter Whitson Warren), and Robert Warren.

Arrangement:

The collectionis arranged as 4 series:

Missing Title

Series 1: Letters, 1957-2012 (Boxes 1-6, OV 8; 5.3 linear feet, ER01; 0.111 GB)

Series 2: Writings, 1983-1991 (Box 6; 0.2 linear feet)

Series 3: Subject Files, 1970s-2012 (Boxes 6-7; 0.8 linear feet, ER02-ER03; 0.889 GB)

Series 4: Mail Art Projects, 1986-2012 (Box 7, OV 8; 0.8 linear feet)

Biographical / Historical:

John Evans (1932-2012), a collage artist in New York City, was an active participant in mail art.

After attending the Art Institute of Chicago, Evans moved to New York in 1963. He was a member of the Neo-Dada community and interested in Fluxus events. Meeting Ray Johnson and a few other mail artists at a party introduced Evans to mail art and led to many long term friendships.

Between 1964 and 2000, Evans produced a daily collage of found objects collected from the street, pasted onto a sketchbook page, enhanced with watercolor, and stamped with the date. Each collage included the image of a duck's head known as "Ursuline Duck," a reference to his friend Ursule Molinaro (1914-2000). The collages were, in effect, a diary that recorded everyday life and referenced his exhibition activities. John Evans: Collages, a monograph published in 2004, reproduced 364 collages representative of his style over time. His largest mail art project, "Fake John Evans Collages," spanned several years and was in progress at the time of his death.

John Evans died on October 5, 2012 following a heart attack.

Provenance:

Donated by Margaret Evans, widow of John Evans, in 2013.

Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Mail art  Search this

Collage  Search this

Genre/Form:

Illustrated letters

Citation:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.evanjohn

See more items in:

John Evans papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95840ac3f-0fde-4764-affe-a809cfb31ba4

EDAN-URL:

ead_collection:sova-aaa-evanjohn

Collection Creator:

Evans, John, 1932-  Search this

Extent:

5.3 Linear feet (Boxes 1-6, OV 8)

0.111 Gigabytes (ER01)

Type:

Archival materials

Gigabytes

Date:

1957-2012

Scope and Contents:

Most letters are from other mail artists. Many are about correspondence art and the artists' careers. Letters from some artists who became close friends focus on personal and family news. There is a digital version of Collected Essays by John Held, Jr. Other letters contain invitations to exchange work, exhibit, or participate in mail art projects. Enclosures are frequent and include found objects, a wide variety of printed materials, and a few small artifacts.

Arrangement:

Letters are alphabetized by name of sender. Miscellaneous files for each letter of the alphabet contain letters from correspondents represented by fewer than 5 letters; within each folder, material is in rough alphabetical order.

Throughout this series, envelopes precede their contents and the address sides of post cards and aerograms face upward. Letters without envelopes, empty envelopes, and separated enclosures are placed at the ends of folders. Researchers must take care to maintain the order and should notify reference staff if the arrangement appears to have been disturbed.

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.evanjohn, Series 1

See more items in:

John Evans papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9da29f737-0ba1-4c5b-a0a7-b155fd3de6f9

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref1

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 6, Folder 7-8

Type:

Archival materials

Date:

1990-1991

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 2: Writings

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90f7a6a32-dc35-498f-a12c-d0249ee0b8c6

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref103

Collection Creator:

Evans, John, 1932-  Search this

Extent:

Includes 1 sound cassette

Container:

Box 6, Folder 16-20

Type:

Archival materials

Date:

1970s-2000s

undated

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9201238ae-40f1-4b5b-af99-46c30f51b74d

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref106

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 7, Folder 1-2

Type:

Archival materials

Date:

2000s

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fa957270-079e-4b12-a8a0-2b57bb383f80

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref107

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 7, Folder 11-14

Type:

Archival materials

Date:

2007-2011

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 4: Mail Art Projects

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw960d2d201-1bd3-4089-8674-d988cffd1c0a

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref114

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 7, Folder 15-18

Type:

Archival materials

Date:

2008-2012

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 4: Mail Art Projects

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96c4b9312-002e-4ee0-ae9c-cfe114bfc880

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref116

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 7, Folder 19-21

Type:

Archival materials

Date:

2006-2012

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 4: Mail Art Projects

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ec0085bb-5971-4214-9448-16afbe0fc88b

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref118

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 7, Folder 5

Type:

Archival materials

Date:

1986-1994

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 4: Mail Art Projects

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94afb6529-aa39-4ac4-97eb-0db0a225dda4

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref120

Collection Creator:

Evans, John, 1932-  Search this

Container:

Box 7, Folder 6

Type:

Archival materials

Date:

2001

Collection Restrictions:

Use of original material 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:

John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.

See more items in:

John Evans papers

John Evans papers / Series 4: Mail Art Projects

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw923414197-630f-4b6d-b0dd-3d759a982989

EDAN-URL:

ead_component:sova-aaa-evanjohn-ref121