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Jerome Caja in drag at the Florida in Cleveland mail art show at Cleveland State University

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
Online Media:

Mail Art

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

Wallace Berman papers

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
Online Media:

Patricia Jordan papers

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
Online Media:

Paulus Berensohn papers

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
Online Media:

Artists Talk on Art records

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
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Online Media:

Fred Truck papers

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

Mail Art Interview

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.
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

Correspondence

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

Mail art from unifentified sender to Jerry Dreva

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
Online Media:

John Evans papers

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

Letters

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

Thesis, "A Mail Art Experience" by Marya Trianfellos (M.A., New York University, 1990)

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

Mail Art Shows and Events

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

Mail Art Shows and Events

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

"Volume 1: John Evans Fake Collages"

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

"Volume 2: John Evans Fake Collages"

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

"John Evans Fake Collages"

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

Evans, John, Miscellaneous Mail Art Projects

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

Behmenburg, Christa, "rats and mice - think twice"

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

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