An interview of Jackie Ferrara conducted 2009 January 16-February 13, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at the Ferrara's home, in New York, New York.
Ferrara speaks of growing up in Detroit, Michigan; her early interest in mathematics and its ever present role in her work; attending Michigan State University for one year; taking fashion drawing classes at Wayne State University and her supposed lack of drawing skills; an early interest in pottery and leather making; moving to New York City in 1951 on a night train from Detroit; working at the Henry Street Playhouse and its influential role on her art; her relationship with Robert Beauchamp and her friendship with many artists in Provincetown, Massachusetts; early works, including the cotton batting works and the rope works, most of which were destroyed; her dislike of traveling and her use of imagination for inspiration; participating in the performances and happenings of Claes Oldenburg; her friendship with Robert Smithson and his influence on her later works; working with Max Protetch; never teaching art because she herself did not attend art school; her creation process of her wood and stone pieces, including their conception in early drawings; having a positive attitude towards her pieces being rebuilt because of decay; quickly moving into public art in the late 1970s, early 1980s; living and working in the same loft in New York for over 40 years; the helpful role the women's movement played in her successful career though she did not participate; receiving art grants to enable her to work for a year or two without having to find an odd job to support herself; various public art projects around the country, how they came to be, creating the works and their significance to her. Ferrara also recalls Charlotte Tokayer, Don Ferrara, Alvin Nikolai, Richard Bellamy, Mary and Paul Frank, Miles and Barbara Forst, Sally Gross, Hans Hofmann, Robert Motherwell, Helen Frankenthaler, Nat Halprin, Lucas Samara, Letty Lou Eisenhauer, James Rosenquist, Marcia Marcus, Charles Addams, Eva Hesse, Frank Gallo, Tony DeLap, Dorothea Rockburne, Time Doyle, Sol LeWitt, Donald Judd, Carl Andre, Nancy Graves, Marty Greenbaum, Abe Sachs, Mel Bochner, Jan Groover, Alice Aycock, Alice Adams, Jackie Windsor, Scott Burton, Siah Armajani, Michelle Stuart, Lucy Lippard, Zaha Hadid, Max Hutcinson, Andrea Blum, and others.
Biographical / Historical:
Jackie Ferrara (1929- ) is a sculptor. Ferrara works with the built environment in her designs for courtyards and architectural structures.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Audio: ACCESS RESTRICTED; Use requires written permission.
Occupation:
Sculptors -- New York (State) -- New York Search this
Draftsmen (artists) -- New York (State) -- New York Search this
The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 17 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.
Scope and Contents:
The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 20 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.
Interviews with Artists consist of 17 interviews by Dorothy Seckler with artists including Elise Asher, Fritz Bultman, Judith Rothschild, Giorgio Cavallon, Marcia Marcus, Jean Cohen, William Freed, Lillian Orlowsky, Shirley Gorelick, Hans Hofmann, Wolf Kahn, Raoul Middleman, Robert Motherwell, Helen Frankenthaler, Olin Orr, Larry Rivers, Alvin Ross, George Segal, Jean Tinguely, and Niki de Saint Phalle. Several interviews are with two subjects at once. Many of these interviews were conducted in Provincetown, Massachusetts, and are referenced in her introduction to the catalog for the exhibition Provincetown Painters, 1890's – 1970's held at the Everson Museum and the Provincetown Art Association in 1977, and several interviews were conducted as research for articles Seckler wrote and published in Art in America. Also found are group interviews on specific subjects, including an interview with Julio de Diego, Marion Greenwood, Fletcher Martin, and Anton Refregier on the Woodstock art colony, and with Sally Avery, Boris Margo, Jan Gelb, Margit Beck and others on Op Art. In September of 1966, Seckler recorded some of Andy Warhol's Exploding Plastic Inevitable in Provincetown, which includes a performance by Nico and the Velvet Underground, as well as an interview with one of the band's members, John Cale. A single interview conducted by John Jones of George Segal appears to have been copied by Seckler to prepare for her April 1966 interview of Segal.
Broadcast materials include sound recordings of television and radio broadcast programs taped off the air presumably by Seckler. Most programs are interviews, with subjects including Maxim Karolik, James Thomas Flexner, R. Buckminster Fuller, Merce Cunningham, Alex Katz, Phillip Pearlstein, Roslyn Drexler, Barnet Newman, Saul Bellow, Ben Shahn, Marshall McLuhan, Isamu Noguchi, Andrew Wyeth, and William H Whyte. Other recordings include documentary programs related to contemporary art, book reviews, and a comedy performance with actor Peter Ustinov.
Photographs include 12 color slides from October of 1967 that appear to have been shot in Provincetown, Mass. Subjects include Dorothy Seckler and two other unidentified women.
Arrangement:
This collection is arranged in 3 series.
Series 1: Interviews with Artists, 1962-1976 (1 linear foot; Box 1)
Series 2: Broadcast Materials, 1962-1972 (0.8 linear feet; Boxes 2-3)
Series 3: Photographs, 1967 (1 folder; Box 3)
Biographical / Historical:
Dorothy Gees Seckler was an art historian, critic, journalist, and artist active in New York City and Provincetown, Mass. Born Dorothy Elizabeth Gees in Baltimore, MD in 1910, she completed the program in Advertising Design at Maryland Institute College of Art in 1931 and was awarded a traveling scholarship upon graduation, which she used to study in Europe. She later received a masters degree from Columbia University in Art History and Art Education, and worked during World War II as head of an illustration unit in the Army's Judge Advocate General's office.
After the war, she worked at the Museum of Modern Art as an art historian in the education office until 1950, when she began writing for ARTnews magazine, reviewing New York gallery shows for its "Gallery Notes" section, and exploring painters' processes in the "Paints a Picture" series. She later served as contributing editor for Art in America from the late 1950s through the late 1960s, where her published work included features on Robert Rauschenberg and Louise Nevelson, as well as broad surveys of contemporary art such as "A Folklore of the Banal" (Winter 1962) and "Audience is His Medium" (February 1963). She taught at New York University and City College of New York, and wrote a long essay on the history of the Provincetown's art colony, published in Art in America in 1959, and later updated for the catalog for the 1977 exhibition Provincetown Painters, 1890's - 1970's. Between 1962 and 1968, she conducted thirty oral history interviews for the Archives of American Art and served as one of its manuscript collectors.
Throughout her career as a writer and critic, Seckler painted and worked in collage, and her work was shown in several Provincetown galleries, and in the Provincetown Art Center and Museum. She married Jerome Seckler in 1937 and they had one son. Seckler received the American Federation of Arts Award for outstanding writing in the field of American Art in 1952. She died in 1994.
Related Materials:
Other related materials in the Archives' collections include several additional interviews conducted by Seckler for its oral history program, a full recording and transcript of the August 28, 1963 symposium on pop art, for which brief sound notes are found in this collection, and a transcript of the John Jones interview with George Segal in the John Jones interviews with artists collection, 1965 Oct. 5-1965 Nov. 12.
Separated Materials:
In 2012, several duplicates of recordings Seckler made for the Archives of American Art's oral history program were removed from the collection including: Peter and Riva Dechar (1965 and 1967), David von Schlegell (1967), Joan Mitchell (1965), Theresa Schwartz (1965), Paul Burlin (1962), Ibram Lassaw (1964), Jack Tworkov (1962), Allan Kaprow (1968), Edwin Dickinson (1962), Nathan Halper (1963), Louise Nevelson (1964-1965), Karl Knaths (1962), and Stephen Greene (1968). Joan Mitchell's 1965 oral history interview remains with the Seckler collection because reel 2 of this recording also contains a discussion of optical art that belongs in the Seckler collection. The oral history interview has been digitized and is available through the Archives' oral history program.
Provenance:
The bulk of the collection, including the interviews with the Provincetown artists, was donated 1995 by Don Seckler, son of Dorothy Seckler. The source of acquisition for the Seckler interviews with the Woodstock artists is unknown.
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:
Art historians -- New York (State) -- New York Search this
Black and white photographs by Michael Katz of works by Linda Lindeberg, Marcia Marcus, David Smith, and others. Also works from the collections of Lee Ault, Robert Boltt, Tishman, and photography done for the Museum of Modern Art and several commercial galleries.
Biographical / Historical:
Michael Katz is a photographer from New York, N.Y. Specialized in art photography.
Provenance:
Donated 1995 by Michael Katz.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Photographers -- New York (State) -- New York Search this
Correspondence with artists; general business correspondence, 1953-1969; legal documents (some pertaining to owner Charles Alan's separation from the Downtown Gallery and establishment of the Alan Gallery); business records, including price lists, inventories, loan agreements, purchase and consignment records, receipts for purchases, and general ledgers; a card file of gallery stock; two card files recording purchases; two scrapbooks of printed materials on gallery exhibitions; paid bills, statements, tax and insurance records; and photographs (reel 1400) of Landau-Alan Gallery stock, and of Alan Gallery artists.
Correspondents include: Paul Adkins, Oliver Andrews, Richard Boyce, William Brice, Paul Burlin, Carroll Cloar, George M. Cohen, Bruce Conner, Robert Cremean, Robert D'Arista, David Fredenthal, Louis Guglielmi, Richard Hunt, Herbert Katzman, William King, Jonah Kinigstein, Robert Knipschild, John Latham, Jacob Lawrence, Wesley Lea, Julian Levi, Jack Levine, Edmund Lewandowski, Robert Malaval, Marcia Marcus, Walter Meigs, Edward Millman, George L.K. Morris, Robert C. Morris, Edward Moses, Gastone Novelli, Yutaka Ohashi, Nathan Oliveira, Charles Oscar, Eileen Pendergast, Robert Preusser, Easton Pribble, Mitchell Siporin, Jack Squier, Reuben Tam, John Thomas, Robert S. Titus, Bryan Wilson, and Karl Zerbe.
Included in the collection are photographs of the following artists/and or works of art: Paul Adkins, Aubrey Beardsley, Richard Boyce, Robert Cremean, William Dole, Edwin Hewitt Collection, John Denman Collection, Paul Klee, Gustave Klimt, Jack Levine, E. L. T. Mesens, Elie Nadelman, Charles Oscar, Arnaldo Pomodoro, Eileen Prendergast, Joseph Stella, and Clara McDonald Williamson.
A print of the Bruce Conner film "A Movie" (1958) also available on videocassette (VHS), is also found in the collection.
Arrangement:
Artist correspondence is arranged alphabetically; business correspondence is arranged chronologically.
The gallery stock card file is arranged alphabetically by artist; one of the two card files listing works purchased from the Alan Gallery is arranged alphabetically by artist; the other is arranged alphabetically by purchaser.
Biographical / Historical:
The Alan Gallery was established by Charles Alan in 1952. In 1966, Felix Landau purchased the gallery and renamed it the Landau-Alan Gallery. After Alan left in 1969, the name was changed to the Felix Landau Gallery.
Provenance:
Donated 1971 and in 1973 by Charles Alan the founder of the Alan Gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Photographic negatives, transparencies of works of art, paid bills, statements, and tax and insurance records are not microfilmed.
Marcia Marcus and Dorothy Gees Seckler. Interview with Marcia Marcus, 1967 August 28. Dorothy Gees Seckler Collection of Sound Recordings Relating to Art and Artists, 1962-1976. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Marcia Marcus, 1975 Oct. 30-Nov. 3. Archives of American Art, Smithsonian Institution.
The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork. Extensive personal and professional correspondence is with her husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings.
Scope and Contents:
The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork.
Biographical material includes address books, diplomas, certificates, identification documents, resumes, and other material.
Extensive personal and professional correspondence is with Marcia Marcus's husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout.
Interviews include 2 sound cassettes and a few transcripts. Writings by Marcia Marcus consist of diaries, artist statements, notebooks, notes, lists and poems. There are also a few writings by others about Marcus. Project files mostly consist of grant applications, a mail art project, information on exhibitions curated by Marcus, and other material.
Personal business records include receipts, ledgers, prices lists, leases, and other documentation. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings. There are eight sketchbooks and artwork, mostly in the form of small sketches and watercolors.
Arrangement:
The collection is arranged as ten series
Missing Title
Series 1: Biographical Material, 1928-2000s (0.7 linear feet; Box 1, OV 9)
Series 2: Correspondence, 1948-2016 (4.0 linear feet; Box 1-5)
Series 3: Interviews, 1970s-1980 (3 folders; Box 5)
Series 4: Writings, 1970s-2014 (0.3 linear feet; Box 5)
Series 5: Project Files, 1962-circa 2000 (0.2 linear feet; Box 5-6)
Series 6: Personal Business Records, 1960s-2000s (0.3 linear feet; Box 6)
Series 7: Printed Material, 1950s-1990s (0.8 linear feet; Box 6-7, OV 10-11)
Series 8: Photographic Material, 1950s-1990s (1.3 linear feet; Box 7-8)
Series 9: Sketchbooks, circa 1954-2000 (0.3 linear feet; Box 8)
Series 10: Artwork, 1950s-1990s (0.4 linear feet; Box 8, OV 12)
Biographical / Historical:
Marcia Marcus (1928- ) is a figurative painter working in New York, New York.
Born in New York City, Marcus earned her bachelor's degree in fine arts from New York University in 1949, studied at the Cooper Union from 1950-1952, and studied at the Art Students League with Edwin Dickinson in 1954. In 1951, Marcus exhibited her first painting in a group exhibition at Roko Gallery in New York City. Since then, she has been the subject of over a dozen solo shows and participated in many group exhibitions.
Marcus had an exhibition of self-portraits (1960) at the Delancey Street Museum, where the artist Red Grooms, one of her many friends in the art world, was one of the founders. She also directed and performed a "Happening" there. In 1961, Marcus studied Byzantine and fresco painting in Florence, Italy. She then traveled to France from 1962-1963 on a Fulbright fellowship, and was the recipient of many other grants throughout her career including a Esther and Adolph Gottlieb grant and a National Endowment for the Arts grant. Marcus has taught as a visiting artist at a number of colleges and universities, including Vassar College, New York University, and Purdue University.
Marcus married Terrence (Terry) Barrell in 1959 and they have two children, Kate and Jane.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Marcia Marcus conducted by Paul Cummings in 1975.
Provenance:
Marcia Marcus donated her papers in multiple increments between 1974-1984. Her daughter Kate Prendergast donated additional papers in 2016.
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 -- New York (State) -- New York Search this
Topic:
Painters -- New York (State) -- New York Search this
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
One sketchbook is disbound and includes reference snapshots.
Collection 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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
