The papers of New York City and Gainesville, Florida based painter Arnold Mesches (1923-2016) measure 13.6 linear feet and date from 1939-2015. The collection documents Mesches' politically-engaged career and work process through biographical material, correspondence, writings, gallery and exhibition files, project files, subject files, teaching files, personal business records, printed material, and photographic material. Project files comprise a bulk of the collection and include grant files, activism files, project notebooks, and over 100 art project files containing drawings, source material, and photographic material for individual artworks.
Scope and Contents:
The papers of New York City and Gainesville, Florida based painter Arnold Mesches (1923-2016) measure 13.6 linear feet and date from 1939-2015. The collection documents Mesches' politically engaged career and work process through biographical material, correspondence, writings, gallery and exhibition files, project files, subject files, teaching files, personal business records, printed material, and photographic material.
Biographical material includes addresses, family papers, interview transcripts, life documents, identification cards, a residency file, resumes, biographical statements, and travel records. Correspondence is both personal and professional in nature and is with wife, novelist Jill Ciment, family, friends, artists, museums, galleries, and magazines. Notable correspondents include Arthur Danto, Robert Storr, June Wayne, and Howard Zinn. Single items of correspondence are from Kerry James Marshall, Henry Miller, Robert Motherwell, and Ben Shahn.
Writings include manuscripts of unpublished novels and short stories, autobiographical writings, recordings of dreams, introductions to artists, a journal, memorials, project proposals, statements on art and politics, notes from Mesches' psychotherapy sessions, as well as numerous outlines, fragments, and notes.
Gallery and exhibition files document dozens of Mesches' gallery and museum exhibitions, including his 2013 retrospective at Miami Dade College, Arnold Mesches: A Life's Work.
Project files consist of grant files, activism files, project notebooks, and art projects. Activism files pertain to the Los Angeles Peace Tower, Arts Coalition for Freedom of Expression, and the pardon of muralist David Alfaro Siqueiros. Project notebooks contain preliminary sketches, technical notes including color palette and paint formulas, Polaroids of in-process works, and source material. Over 100 art project files further detail individual works, and include preliminary drawings in pen, pencil and charcoal, as well as collages, source material, and Polaroids. Several of Mesches' serial works are well represented here, including Anomie, Comings Attractions, and The FBI Files.
Subject files consist of a sequence of alphabetical files maintained by Mesches as reference material. Teaching files document posts at New York University and other institutions and include course descriptions, lists of materials, course notes, newsletters, reference articles, and correspondence.
Personal business records include documentation related to donations, Mesches' estate, gallery representation, inventories, properties, artwork shipment, supplies, and website design.
Printed material documents Mesches' career as both political illustrator and fine artist. Found here are brochures, leaflets, and Frontier and The Nation magazines featuring illustrations by Mesches. Calendars, newsletters, clippings, announcements, exhibition catalogs, and press releases document Mesches' gallery and museum exhibitions.
Photographic material includes hundreds of photographic prints, contact sheets, slides, and negatives of Arnold Mesches, Mesches' family and friends, studio, and artworks from his seven decade long career.
Arrangement:
The collection is arranged as ten series.
Missing Title
Series 1: Biographical Material, 1960s-2012 (0.2 linear feet, Box 1)
Series 2: Correspondence, 1949-2014 (0.8 linear feet, Box 1)
Series 3: Writings, 1958-2013 (1.1 linear feet, Box 2-3)
Series 4: Gallery and Exhibition Files, 1979-2015 (0.8 linear feet, Box 3)
Series 5: Project Files, 1950s-2014 (5.3 linear feet, Box 3-8, 15, OV 16-19)
Series 6: Subject Files, 1939-2000s (1.3 linear feet, Box 8-9)
Series 7: Teaching Files, 1992-2004 (0.2 linear feet, Box 9-10)
Series 8: Personal Business Records, 1983-2015 (0.5 linear feet, Box 10)
Series 9: Printed Material, 1950s-2000s (1.5 linear feet, Box 10-11, 15, OV 20)
Series 10: Photographic Material, 1940s-2010s (1.9 linear feet, Box 12-15)
Biographical / Historical:
Arnold Mesches (1923-2016) was a painter in New York, New York and Gainesville, Florida. Born in the Bronx and raised in upstate Dunkirk, New York, Mesches studied advertising design in high school before moving to Los Angeles in 1943 to study art at the Jepson Art Institute and Chouinard Art Institute.
Mesches began his career as a scenic painter for Hollywood while honing his own style as a fine artist and illustrator influenced by the political landscape and social realism. As a result of his political activity and involvement in the Communist Party, the FBI opened a file on Mesches in the 1950s, and began tracking his activities. The file, obtained by Mesches through a Freedom of Information Act request in 1999, became the basis for one of his most famous series, The FBI Files.
Throughout his life, Mesches was a socially-oriented figurative painter working in an expressionist style, mining the daily news and the current political landscape for subject matter, including the Cold War, the trial of Julius and Ethel Rosenberg, and the Vietnam War. Mesches was also one of the organizers of the 1966 Peace Tower artwork in Los Angeles and contributed illustrations to Frontier magazine throughout the 1950s, and The Nation magazine from 1960s-1980s.
In the early 1980s, Mesches relocated to New York City with wife, novelist Jill Ciment.
Mesches held several teaching posts over the course of his career, including at the New School, New York University, and the University of Florida.
Provenance:
Donated to the Archives of American Art in 2017 by Jill Ciment, Mesches' widow.
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.
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:
Arnold Mesches papers, 1939-2015. Archives of American Art, Smithsonian Institution.
Gallery and exhibition files date from 1979-2015 and pertain to dozens of Mesches' gallery and museum exhibitions, including his 2013 retrospective at Miami Dade College, Arnold Mesches: A Life's Work. Items include correspondence, pricelists, checklists, floorplans, loan agreements, shipping details, catalog essays, and printed material.
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:
Arnold Mesches papers, 1939-2015. Archives of American Art, Smithsonian Institution.
The papers of Cuban born Miami painters Demi and Arturo Rodríguez measure 6.42 linear feet and 12.79 GB and date from 1957 to 2016. The collection documents Arturo Rodríguez's career, travels, and childhood as well as the artwork of Demi, Rodriquez's wife and partner, and their relationship. Included are biographical materials, correspondence, interviews, writings, project and exhibition files, personal business records, printed and digital material, artwork, and photographic materials.
Scope and Contents:
The papers of Cuban born Miami painters Demi and Arturo Rodríguez measure 6.42 linear feet and 12.79 GB and date from 1957 to 2016. The collection documents Arturo Rodríguez's career, travels, and childhood as well as the artwork of Demi, Rodriquez's wife and partner, and their relationship. Included are biographical materials, correspondence, interviews, writings, project and exhibition files, personal business records, printed and digital material, artwork, and photographic materials.
Personal and professional correspondence is with artists, curators, galleries, museums, art historians, and collectors, including Shifra M. Goldman, Cris Hassold, Helen L. Kohen, collectors Judith and Bill Ladner, Minuca Villaverde, and others. Interviews include video and sound recordings of Demi and Arturo discussing lives and artwork, as well as one interview with Carlos Verdecia Jr. about Arturo. Writings include statements on artwork and autobiographical essays, lectures and talks, and notes. Project files concern the exhibitions The Rage of Children (1991), Walls & Murals: Mike Glier, Arturo Rodríguez & David Wojnarowitz, and Far from Cuba. Other documentation includes a project overview for the Joan Mitchell Foundation, artwork for music album covers, and plans for a retrospective of Demi and Arturo's work that was cancelled due to lack of support.
Personal business records consist of files for donations, financial investments, gallery consignments, receipts, sales lists, and collector information. Printed material includes clippings, exhibition announcements and catalogs, journal and magazines, posters, programs, and several children's books illustrated by Arturo using the pseudonym Hieronimus Fromm. Artwork includes drawings and comics by Arturo, collages, drawings and sketches, and 30 sketchbooks belonging to Demi and Arturo. Photographic materials depict Demi and Arturo together and with others, Demi and Arturo's home and studio, exhibitions, still lives, travel, and works of art.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1957-2013 (Box 1; 4 folders)
Series 2: Correspondence, 1978-2015 (Box 1; 0.8 linear feet, ER01; 0.023 GB)
Series 3: Interviews, 1991-2010 (Boxes 1-2; 0.5 linear feet, ER02-ER07; 6.01 GB)
Series 4: Writings, circa 1975-2015 (Box 2; 0.3 linear feet, ER08; 0.012 GB)
Series 5: Project and Exhibition Files, 1986-2015 (Box 2; 0.8 linear feet, ER09-ER11; 0.607 GB)
Series 6: Personal Business Records, 1988-2012 (Boxes 2-3; 0.4 linear feet; ER12; 0.007 GB)
Series 7: Printed Material, 1979-2016 (Boxes 3-4, 7, OV 8; 0.5 linear feet)
Series 8: Artwork, 1963-2016 (Boxes 4-5, 7, OV 8; 1.5 linear feet)
Series 9: Photographic Material, 1977-2012 (Boxes 5-7; 1.5 linear feet, ER13-ER29; 6.13 GB)
Biographical / Historical:
Demi (1955- ) and Arturo Rodríguez (1956- ) are painters in Miami, Florida.
Demi was born in Camagüey, Cuba. In 1961, her father was executed by the Cuban government. Demi's mother struggled to take care of Demi and her sisters alone and Demi was sent to live with relatives in Puerto Rico in 1962. She came to the U.S. in 1971 where she was able to join her sisters and mother. Eventually Demi settled in Miami in 1978. She attended Miami-Dade College where she studied drama with the Prometeo Theater Group. In 1980, she met Arturo at one of his exhibitions. They married in 1984. Demi worked as a bookkeeper before she knew she could draw and paint. Her first attempts at creating art were in 1984 using a wedding photograph of herself and Arturo as her subject. Her first exhibition was in 1987 at the Cuban Museum in Miami. As she developed as an artist, children became the prime subjects in Demi's paintings. She was the recipient of the Florida State Visual Artist Grant for 1992 to 1993.
Arturo Rodríguez was born in Ranchuelo, Cuba, and showed an interest in art as a small child. Arturo and his family were exiled to Spain in 1971. While in Spain, his visits to see the paintings of Goya and Velázquez at the Prado Museum helped solidify his interest in art. Rodríguez settled in Miami with his family in 1973 where he eventually attended Miami Dade College. Arturo's works are often influenced by his relationship with Demi. In 1995, he created a series of collages using images of Demi as a way to deal with her cancer diagnosis. He has been the recipient of numerous awards including the prestigious Cintas Foundation Fellowship, Florida Arts Council Fellowships, and a Joan Mitchell Foundation grant.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Demi conducted on November 20, 1997 and an oral history interview with Arturo Rodríguez conducted on November 14, 1997 at Demi and Arturo's home/studio in Miami, F.L. by Juan A. Martínez for the Archives of American Art.
Provenance:
The papers were donated by Demi and Arturo Rodríguez in increments from 1997 to 2016.
Restrictions:
One folder of samples of payments for sales is ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Photograph of Demi by Ramon Guerrero: Authorization to publish, quote or reproduce requires written permission from Demi. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
