This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. 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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. 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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. 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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. 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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. 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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. 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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
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:
George Deem papers, 1904-2015, bulk 1960-2008. Archives of American Art, Smithsonian Institution.
The papers of art critic, writer, and painter Theodore F. Wolff measure 8 linear feet and date from 1920-2013, with the bulk of the material dating from 1977-2013. The collection documents Wolff's career through biographical material, correspondence, interviews, writings, subject files, printed material, a small amount of artwork, and photographs.
Scope and Contents:
The papers of art critic, writer, and painter Theodore F. Wolff measure 8 linear feet and date from 1920-2013, with the bulk of the material dating from 1977-2013. The collection documents Wolff's career through biographical material, correspondence, interviews, writings, subject files, printed material, a small portion of artwork, and photographs.
Biographical material consists of biographical data, curriculum vitae, and awards. Included are outgoing and incoming letters that document Wolff's activities as an art critic, appraiser, and fine arts consultant. A large portion of his correspondence is with artists. Among the correspondents are Richard Diebenkorn, Alexander Hogue, Ynez Johnston, Armin Landeck, Melissa Miller, Robert Natkin, Theodoros Stamos, Athena Tachna, Jerome Witkin, and the writer Tom Wolfe. There is significant correspondence with Morris Graves, James Hubbell, Clyfford Still, and Stow Wengenroth relating to their work and Wolff's writings.
Interviews consist of three interviews with Theodore F. Wolff as well as a panel discussion with Wolff and other artists. Found are interviews with Enrico Donati and James Turrell. Recordings are on five sound cassettes and three videocassettes.
Writings consist of Wolff's reviews, mostly tearsheets for The Christian Monitor and draft versions of a book. Also included are talks and lectures on art and art education recorded on seven videocassettes and six sound cassettes. Subject files document Wolff's professional interests and relate to his writing projects, exhibitions, talks, and presentations. Included are interviews with artists that were used by Theodore Wolff as source material.
Printed material includes Theodore F. Wolff's published critical writings on art, artists, and education. Included are exhibition catalogs, brochures, journals, and monographs. Artwork consists of seventeen sketches by Wolff done early in his career. Photographs are of Theodore F. Wolff and with friends and colleagues, many of them unidentified. Included are photographs of Wolff with Ida Kohlmeyer.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1982-2013 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1920, 1951-2011 (Box 1; 0.75 linear feet)
Series 3: Interviews, circa 1990-2002 (Box 2; 0.1 linear feet)
Series 4: Writings, Talks, and Lectures, circa 1977-2005 (Boxes 2-4; 2.8 linear feet)
Series 5: Subject Files, circa 1940, 1964-2004 (Boxes 4-6; 1.8 linear feet)
Series 6: Printed Material, 1956-2006 (Boxes 6-8; 2.2 linear feet)
Series 7: Artwork, 1942-1948 (Box 7, 1 folder)
Series 8: Photographs, circa 1980-circa 2011 (Box 7; 0.25 linear feet)
Biographical / Historical:
Theodore F. Wolff (1926-2012) was an art critic, writer, and painter in New York City.
Wolff attended the University of Wisconsin, earning a Bachelor of Arts degree in Art Education in 1949 and a Masters degree in Art and Art History the following year. By the early 1950s, Wolff was living in San Francisco, where he began his professional career as a painter. In 1956, he and his wife, Collette Wolff, moved to New York. During this period, Wolff also worked as an art appraiser and fine arts consultant for collectors, galleries, and museums. In 1977, Wolff began writing art criticism for The Christian Science Monitor and held the post of art critic at the publication until 1990. In addition to his art columns to The Monitor, Wolff contributed critical and introductory essays on artists for exhibition catalogs and journals. Theodore F. Wolff taught and lectured on art and art education at museums, universities, and conferences. In 1982, he received the National Headliners Award for Consistently Outstanding Column on Art and the Art World Award for Distinguished Newspaper Art Criticism in 1983. In 1990, Theodore Wolff retired from The Christian Science Monitor. He devoted the latter part of his career to painting, writing, lecturing, and teaching.
Theodore F. Wolff died in 2012 in New York City. He is survived by his wife, Collette Wolff.
Provenance:
A small amount of material was donated in 1999 by Theodore F. Wolff. Additional papers were donated in 2013 by Collette Wolff, widow of Theodore F. Wolff.
Restrictions:
Use of original papers 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.
Occupation:
Art critics -- New York (State) -- New York Search this
Topic:
Painters -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The province of Alberta, which celebrated its centennial in 2005, is a land of contrasts. Its landscape is among the most diverse in North America, with badlands, prairies, boreal forests, rolling foothills, enormous freshwater lakes such as the Athabasca, and mighty rivers including the Peace and the North Saskatchewan. Its western border is defined by the spectacular ranges of the Rocky Mountains; its eastern border by the Great Plains. Alberta's true wealth, however, is not its landscape or its natural resources, but its people - a diverse, hardworking, innovative population whose "can-do spirit" has transformed a frontier territory into a prosperous province with a vibrant cultural landscape.
In its one hundred short years as a province, Alberta has grown in ways that would have astonished its earliest founders. From a frontier outpost, Alberta has transformed itself and its diverse population into a distinctive culture unlike any other. Drawing on its history, cultural strengths, and ingenuity, Alberta enters its second century poised to make increasingly significant contributions to Canadian, North American, and international culture. The many participants who joined the Festival were typical Albertans, drawing upon the best of Alberta's past and present as they laid the cultural foundations that will shape its future.
The Festival program showcased the music and dance of Alberta's folk, country, and ethnic traditions, but Alberta also supports equally vibrant jazz, blues, rock, world, and classical music scenes. The one thing shared by all the 2006 Festival performers was their focus on Alberta, in their lyrics and their styles. Cultural life in Alberta is also enriched by a vibrant theater scene. In fact, Alberta prides itself as being the birthplace of "Theatresports." Theatresports pits two teams of improvisers against one another on a given topic, with judges awarding points to the funniest team; Festival visitors had the chance to enjoy this and other entertainments.
Ranching is a major factor in Alberta's economy, and for many Albertans ranching and cowboy culture are the symbols of what it means to be an Albertan. Similarly, agriculture remains a major factor in the Alberta economy. With the arrival of European settlers, Alberta became famous for the excellent quality of its beef and its ample harvests of grain - particularly wheat, oats, and barley. Throughout the province, well-attended farmers' markets allow distinguished chefs and dedicated home cooks to buy fresh, local ingredients directly from the farmers and ranchers who produce them. Alberta's ethnic diversity is reflected in the profusion of available restaurant cuisines, a sampler of which were demonstrated for Festival audiences.
Careful workmanship is highly valued in Albertan culture, and artisans of all descriptions thrive throughout the province. The 2006 Festival highlighted several distinctive regional craft traditions - those practiced by the First Nations peoples of Alberta, those practiced by immigrants to Alberta, and the western crafts that grew out of Alberta's early ranching culture. The province is still home to thousands of working cowboys and the industries that provide them with the equipment and gear they need to follow their profession. The primary factor driving Alberta's economy today is the energy sector. Presentations at the Festival highlighted the occupational folklife of workers in three major components of Alberta's energy sector: oil and gas drilling, the oil sands, and laying and maintaining pipelines.
The responsibility of being stewards of some of North America's most pristine and extensive wilderness areas is one that Albertans take seriously. Protection, management, and sustainability of resources in wilderness areas generate considerable public debate and are the focus of extensive government policies. Recreation and sports are also important aspects of life in Alberta that were shared with Festival visitors. Several coaches traveled to the Festival to discuss the important role that amateur ice sports play in the culture of towns and villages throughout Alberta.
Nancy Groce was Program Curator; Dorey Butter was Program Coordinator; and Beverly Simons was Program Assistant. The Alberta Steering Committee included: Jeffrey Anderson, Terri-Lynn Bradford, AI Chapman, Neelam Chawla, Wayne Clifford, Drew Hutton, Bruce McGillivray, Steve Pritchard, Murray Smith, Tristan Sanregret, and Hugh Tadman. The Alberta at the Smithsonian Advisory Committee consisted of: Giuseppe Albi, Lorna Arndt, Tommy Banks, Susan Berry, Garry Berteig, Anne Brodie, Margaret Cardinal, Daniel Cournoyer, Barbara Dacks, Michael Dawe, Trevor Gladue, Jim Gurnett, Lorain Lounsberry, Allison G. MacKenzie, Tom McFall, Peter North, Andy Nueman, Michael Payne, Holger Petersen, Regula Qureshi, Anne Ramsden, Sol Rolingher, Robert Rosen, Jane Ross, John Short, Fred Stenson, Denis Tardif, Linda Tzang, and Ron Ulrich.
The program was produced in partnership with the Government of Alberta, with the collaboration of the Alberta Foundation for the Arts and the Ministries of Community Development and International and Intergovernmental Relations. Lead support was received from the Government of Alberta, the City of Calgary, and the City of Edmonton, with major support from the Athabasca Regional Issues Working Group (RIWG), ConocoPhillips, Enbridge Corporation, EnCana Corporation, and Suncor Energy Inc., and contributions from Alberta Beef Producers, Canadian Forces, The Fairmont Washington D.C., Nova Chemicals Corporation, and PetroCanada. Major in-kind assistance was provided by Caterpillar Incorporated, KitchenAid, Weatherford International Ltd., and Whole Foods Market. Collaborative support was provided by Alberta Canola Producers Commission, Australian Outback Collection (Canada) Limited, and City Lumber Corporation.
Researchers:
Susan Berry, Juliette Champagne, Brian Cherwick, James Deutsch, Maurice Doll, Linda Goyette, Gail Hall, Sylvia Larson, Terri Mason, Melissa Jo Moses, Jane Ross, Linda Tzang
Presenters:
Karen Andrews, Betty Belanus, Kevin Blackerby, Allison Grace Brock, Robert Gordon Chelmick, James Deutsch, Hal Eagletail, John Franklin, Ben Gadd, Cia Gadd, Linda Goyette, Gail Hall, Doris Daley, Allison Mackenzie, Jim McLennan, Lynda McLennan, Monica Miller, Melissa-Jo Moses, Diana N'Diaye, Holger Peterson, Lionel Rault, Darcie Roux, Amy Schriefer, Atesh Sonneborn, Luka Symons
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or
rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2006 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
