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Richard D. Marshall papers

Creator:
Marshall, Richard, 1947-2014  Search this
Names:
Lever House (New York, N.Y.)  Search this
Museum of Contemporary Art, San Diego  Search this
Whitney Museum of American Art  Search this
Basquiat, Jean-Michel, 1960-1988  Search this
Bourgeois, Louise, 1911-2010  Search this
Calder, Alexander, 1898-1976  Search this
Mapplethorpe, Robert  Search this
Mitchell, Joan, 1926-1992  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pierson, Jack, 1960-  Search this
Ruscha, Edward  Search this
Extent:
15.8 Linear feet
26.07 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Photographs
Video recordings
Date:
1969-2014
Summary:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and born-digital material primarily reflect Marshall's work outside his role at the Whitney Museum. The exhibition and research files make up the bulk of the collection and document his independent curatorial and writing projects on artists Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Jack Pierson, and Ed Ruscha, as well as his role in building the Lever House Art Collection. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.
Scope and Contents:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and digital material predominantly reflect Marshall's work outside his role at the Whitney Museum. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.

Thirteen interviews with artists are in the form of transcripts and sound recordings. Interviews are with many artists that Marshall had organized exhibitions for, including Louise Bourgeois, Robert Mapplethorpe, Ed Ruscha, and many featured in the exhibition New Image Painting at the Whitney in 1978.

Exhibition and research files may contain correspondence with artists, galleries, and museums; writings and notes; printed and research material; press packages; photographic material; and administrative documentation related to exhibition logistics, such as floors plans, items lists, consignment records, and shipping receipts. The most robust files and groups of files relate to the artists that Marshall worked with repeatedly over the course of his career, including Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Joan Mitchell, Georgia O'Keeffe, Jack Pierson, and Ed Ruscha. Files relating to the Lever House Art Collection are also found here. The series contains sound and video recordings, as well as digital records containing broadcasts, documentaries, exhibition related material, writings, photographic material, and promotional material about artists from galleries.

Client files include correspondence, invoices, photographic material, floor plans, digital records, and other documentation related to Marshall's business as an independent art consultant.

Other professional files consists of business cards, Museum of Contemporary Art San Diego (MCASD) Board of Trustee's files, and photographic material Marshall accumulated as art editor of the Paris Review.

Printed and digital material consists of books, exhibition announcements, catalogs, press packages, posters, and other material. Material relates to artists and movements Marshall was interested in.

Photographic material is of artworks and is largely unsorted and not identified with any specific project. Formats include black and white photographs, slides, digital photographs, and transparencies.
Arrangement:
The collection is arranged as seven series

Missing Title

Series 1: Interviews, 1972-2009 (0.4 linear feet; Box 1, 0.173 GB; ER01)

Series 2: Exhibition and Research Files, circa 1970-2014 (11.5 linear feet; Box 1-12, OV 17-19, 23.40 GB; ER02-ER49)

Series 3: Client Files, 1998-2014 (1.5 linear feet; Box 12-14, 0.077 GB; ER50-ER51)

Series 4: Other Professional Files, circa 1980-2014 (0.9 linear feet; Box 14)

Series 5: Printed Material, 1969-2014 (0.5 linear feet; Box 15, OV 20, 2.27 GB; ER52)

Series 6: Photographic Material, 1990s-2000s (0.9 linear feet; Box 15-16, 0.145 GB; ER53)

Series 7: Unidentified Electronic Records, circa 2005 (1 folder; 1 folder)
Biographical / Historical:
Richard D. Marshall (1947-2014) was a New York-based curator and art consultant. Born in Los Angeles, Marshall attended the University of California, Irvine, and in 1973 moved to New York to attend the Independent Study Program at the Whitney Museum. He then became a curator at the Whitney from 1974-1993, organizing many biennials and solo exhibitions. While at the Whitney, Marshall also worked as art editor of the Paris Review (1975-1990), and organized exhibitions at other institutions of artists including Louise Bourgeois, Alexander Calder, and Robert Mapplethorpe. In 2003, he became curator of The Lever House Art Collection in New York, and worked with collectors Aby Rosen and Alberto Mugrabi to commission works for the lobby of the building by Tom Sachs, Urs Fischer, Liza Lou, Paula Hayes, and others. Marshall has also published monographs on Ed Ruscha, Jack Pierson, Alex Katz, Georgie O'Keeffe, Joan Mitchell, and Kenny Scharf.
Provenance:
Donated in 2015 by the Richard D. Marshall Estate, via William T. Georgis, executor.
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.

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 consultants -- New York -- New York  Search this
Topic:
Transcripts  Search this
Curators -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Sound recordings
Photographs
Video recordings
Citation:
Richard D. Marshall papers, 1969-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsrich
See more items in:
Richard D. Marshall papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9643ff989-b36c-4012-b44c-5f5de1c4aafa
EDAN-URL:
ead_collection:sova-aaa-marsrich
Online Media:

Oral history interview with Eugene V. Thaw

Interviewee:
Thaw, Eugene Victor  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
Cleveland Museum of Art  Search this
Columbia University -- Students  Search this
E.V. Thaw & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Pollock-Krasner Foundation  Search this
St. John's College (Annapolis, Md.) -- Students  Search this
Castelli, Leo  Search this
Franka, Gunther  Search this
Held, Julius Samuel, 1905-  Search this
Ketterer, Norbert  Search this
Krasner, Lee, 1908-1984  Search this
Landau, Jack, 1925-1967  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Matisse, Pierre, 1900-1989  Search this
Meiss, Millard  Search this
Mitchell, Joan, 1926-1992  Search this
Offner, Richard, 1889-1965  Search this
Rivera, Diego, 1886-1957  Search this
Rousseau, Theodore, 1912-  Search this
Shapiro, Meyer  Search this
Simon, Norton, 1907-1993  Search this
Vavala, Evelyn Sandberg  Search this
Extent:
33 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2007 October 1-2
Scope and Contents:
An interview of Eugene V. Thaw conducted 2007 October 1-2, by James McElhinney, for the Archives of American Art's Art Dealers Association of America Project, at Thaw's residence, in New York, N.Y.
Thaw speaks of his childhood in New York City; Mexican art in his home including watercolors by Diego Rivera; beginning classes at the Art Student's League of New York at age 14; attending St. John's College in Annapolis, Maryland; attending Columbia University for graduate courses in art history and studying with Meyer Shapiro and Millard Meiss; an early interest in Old Master, Renaissance, and German Expressionist art; studying in Florence, Italy for four months after World War II; opening The New Bookstore and Gallery with friend Jack Landau above the Algonquin Hotel upon his return to New York City; giving Joan Mitchell and Conrad Marca-Relli their first shows; ending his partnership with Landau, closing the bookstore, and moving the gallery to Madison Avenue; becoming involved in the international art market; the practice of buying and selling works of art in shares with other dealers; showing American and European artists; renaming the gallery E.V. Thaw & Company; operating essentially as a one-man gallery with very limited staff; his relationship with museums such as the Metropolitan Museum of Art and the Cleveland Museum of Art; his personal collections, including extensive ancient Eurasian artifacts and American Indian art; establishing the Pollock-Krasner Foundation; the philanthropic vision of his own foundation, the Eugene V. and Clare E. Thaw Charitable Trust; his retirement from dealing; the "hand of the artist" in historical context and its lack of significance in contemporary art; and advice for young and emerging art dealers. Thaw also recalls Richard Offner, Evelyn Sandberg-Vavala, Norbert Ketterer, Günther Franka, Pierre Matisse, Leo Castelli, Julius Held, Theodore Rousseau, Lee Krasner, Norton Simon, and others.
Biographical / Historical:
Eugene Thaw (1927- ) is an art dealer from New York, N.Y. James McElhinney (1952- ) is a painter and educator from New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 26 min.
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:
Transcript is available on the Archives of American Art's website.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.thaw07
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93bde4440-dc2a-4206-a8bb-d0f0ebda50d4
EDAN-URL:
ead_collection:sova-aaa-thaw07
Online Media:

Oral History interview with Miyoko Ito

Interviewee:
Ito, Miyoko, 1918-1983  Search this
Interviewer:
Barrie, Dennis  Search this
Names:
Art Institute of Chicago  Search this
Ox-Bow Summer School of Painting  Search this
Smith College  Search this
Baum, Don, 1922-  Search this
Berdich, Vera, 1915-2003  Search this
Chapin, Francis, 1899-1965  Search this
Cohen, George, 1913-1980  Search this
Edmondson, Leonard, 1916-  Search this
Haley, John, 1905-1991  Search this
Hofmann, Hans, 1880-1966  Search this
Johnston, Ynez, 1920-  Search this
Kahn, Max, 1903-2005  Search this
Lanyon, Ellen  Search this
Loran, Erle, 1905-1999  Search this
Mitchell, Joan, 1926-1992  Search this
Moholy-Nagy, László, 1895-1946  Search this
Ryder, Worth, 1884-1960  Search this
Venturi, Lionello, 1885-1961  Search this
Extent:
2 Items (Sound recording: 2 sound files, digital, wav file)
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1978 July 20
Scope and Contents:
An interview of Miyoko Ito conducted 1978 July 20, by Dennis Barrie, for the Archives of American Art.
Ito discusses her family background; being in Japan at an early age, attending school and learning calligraphy; returning to California in 1928; excelling in drawing and painting; attending Berkeley High School; studying watercolor at Berkeley School of Water Color; studying under Erle Loran, Worth Ryder, John Haley; the influence of Hans Hofmann; being in internment camp (Camp Rann); attending Smith College, Northampton to study painting under instructor George Cohen; attending the Art Institue of Chicago and meeting Francis Chapin and Joan Mitchell; being influenced by Bonnard; moving into lithography at Oxbow; studying under Max Kahn; doing printmaking and etching; and participating in the Momentum Shows. Ito mentions Ynez Johnston, Leonard Edmondson, Lionel Venturi, Ellen Lanyon, Don Baum, Laszlo Moholy-Nagy, and Vera Berdich.
Biographical / Historical:
Miyoko Ito (1918-1983) was a Japanese American painter based in Chicago, Illinois.
General:
Originally recorded on 1 tape reel (5 in.).
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 others.
Occupation:
Painters -- Chicago -- Illinois  Search this
Topic:
Art, American  Search this
Asian American art  Search this
Asian American artists  Search this
Asian American painters  Search this
Japanese American art  Search this
Japanese American artists  Search this
Japanese American painting  Search this
Women artists  Search this
Women painters  Search this
Japanese Americans -- Forced removal and internment, 1942-1945  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ito78
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fc74c5bf-beb0-466b-bc95-664a03740244
EDAN-URL:
ead_collection:sova-aaa-ito78
Online Media:

Oral history interview with Joan Mitchell

Interviewee:
Mitchell, Joan, 1926-1992  Search this
Interviewer:
Nochlin, Linda  Search this
Extent:
86 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1986 Apr. 16
Scope and Contents:
An interview of Joan Mitchell conducted 1986 April 16, by Linda Nochlin, for the Archives of American Art, at the Westburry Hotel, in New York.
Biographical / Historical:
Joan Mitchell (1925-1992) was a painter. Birth date also cited, incorrectly, as 1926.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 27 min.
Provenance:
This interview is part of the Archives' 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Interviews  Search this
Topic:
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mitche86
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9da099db5-7be2-4b9a-b105-460698269a89
EDAN-URL:
ead_collection:sova-aaa-mitche86
Online Media:

Oral history interview with Joan Mitchell

Creator:
Mitchell, Joan, 1926-1992  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Extent:
2 Sound tape reels (Sound recording, master (1 hr., 19 min.), analog)
29 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 May 21
Scope and Contents:
Interview of Joan Mitchell, conducted by Dorothy Seckler for the Archives of American Art, Smithsonian Institution, in New York, on May 21, 1965.
Mitchell speaks of her use of landscapes and color; the relationship between representation and abstraction in her work; her early exhibitions at the Stable Gallery and the New Gallery; her time in Paris; memories of The Club; how the New York art world has changed since the 1940s; comparisons of the gallery scenes of Paris and New York; reception of her work; and her series Calvi. Mitchell also recalls Franz Kline, Willem de Kooning, and others.
Biographical / Historical:
Joan Mitchell (1925-1992) was a painter. Birth date also cited, incorrectly, as 1926.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mitche65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99377ce46-2ab6-497a-83e9-c6a8604745a1
EDAN-URL:
ead_collection:sova-aaa-mitche65
Online Media:

Oral history interview with Esteban Vicente

Creator:
Vicente, Esteban, 1903-2001  Search this
Interviewer:
Sandler, Irving, 1925-  Search this
Names:
Avery, Milton, 1885-1965  Search this
Dalí, Salvador, 1904-  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Frankenthaler, Helen, 1928-2011  Search this
Kline, Franz, 1910-1962  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Mitchell, Joan, 1926-1992  Search this
Pach, Walter, 1883-1958  Search this
Pollock, Jackson, 1912-1956  Search this
Resnick, Milton, 1917-2004  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
86 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1968 August 26
Scope and Contents:
Interview of Esteban Vicente conducted 1968 August 26, by Irving Sandler, for the Archives of American Art. Vicente speaks of the gallery activity of the 1940s and 1950s; The Club and the exhibition on 9th Street arranged by many of those artists; remembering Mark Rothko as a casual acquaintance and the society of artists living in the Hamptons; coming to the United States, acting as vice-consul in Philadelphia for the Loyalist camp during the Spanish Civil War; and his own work and his feelings about the work of his contemporaries. He recalls Bill de Kooning, Franz Kline, John Ferrin, Marca-Relli, Milton Resnick, Joan Mitchell, Helen Frankenthaler, Walter Pach, Elaine de Kooning, Milton Avery, Jackson Pollock, Salvador Dali, and many others.
Biographical / Historical:
Esteban Vicente (1903-2001) was a painter in New York, New York. and Bridgehampton, New York.
Provenance:
This interview is part of the Archives' 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 others.
Topic:
Art, American  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Identifier:
AAA.vicent68
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw952b2e3c6-c451-4016-946d-a24f43883c09
EDAN-URL:
ead_collection:sova-aaa-vicent68

Oral history interview with Shirley Jaffe

Interviewee:
Jaffe, Shirley, 1923-2016  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Brooklyn Museum  Search this
Cooper Union for the Advancement of Science and Art -- Students  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Phillips Collection  Search this
Solomon R. Guggenheim Museum  Search this
Biala, Janice, 1904-2000  Search this
Delaney, Beauford, 1901-  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Ford, Hermine  Search this
Francis, Sam, 1923-1994  Search this
Goldberg, Michael, 1924-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Riopelle, Jean Paul  Search this
Extent:
1 Item (Sound recording, master: 1 compact disc, 3 WMA files (4 hr., 28 min.), digital, 2 5/8 in.)
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 Sept. 27-28
Scope and Contents:
An interview of Shirley Jaffe conducted 2010 Sept. 27 and 28, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jaffe's studio, in Paris, France.
Jaffe speaks of living with her family in Elizabeth, NJ and Brooklyn, NY; attending Abraham Lincoln High School, Parsons School of Design, Brooklyn College, and The Cooper Union for the Advancement of Science and Art; visiting the Brooklyn Museum, the Museum of Non-Objective Art (now the Solomon R. Guggenheim Museum), and The Museum of Modern Art; living on St. Mark's Place and in Brooklyn, NY ; her marriage in 1949 to Irving Jaffe; moving to Washington, DC and visiting The Philips Collection; moving to and adjusting to life in France; socializing with American artists in Paris, France; moving between New York and France; working and living in Berlin, Germany with a grant from the Ford Foundation; living independently in France; visiting the cathedrals and galleries in Italy; teaching undergraduate students; the evolution of her paintings and technique; her painting process and use of cellophane; painting on glass; murals; and her exhibitions and commissions. Jaffe also recalls Leon Friend, Morris Kantor, Pierre Bonnard, Karl Knaths, Max and Esther Gould, Jules Olitski, Michael Goldberg, Joan Mitchell, Beauford Delaney, Sam Francis, Janice Biala, Hermine Tworkov Ford, Edwin Dickinson, Jean-Paul Riopelle, Kimber Smith, Jean Fournier, Al Held, Haywood Bill Rivers, Milton Glaser, and others.
Biographical / Historical:
Shirley Jaffe (1923-2016) was an abstract painter and sculptor in Paris, France. Avis Berman (1949- ) is a scholar in New York, N.Y.
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.
Rights:
Transcript: Authorization to quote or reproduce for the purposes of publication requires written permission from Jerome Sternstein. Contact Reference Services for more information.
Occupation:
Painters -- France -- Paris  Search this
Sculptors -- France -- Paris  Search this
Art dealers -- France -- Paris  Search this
Topic:
Expatriate artists -- France -- Paris  Search this
Painting -- Equipment and supplies  Search this
Painting -- Technique  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jaffe10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9edb9d6d9-1775-4e7a-987d-adae36dc4a6e
EDAN-URL:
ead_collection:sova-aaa-jaffe10

Oral history interview with George Earl Ortman

Interviewee:
Ortman, George, 1926-  Search this
Interviewer:
Baker, Richard Brown  Search this
Names:
Brodie, Gandy, 1925-1975  Search this
De Kooning, Willem, 1904-1997  Search this
Hayter, Stanley William, 1901-1988  Search this
Hofmann, Hans, 1880-1966  Search this
Mitchell, Joan, 1926-1992  Search this
Oliveira, Nathan, 1928-2010  Search this
Ward, Eleanor, 1912-1984  Search this
Wise, Howard  Search this
Extent:
211 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963 Sept. 19-Nov. 5
Scope and Contents:
An interview of George Earl Ortman conducted 1963 Sept. 19-Nov. 5, by Richard Brown Baker, for the Archives of American Art.
Ortman speaks of critics' reviews of his work; his reactions to the early abstract expressionists; his family background and early experiences; his education; the California environment and its influence on him; his U.S. Navy service; the art scene in San Francisco in the 1940s; other artists he was acquainted with; coming to New York; influences on contemporary artists; pop art; establishing a reputation as a printmaker; studying under William Hayter; his time spent in France; development of his style; problems of making a living in art; his work in theatrical design; realism versus abstraction; his teaching career; exhibits he has had. He recalls Eleanor Ward, Howard Wise, Willem de Kooning, Nathan Oliveira, Gandy Brodie, Hans Hofmann, and Joan Mitchell.
Biographical / Historical:
George Earl Ortman (1926- ) is a painter, sculptor, and printmaker from Bloomfield Hills, Mich.
General:
Originally recorded on 4 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 52 min.
Provenance:
These interviews are 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 others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Painters -- Michigan -- Interviews  Search this
Topic:
Printmakers -- Michigan -- Interviews  Search this
Sculptors -- Michigan -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ortman63
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw982f06ba0-85fc-4152-8103-2cf09594f6c9
EDAN-URL:
ead_collection:sova-aaa-ortman63

Linda Nochlin papers

Creator:
Nochlin, Linda  Search this
Names:
Courbet, Gustave, 1819-1877  Search this
Lajer-Burcharth, Ewa  Search this
Mitchell, Joan, 1926-1992  Search this
Pearlstein, Philip, 1924-  Search this
Zuka  Search this
Extent:
31.2 Linear feet
3.9 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sketchbooks
Sound recordings
Video recordings
Diaries
Date:
circa 1876
1937-2017
Summary:
The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.9 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.
Scope and Contents:
The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.9 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.

Biographical materials include two address books; awards and prizes; certificates and diplomas; childhood writings and notes, assignments, and school newsletters; course work at Vassar College and NYU's Institute of Fine Arts; honors; and one sound recording and three transcripts of Nochlin interviews with Alain Veinstein, Dan Karlholm, Jon Weiner, and Moira Roth.

Over 150 date books and notebooks spanning nearly 60 years contain appointments, reminders, travel plans, thoughts on art, journal entries, daily activities, to-do lists, contact information, fiction writing, and other small notations. Correspondence is with family; close colleagues and artists Ewa Lajer-Burcharth, Zuka Mitelberg, Joan Mitchell, and Philip Pearlstein; and professional contacts regarding speaking engagements, publishing projects, exhibitions, artists' work, conferences, and events.

The bulk of the collection documents Nochlin's prolific writing career that includes her lifelong research and work on Gustave Courbet, realism, bathers and the body, as well as numerous essays and lectures, research and writings on artists, and various other writing projects.

Files for professional activities contain material for conferences and symposiums that include 11 sound and video recordings, grants, fellowships, and travel arrangements and expenses. Teaching files consist of documentation for courses taught by Nochlin at New York University Institute of Fine Arts, Vassar College, Yale University, and other academic institutions.

Publications and other printed materials include annotated books, booklets, clippings, exhibition catalogs, journals and magazines, newsletters, offprints, five video recordings of broadcasts and documentary material, flyers, invitations, posters, and postcards. Artwork includes sketches in ink, charcoal, paint, and pencil created during Nochlin's childhood into her early 20s, along with artwork by children, and one video art recording by Zoulikha Bouabdellah.

Photographs and negatives are of Nochlin with artists Nancy Graves, Sebastian Horsley, and Shirley Jaffe; childhood classmates; friends and colleagues; students; and travels to Europe. Also included are photographs of works of art, personal photographs of family members, and portraits and snapshots of Nochlin.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Materials, circa 1940-2012 (1.0 linear feet; Box 1, OV 35 / 0.003 GB; ER01-ER03)

Series 2: Datebooks and Notebooks, 1959-2017 (2.5 linear feet; Boxes 2-5, OV 35 / 0.001 GB; ER004)

Series 3: Correspondence, 1946-2014 (2.0 linear feet; Boxes 5-7, OV 35 / 0.158 GB; ER005-ER011)

Series 4: Writing Project Files, circa 1876, 1953-2016 (17.0 linear feet; Boxes 7-21, 30-31, 33-34, OVs 36-37 / 3.72 GB; ER012-ER102)

Series 5: Professional Files, 1957-2012 (1.0 linear feet; Boxes 22-23 / 0.001 GB; ER103)

Series 6: Teaching Files, 1953-2012 (2.5 linear feet; Boxes 23-25, OV 36 / 0.016 GB; ER104-ER119)

Series 7: Printed Materials, 1939-2017 (3.0 linear feet; Boxes 26-28, 32, 34, OVs 39-40)

Series 8: Artwork, circa 1940-2004 (1.0 linear feet; Boxes 28, 34, OV 38)

Series 9: Photographic Materials, circa 1935-circa 2010 (1.0 linear feet; Boxes 28-29, 34)
Biographical / Historical:
Linda Nochlin (1931-2017) was a feminist art historian and professor at New York University Institute of Fine Arts in New York, New York. She is widely known for her essay first published in 1971, "Why Have There Been No Great Women Artists?," that explored the institutional systems in place for analyzing art history and their impacts on women artists. In 1976, Nochlin co-curated Women Artists: 1550-1950 alongside Ann Sutherland Harris at the Los Angeles County Museum of Art, and in 2007 she co-curated with Maura Reilly the Global Feminisms Exhibition at the Brooklyn Museum. Both exhibitions are considered landmark exhibitions of women artists.

Nochlin was born in Brooklyn, New York. She attended the Brooklyn Ethical Culture School and Midwood High School before enrolling in Vassar College where she majored in philosophy with minors in Greek and art history. After graduating in 1951, she went on to earn a master's degree in English from Columbia University in 1952. In 1963, she earned her PhD in art history from the Institute of Fine Arts. Nochlin's PhD dissertation, "Gustave Courbet: A Study of Style and Society," marked the beginning of her lifelong study of the 19th-Century French artist Gustave Courbet.

Nochlin taught at Yale University, the Graduate Center at the City University of New York, and Vassar College. She was also a visiting professor at Columbia University, Hunter College, Stanford University, Williams College, and Yale University, and later became the Lila Acheson Wallace Professor Emerita of Modern Art at the Institute of Fine Arts.

Nochlin authored numerous art history books including Realism (1971), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Representing Women (1999), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), Bathers, Bodies, Beauty: The Visceral Eye (2006), Courbet (2007), and Misère: The Visual Representation of Misery in the 19th Century (2018).
Related Materials:
Also found at the Archives of American Art is an oral history interview of Linda Nochlin conducted on June 9-30, 2010 by James McElhinney, for the Archives of American Art's Oral History of Women in the Visual Arts project at Nochlin's home in New York, N.Y.
Provenance:
The collection was donated in 2018 by Daisy Pommer, Linda Nochlin's daughter.
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 historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Feminists  Search this
Women art historians  Search this
Realism  Search this
Women artists  Search this
Genre/Form:
Interviews
Sketchbooks
Sound recordings
Video recordings
Diaries
Citation:
Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nochlind
See more items in:
Linda Nochlin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93d5d9e13-5820-4043-8b00-242e4f1e5e93
EDAN-URL:
ead_collection:sova-aaa-nochlind
Online Media:

Connie Lembark papers

Creator:
Lembark, Connie W., 1934-  Search this
Names:
Antonakos, Stephen, 1926-2013  Search this
Bertoia, Harry  Search this
Francis, Sam, 1923-1994  Search this
Hanson, Duane  Search this
Mitchell, Joan, 1926-1992  Search this
Rickey, George  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1967-1999
Scope and Contents:
Letters to Lembark, a receipt, photographs and slides, printed material, and a video.
Letters are to Lembark from sculptors George Rickey (1 letter and 4 cards, 1972-1997), and Duane Hanson (7 letters and 3 postcards, 1988-1997); and a receipt for the purchase of a work by Harry Bertoia. The correspondence relates to work in progress and invitations to exhibitions. Also found are 6 folders about Sam Francis which include his obituaries, printed material (articles and exhibition announcements), reviews and articles of Lembark's book "The Prints of Sam Francis: a Catalogue Raisonne, 1960-1990," book catalogues for the book, price list of Francis' prints, and press releases about the book; 3 rolls of negatives with contact sheets taken in the studios of Francis and Joan Mitchell; printed material and slides on Rickey, Arthur Gibson, and Stephen Antonakos; and a video tape "Eric Orr: Prime Matter."
Biographical / Historical:
Art consultant, author; Nashville, Tenn.
Provenance:
Donated 1998 and 2000 by Connie Lembark.
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:
Sculptors -- United States  Search this
Identifier:
AAA.lembconn
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98645ee97-397d-4d9e-846b-c0506f22a05d
EDAN-URL:
ead_collection:sova-aaa-lembconn

Michael Goldberg papers

Creator:
Goldberg, Michael, 1924-2007  Search this
Names:
Brodey, James  Search this
Di Prima, Diane  Search this
Grosvenor, Robert, 1937-  Search this
Jenkins, Paul, 1923-2012  Search this
Kirili, Alain, 1946-  Search this
Mitchell, Joan, 1926-1992  Search this
Neimark, Jill  Search this
Pavia, Philip, 1915-2005  Search this
Riopelle, Jean Paul  Search this
Rivers, Larry, 1925-2002  Search this
Tanger, Susanna, 1942-  Search this
Whyatt, Frances  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Sketchbooks
Date:
1942-1981
Scope and Contents:
Biographical material, letters, business records, notes, writings, art works, an interview transcript, printed material, and photographs.
A resume, 1969; letters, 1951-1972, from Joan Mitchell (some mention painter Jean Paul Riopelle), from his wife Patricia Southgate and her children, Karen Edwards, Vera "Bunny" Lang (identified as "B" in her letters), Jim Brodey, Paul Jenkins, and Philip Pavia; grant applications, 1970-1971; miscellaneous receipts, 1958-1974; and price lists, 1965-1969; nine address/appointment books, 1963-1970; an essay "The Canvas as a Plane" by Goldberg; poems by Jim Brodey, Diane De Prima, and Frances Whyatt, a typescript for an untitled play, and a script for play "The Sideshow" by Arthur Williams; a sketchbook; 12 drawings; a transcript of an interview of Goldberg by Jill Neimark, 1979; clippings, 1953-1979; exhibition announcements and catalogs, 1950-1981, a floorplan for Goldberg's studio, 1963; photographs of Goldberg, his family, including Joan Mitchell, Patricia Southgate, her children, and friends, including Larry Rivers, Jim Brodey, Robert Grosvenor, Alain Kirili, and Susanna Tanger; three group photographs taken in East Hampton by Hans Namuth, 1962, of 35 artists including Goldberg, James Brooks, Adolph Gottlieb, Balcomb Greene, Grace Hartigan, Al Held, Buffie Johnson, Lee Krasner, Ibram Lassaw, and Larry Rivers.
Biographical / Historical:
Michael Goldberg (1924-2007) was a painter in New York, New York.
Provenance:
Donated 1972-1983 by Michael Goldberg.
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:
Poets  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Interviews
Sketchbooks
Identifier:
AAA.goldmich
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw949df2771-4b68-454c-b47f-03acf4e0e830
EDAN-URL:
ead_collection:sova-aaa-goldmich

Eleanor Munro papers

Creator:
Munro, Eleanor, 1928-  Search this
Names:
Antin, Eleanor  Search this
Blaine, Nell, 1922-1996  Search this
Bontecou, Lee, 1931-  Search this
Chase-Riboud, Barbara  Search this
Frank, Mary, 1933-  Search this
Lin, Maya Ying  Search this
Mitchell, Joan, 1926-1992  Search this
Pepper, Beverly  Search this
Stone, Sylvia, 1928-  Search this
Thomas, Alma  Search this
Extent:
36.7 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Diaries
Sound recordings
Photographs
Transcripts
Date:
circa 1880-2011
bulk 1950-2011
Summary:
The papers of writer and art critic Eleanor Munro measure 36.7 linear feet and 0.001 GB and date from circa 1880-2011, bulk 1950-2011. The collection documents Munro's life, career, and research on women artists, through biographical and family material, correspondence, writing projects, diaries, dream journals and notebooks, subject and research files, printed and digital material, and photographic material.
Scope and Contents:
The papers of writer and art critic Eleanor Munro measure 36.7 linear feet and 0.001 GB and date from circa 1880-2011, bulk 1950-2011. The collection documents Munro's life, career, and research on women artists, through biographical and family material, correspondence, writing projects, diaries, dream journals and notebooks, subject and research files, printed and digital material, and photographic material.

Correspondence is both personal and professional in nature and is with family, friends, colleagues, agents, editors, and others regarding speaking engagements, writings, and other professional projects.

Writing projects make up a significant portion of the collection (10 linear feet) and include non-fiction works as well as fiction and poetry. Files contain drafts, notes, manuscripts, research, correspondence, contracts and agreements, royalty statements, and other business records for articles, books, reviews, talks, lectures, and other writing projects.

Diaries comprise twenty-six volumes of frequent entries that chronicle thoughts and feelings relating to Munro's personal and professional life. Dream journals and notebooks total 210 volumes plus additional loose pages and capture thoughts, reflections, and fragments of remembered dreams.

Subject and research files compiled and organized by Eleanor Munro make up the most substantial portion of the collection (20.6 linear feet) and reflect a wide variety of research interests, work projects, activities, and topics of interest. Types of material in this series are varied and include notes, drafts, printed and digital material, correspondence, proposals, interview transcripts, bibliographies, annotated articles, slides, photographs, original artworks, manuscripts by others, and four sound recordings. Many files relate to Munro's interest in women artists and serve as research for Originals: American Women Artists (1979). Interview transcripts are with women artists Eleanor Antin, Nell Blaine, Lee Bontecou, Barbara Chase-Riboud, Mary Frank, Maya Lin, Joan Mitchell, Beverly Pepper, Sylvia Stone, Alma Thomas, and others.

The remainder of the collection is comprised of biographical and family material, printed material, and photographic material.
Arrangement:
The collection is arranged as 7 series

Missing Title

Series 1: Biographical and Family Material, circa 1880s-2008 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1959-circa 2000s (0.7 linear feet; Box 1-2)

Series 3: Writings Projects, 1921-circa 2000s (10 linear feet; Box 2-12)

Series 4: Diaries, Dream Journals, and Notebooks, circa 1939-2011 (3.8 linear feet; Box 12-15)

Series 5: Subject and Research Files, circa 1950s-2000s (20.6 linear feet; Box 15-36, OV 38-40, 0.001 GB; ER01)

Series 6: Printed Material, circa 1959-circa 2000s (0.6 linear feet; Box 36)

Series 7: Photographic Material, circa 1980s-1990s (0.6 linear feet; Box 36-37)
Biographical / Historical:
Eleanor Munro (1928- ) is a writer and art critic working in New York City and Truro, Massachusetts. She is best known for her groundbreaking work Originals: American Women Artists (1979), one of the first books to argue for the importance of women artists who were generally ignored by the art world. Munro was active in feminist art circles in New York.

Munro's father, Thomas Munro, was an art educator and modernist intellectual. Her mother, Lucile Nadler, was a pianist. She grew up in Cleveland, Ohio, after her father accepted a joint appointment at the Cleveland Museum of Art and Western Reserve University. Munro graduated from Smith College majoring in art history and earned a master's degree in comparative literature from Columbia. She was married to Alfred Frankfurter, editor of ArtNews, from 1955 until his death in 1965. Munro remarried to the writer E. J. Kahn until his death in 1994.

While working on Originals, Munro interviewed forty women artists including Georgia O'Keeffe, Louise Bourgeois, Jennifer Bartlett, Helen Frankenthaler, and Louise Nevelson. Her thesis sought to highlight the relationship between biography and the content of an artist's work. The book serves as an illustration of Munro's idea that the "narrative memory" these artists had constructed for themselves was an important "generative source" of their creativity. Women artists continued to be a prominent interest of Munro's throughout her life.

Munro is also the author of On Glory Roads: a Pilgrim's Book about Pilgrimage (1987), Memoir of a Modernist's Daughter (1988), and other books. In 1988, Munro received the Cleveland Arts Prize for Literature.
Provenance:
Donated by Eleanor Munro's son, David T. M. Frankfurter, in 2015.
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.

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 -- Ohio  Search this
Authors -- Ohio  Search this
Topic:
Dreams  Search this
Women artists  Search this
Genre/Form:
Interviews
Diaries
Sound recordings
Photographs
Transcripts
Citation:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.munrelea
See more items in:
Eleanor Munro papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a4625a86-8f36-41fa-844c-c186f93ab239
EDAN-URL:
ead_collection:sova-aaa-munrelea
Online Media:

Shirley Jaffe papers

Creator:
Jaffe, Shirley, 1923-  Search this
Names:
Ford, Hermine  Search this
Francis, Sam, 1923-1994  Search this
Held, Al, 1928-  Search this
Jenkins, Paul, 1923-2012  Search this
Kushner, Robert, 1949-  Search this
Mitchell, Joan, 1926-1992  Search this
Nochlin, Linda  Search this
Rivers, Larry, 1925-2002  Search this
Smith, Kimber, 1922-1981  Search this
Stone, Sylvia, 1928-  Search this
Sugarman, George, 1912-1999  Search this
Extent:
7.1 Linear feet
0.26 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Video recordings
Sketchbooks
Diaries
Photographs
Interviews
Date:
circa 1950-2011
Summary:
The papers of artist Shirley Jaffe measure 7.1 linear feet and 0.260 GB and date from circa 1950-2011. The collection documents her life and career as an American painter living in Paris through biographical material, letters, notebooks, writings, project files, printed and digital material, photographic material, and sketchbooks.
Scope and Contents:
The papers of artist Shirley Jaffe measure 7.1 linear feet and 0.260 GB and date from circa 1950-2011. The collection documents her life and career as an American painter living in Paris through biographical material, letters, notebooks, writings, project files, printed and digital material, photographic material, and sketchbooks.

Scattered biographical materials include address and appointment books, an interview with Jaffe by Jeff Perkins recorded on one videocassette, and other documents.

Letters make up a significant portion of the collection and are primarily written to Shirley from friends and family. In addition to frequent letters received from her siblings and mother, Jaffe also received letters from artists Joan Mitchell, Sam Francis, Kimber Smith, Sylvia Stone and Al Held, Hermine Ford, Robert Kushner, and George Sugarman.

The papers include eighty-four notebooks kept by Jaffe containing lists, addresses, notes, sketches and the occasional diary entry. Project files contain correspondence, gouache studies, sketches, and printed material related to commissions and collaborations, including illustrations, murals, and the design of stained glass windows in the Chapelle Saint-Jean-l'Evangéliste in Perpignan, titled Funéraria.

Printed materials include articles, published books about Jaffe, clippings, exhibition catalogs, a recorded radio broadcast, and reviews.

There are photographs, slides, transparencies, and digital photographs depicting Jaffe's paintings, exhibitions, and artists and art world figures including Larry Rivers, Kimber Smith, Linda Nochlin, Sam Francis, Paul Jenkins, and Joan Mitchell at exhibition openings in the 1960s-1970s. Eight sketchbooks contain drawings by Jaffe in ink, marker, and pen.
Arrangement:
The collection is arranged as 7 series

Missing Title

Series 1: Biographical Material, 1950s-2000s (0.3 linear feet; Box 1)

Series 2: Letters, 1950s-2000s (3 linear feet; Box 1-4)

Series 3: Notebooks and Writings, 1950s-2000s (0.9 linear feet; Box 4-5)

Series 4: Project Files, 1970s-2003 (0.6 linear feet; Box 5, 9)

Series 5: Printed Material, 1952-2011 (0.7 linear feet; Box 5-6, 9)

Series 6: Photographic Material, 1950s-circa 2010 (1.3 linear feet; Box 6-8, 0.260 GB; ER01)

Series 7: Sketchbooks, 1960s-2000s (0.3 linear feet; Box 8)
Biographical / Historical:
Shirley Jaffe (1923-2016), née Sternstein, was an American painter living and working in Paris.

Born in New Jersey and raised in Brooklyn, Shirley Jaffe completed her studies at the Cooper Union in 1945. In 1949 she and husband Irving Jaffe moved to Washington, D.C. where she attended the Phillips Art School. Later that same year, they moved to Paris. The Jaffes returned to New York briefly in the early 1950s, but moved back to Paris in 1953, where Shirley Jaffe has been living and working ever since. She was married to Irving Jaffe until 1962.

Jaffe started her career as an abstract expressionist but began to work in a flat and geometric style in the late 1960s. She was part of the American expatriate art scene in Paris and associated with Joan Mitchell, Jean-Paul Riopelle, Sam Francis, Kimber Smith, and others. In 1963, Jaffe received a grant from the Ford Foundation to spend a year working in Berlin.

Jaffe took on several commissions in France including illustrations, murals, and notably, the design of stained glass windows in the Chapelle Saint-Jean-l'Evangéliste in Perpignan, titled Funéraria. Her paintings have been exhibited in New York at the Holly Solomon Gallery and the Tibor de Nagy Gallery, and at galleries and museums throughout France.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Shirley Jaffe conducted by Avis Berman, September 27-28, 2010.
Provenance:
The Shirley Jaffe papers were donated to the Archives of American Art by Shirley Jaffe in 2014.
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.

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:
Painters -- France -- Paris  Search this
Women artists  Search this
Expatriate artists -- France -- Paris  Search this
Genre/Form:
Sketches
Video recordings
Sketchbooks
Diaries
Photographs
Interviews
Citation:
Shirley Jaffe papers, 1950s-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jaffshir
See more items in:
Shirley Jaffe papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99eb4d3a1-111a-4fa1-bff1-32b4eb7997aa
EDAN-URL:
ead_collection:sova-aaa-jaffshir
Online Media:

Dwan Gallery records

Creator:
Dwan Gallery  Search this
Names:
Dwan Gallery (Los Angeles, Calif.)  Search this
Dwan Gallery (New York, N.Y.)  Search this
Anastasi, William, 1933-  Search this
Andre, Carl, 1935-  Search this
Arakawa, Shusaku, 1936-  Search this
Arman, 1928-2005  Search this
Dwan, Virginia  Search this
Flavin, Dan, 1933-  Search this
Goodnough, Robert, 1917-  Search this
Guston, Philip, 1913-1980  Search this
Kienholz, Edward, 1927-  Search this
Klein, Yves, 1928-1962  Search this
Kline, Franz, 1910-1962  Search this
LeWitt, Sol, 1928-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Morris, Robert, 1931-2018  Search this
Oldenburg, Claes, 1929-  Search this
Parker, Raymond, 1922-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Raysse, Martial, 1936-  Search this
Reinhardt, Ad, 1913-1967  Search this
Richenburg, Robert  Search this
Rivers, Larry, 1925-  Search this
Saint-Phalle, Niki de, 1930-  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Smithson, Robert  Search this
Snelson, Kenneth, 1927-2016  Search this
Weber, John, 1932-2008  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Date:
1959-circa 1982
bulk 1959-1971
Summary:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.
Scope and Contents:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.

Artists that held exhibitions at the Dwan Gallery in New York and Los Angeles include: Robert Goodnough, Robert Richenburg, Larry Rivers, Philip Guston, Yves Klein, Salvatore Scarpitta, Arakawa, Martial Raysse, Ad Reinhardt, Arman, Franz Kline, Edward Kienholz, Claes Oldenburg, Niki de Sainte Phalle, Joan Mitchell, Robert Rauschenberg, Robert Morris, Dan Flavin, Raymond Parker, Kenneth Snelson, Carl Andre, Sol LeWitt, Robert Smithson, and Anastasi. Also, the exhibition files are nearly comprehensive and include: Language to be Looked at and/or Things to be Read annual series (1967-1970), Boxes (1964), Earth Works (1968), My Country 'tis of Thee (1962) and 10 (1967 and 1968). Many of the multiple artist shows were created and organized by gallery director John Weber and/or Virginia Dwan. Many of these exhibition files include full-sized posters and panoramic photos showing installations.

Also found are records created by a consulting firm hired by the Dwan Gallery to inventory the exhibition files prior to donation to the Archives of American Art. These guides appear at the beginning of each series and outline a chronology of exhibitions held at each branch.
Arrangement:
The collection is arranged into two series:

Missing Title

Series 1: Los Angeles Exhibition Files, 1959-1967, after 1981 (Box 1-2, 5, OV6, OV8; 1.3 linear feet)

Series 2: New York Exhibition Files, 1965-1971, after 1982 (Box 2-4, OV7; 1.0 linear feet)
Biographical / Historical:
In 1959, Virginia Dwan opened her first gallery on 1091 Broxton Avenue in the Westwood Village neighborhood of Los Angeles, California. Her independent wealth allowed her to open a gallery without worrying about business and sales. Three years after opening, the Dwan Gallery moved into a new Westwood Village space especially designed to express the gallery's contemporary aesthetic. In 1965, Virginia Dwan moved to New York City and founded an east coast branch of the Dwan Gallery at 29 West 57th Street.

Early exhibitions at the Dwan Gallery showed Abstract Expressionist artists and works of art from New York which Dwan consigned from other galleries. After traveling to New York and France, Virginia Dwan's interests and tastes manifested in exhibitions by 1961 with Yves Klein. Through Klein, Dwan made connections to other Nouveaux Réalistes artists that the gallery featured in solo and group shows. Later exhibitions featured Land and Minimilist artists. Dwan recognized that many of her shows were not considered salable but continued to show the avant-garde. She saw the gallery as an opportunity to expose the public to different styles of art.

Virginia Dwan maintained a close and personal relationship with many of her artists. She allowed large stipends to gallery artists and invited them to spend time at her home in Malibu, California. When working with artists concentrating on found objects, Dwan would accompany them on scavenger hunts and shopping trips. In the case of Robert Smithson and other Land Art artists, she traveled to offsite locations to visit works of art in progress. Dwan relied on her longtime gallery director, John Weber to interact with collectors as she preferred to maintain her connection with the artists.

The Dwan Gallery Los Angeles closed in mid-1967 but the New York branch remained open. By 1971, Virginia Dwan felt pressure to support her thirteen artists through a period of economic insecurity. She decided to close the gallery secretly and only informed her artists at the last minute. The final exhibition at Dwan Gallery New York closed in June of 1971.
Related Materials:
Also found within the Archives of American Art is an interview with Virginia Dwan conducted March 21 through June 1, 1984 by Charles Stuckey.
Separated Materials:
Dwan Gallery exhibition catalogs that were donated to the Archives in 1989 were transferred to the Smithsonian Institution American Art and National Portrait Gallery Library.

Bard College's Center for Curatorial Studies and Art in Contemporary Culture holds Dwan Gallery materials related to exhibitions in the Library and Archives.
Provenance:
The Dwan Gallery records were donated in 1996 by Virginia Dwan, the former owner of the gallery.
Restrictions:
Use of original papers requires an appointment.
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:
Art -- New York (State) -- New York -- Exhibitions  Search this
Art -- California -- Los Angeles -- Exhibitions  Search this
Earthworks (Art)  Search this
Minimal art  Search this
Abstract expressionism  Search this
Artists -- United States  Search this
Function:
Art galleries, Commercial -- California
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Slides (photographs)
Citation:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dwangall
See more items in:
Dwan Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94e337be1-1336-40b7-a8a2-03c8589bab03
EDAN-URL:
ead_collection:sova-aaa-dwangall
Online Media:

Essay and poem by John Yau

Title:
Joan Mitchell, trees and other paintings, 1960-1990
Trees and other paintings, 1960-1990
Author:
Yau, John 1950-  Search this
Cheim, John  Search this
Mitchell, Joan 1925-1992  Search this
Laura Carpenter Fine Art  Search this
Subject:
Mitchell, Joan 1926-1992  Search this
Physical description:
[34] p. : col. ill. ; 26 cm
Type:
Books
Exhibitions
Date:
1992
Call number:
ND237.M58 A4 1992a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_636013

Joan Mitchell : 12 September-14 November 1993 ; eighty-third annual exhibition / Maier Museum of Art, Randolph-Macon Woman's College, Lynchburg, Virginia ; exhibition curator, Hearne Pardee

Title:
83rd annual exhibition
Author:
Mitchell, Joan 1925-1992  Search this
Pardee, Hearne  Search this
Maier Museum of Art (Lynchburg, Va.)  Search this
Subject:
Mitchell, Joan 1926-1992  Search this
Physical description:
[5] p. : col. ill. ; 21 x 26 cm
Type:
Books
Exhibitions
Date:
1993
C1993
Call number:
ND237.M58 A4 1993b
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_839019

Joan Mitchell : paintings and pastels, 1973-1983

Author:
Mitchell, Joan 1925-1992  Search this
Lennon, Weinberg, Inc  Search this
Subject:
Mitchell, Joan 1926-1992  Search this
Physical description:
1 v. (unpaged). : col. ill. ; 30 cm
Type:
Books
Exhibitions
Date:
2008
Call number:
ND237.M58 A4 2007
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_895336

Joan Mitchell : memory abstracted

Title:
Memory abstracted
Author:
Mitchell, Joan 1925-1992  Search this
Nahem, Edward Tyler  Search this
Edward Tyler Nahem (Gallery)  Search this
Subject:
Mitchell, Joan 1926-1992  Search this
Physical description:
23 p. : col. ill. ; 22 cm
Type:
Exhibitions
Date:
2002
20th century
Topic:
Art, American  Search this
Call number:
ND237.M58 A4 2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_746694

Joan Mitchell : Frémicourt paintings, 1960-62 / essay by Klaus Kertess

Title:
Frémicourt paintings, 1960-62
Author:
Mitchell, Joan 1925-1992  Search this
Kertess, Klaus  Search this
Cheim & Read  Search this
Subject:
Mitchell, Joan 1926-1992  Search this
Physical description:
[52] p. (some fold.) : col. ill. ; 31 cm
Type:
Exhibitions
Place:
United States
Date:
2005
Topic:
Abstract expressionism  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_765940

Joan Mitchell : paintings 1950 to 1955, from the estate of Joan Mitchell

Author:
Mitchell, Joan 1925-1992  Search this
Robert Miller Gallery (New York, N.Y.)  Search this
Subject:
Mitchell, Joan 1926-1992  Search this
Physical description:
94 p. : ill. (chiefly col.), ports. ; 30 cm
Type:
Books
Exhibitions
Date:
1998
20th century
Topic:
Painting, American  Search this
Call number:
ND237.M58 A4 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_786237

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