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Reunions: Memories of an American Experience. Wild Sound (Out-takes of Interview with Doolittle and Air and Space Museum Curator Donald Lopez). Rolls 1-3. 16mm.

Container:
Box 5 of 7
Type:
Archival materials
Collection Restrictions:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing/listening copies are not currently available. Viewing/listening copies can be made for a fee. Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 02-180, Smithsonian Institution. Office of Telecommunications, Productions
See more items in:
Productions
Productions / Box 5
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa02-180-refidd1e601

Broadcast Material

Collection Creator:
Spero, Nancy, 1926-2009  Search this
Extent:
2 Videocassettes (VHS)
Container:
Box 21, Folder 1
Type:
Archival materials
Moving Images [31027000773149]
Videocassettes (vhs)
Date:
1994
2002
Scope and Contents:
Includes Art and the Left (1994), BBC Open University Program to support the third level course A316 from the Faculty of Arts. Structured around interviews conducted in November 1991 by Francis Frascina with artists, critics and museum curators active in resistance to the Vietnam War, and racism in the U.S.A. during and after the 1960s. Begins with the testimony of Nancy Spero and Martha Rosler who, though from different generations, changed the direction of their art practices in response to their opposition to U.S. involvement in Vietnam.

Also includes two copies of Classics of Contemporary Art: Nancy Spero, TV Gallery Program, by Nina Zaretskaya for Art Media Centre, Moscow.
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. 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:
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Spero papers
Nancy Spero papers / Series 10: Printed Material / 10.1: Printed Material About Spero
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e6d148c0-e76b-4d8a-abe3-19deee482f18
EDAN-URL:
ead_component:sova-aaa-spernanc-ref1507

Gene Davis papers

Creator:
Davis, Gene, 1920-1985  Search this
Names:
White House (Washington, D.C.)  Search this
Baro, Gene  Search this
Colby, Carl  Search this
Davis, Douglas  Search this
Davis, Florence  Search this
Greenberg, Clement, 1909-1994  Search this
McGowin, Ed, 1938-  Search this
Naifeh, Steven, 1952-  Search this
Nordland, Gerald  Search this
North, Percy, 1945-  Search this
Seitz, William C. (William Chapin)  Search this
Thomas, Alma  Search this
Wall, Donald  Search this
Extent:
17.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Date:
1920-2000
bulk 1942-1990
Summary:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Scope and Contents:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)
Biographical / Historical:
Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.
Provenance:
Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Reporters and reporting -- Washington (D.C.)  Search this
Video artists -- Washington, D.C.  Search this
Conceptual artists -- Washington, D.C  Search this
Painters -- Washington (D.C.)  Search this
Collagists -- Washington, D.C  Search this
Topic:
Color-field painting  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davigene
See more items in:
Gene Davis papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90a230f67-650f-483a-acdf-50b6ca91fe59
EDAN-URL:
ead_collection:sova-aaa-davigene
Online Media:

Marcia Tucker papers

Creator:
Tucker, Marcia  Search this
Names:
New Museum of Contemporary Art (New York, N.Y.)  Search this
Allen, Richard, 1945-  Search this
Bourgeois, Louise, 1911-2010  Search this
Brown, Joan, 1938-1990  Search this
Johnson, James W.  Search this
Melamid, Bruce  Search this
Pindell, Howardena, 1943-  Search this
Ratz, Markus  Search this
Snyder, Joan, 1940-  Search this
Staley, Earl, 1938-  Search this
Staley, Suzanne  Search this
Weber, Idelle, 1932-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1973-1994
Summary:
The papers of curator and museum director Marcia Tucker measure 2.4 linear feet and date from 1973-1994. The collection documents Tucker's tenure as the Director of the New Museum of Contemporary Art in New York through artists' files, correspondence, project files, printed material, and photographs. The papers also reflect Tucker's activities as an advocate for women in the arts.
Scope and Contents note:
The papers of curator and museum director Marcia Tucker measure 2.4 linear feet and date from 1973-1994. The collection documents Tucker's tenure as the Director of the New Museum of Contemporary Art in New York through artists' files, correspondence, project files, printed material, and photographs. The papers also reflect Tucker's activities as an advocate for women in the arts.

Artists' files include correspondence, artists' statements, exhibition lists, press releases, printed material, and photographs of artwork. There is extensive correspondence with Richard M. Allen, James W. Johnson, Bruce Melamid, and Earl and Suzanne Staley.

Correspondence consists of a mix of professional and personal letters between Tucker and artists, business colleagues, and friends. Correspondence relating to the founding of the New Museum includes draft versions of the mission statement. Among the notable correspondents are: Louise Bourgeois, Joan Brown, Howardena Pindell, Markus Raetz, Joan Snyder, and Idelle Weber. Project files reflect Marcia Tucker's activities as an educator, writer, and advocate for women's role in the arts.

Photographs include an inscribed photograph to Marcia Tucker from Raymond Lark.
Arrangement note:
The collection is organized into 5 series. The papers are arranged by material type and chronologically thereafter.

Missing Title

Series 1: Artists' Files, 1976-1994 (Boxes 1-2; 1.3 linear feet)

Series 2: Correspondence, 1976-1994 (Box 2; 0.6 linear feet)

Series 3: Project Files, 1973-1990 (Boxes 2-3; 0.15 linear feet)

Series 4: Printed Material, 1984-1994 (Box 3; 0.15 linear feet)

Series 5: Photographs, 1985-1994 (Box 3: 0.2 linear feet)
Biographical/Historical note:
Curator and museum director Marcia Tucker (1940-2006) lived and worked in New York.

In 1961, Marcia Tucker received her Bachelor of Arts from Connecticut College. She then went on to earn a Masters of Art from New York University's Institute of Fine Arts in 1965. In 1969, Tucker became curator of Painting and Sculpture at the Whitney Museum of American Art. Influenced by the political ferment of the 1960s, Marcia Tucker directed her curatorial efforts to organizing exhibitions that reflected the political and social currents of the day. An early exhibit that she co-curated with James Monte, "Anti-Illusion: Procedures/Materials," was one of the first major exhibitions dedicated to Process Art or Post Minimalism. She curated major surveys for the work of Lee Krasner, Joan Mitchell, Bruce Nauman, Richard Tuttle, and Jack Tworkov. Some of Marcia Tucker's curatorial choices were critically received by colleagues and others in the artistic community. In 1977, she left the Whitney Museum to take on the role of founding director at the New Museum of Contemporary Art in New York. At the time, the New Museum was one of the few experimental centers for contemporary and emerging artists working in graphic arts, video, and film, serving as a venue for artists outside the mainstream, gay artists, and members of radical Hispanic and feminist groups. During her tenure at the New Museum, Tucker directed a number of major exhibitions, such as "Bad Girls," 1994; "A Labor of Love," 1996; "The Times of Our Lives," 1999, among others.

Marcia Tucker's interests extended to writing and teaching. She was the series editor for the New Museum's Documentary Sources in Contemporary Art. Tucker was also a freelance art critic; her criticism appeared in such publications as Art in America, Artforum, and ArtNews. Tucker also taught and lectured at academic institutions and art schools, including the School of Visual Arts, Bard Center for Curatorial Studies, Cornell University, and Colgate University.

In 1999, Marcia Tucker left her post as Director of the New Museum, though she continued to be engaged in the contemporary art scene. In recognition of her innovative practices as a curator, Tucker received a number of awards, including the Skowhegan Governors Award for Lifetime Services to the Arts, 1988; Bard College Award for Curatorial Achievement and the Art Table Award for Distinguished Service to the Visual Arts, 2000. She was also the recipient of three Yaddo fellowships from 2003-2005.

In 2006, Tucker died in Santa Barbara, California. She is survived by her husband, Dean McNeill, an artist and their daughter, Ruby Tucker.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Marcia Tucker conducted by Paul Cummings, August 11-September 8, 1978.
Provenance:
The collection was donated by Marcia Tucker to the Archives of American Art in 2000.
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:
Museum directors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Women museum curators  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Photographs
Citation:
Marcia Tucker papers, 1973-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tuckmarc
See more items in:
Marcia Tucker papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw921ac0b35-ea2b-417a-b063-0e12bb7fa068
EDAN-URL:
ead_collection:sova-aaa-tuckmarc
Online Media:

Former Railway Post Office clerk interview: Joseph Gomez

Creator:
National Postal Museum  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2010-04-19T01:29:54.000Z
YouTube Category:
Education  Search this
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
See more by:
SmithsonianNPM
Data Source:
National Postal Museum
YouTube Channel:
SmithsonianNPM
EDAN-URL:
edanmdm:yt_LmHhE57UUUM

Former Railway Post Office clerk interview: Greg Lowell, Donald Bliss and Gerald Lange

Creator:
National Postal Museum  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2010-04-18T20:04:38.000Z
YouTube Category:
Education  Search this
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
See more by:
SmithsonianNPM
Data Source:
National Postal Museum
YouTube Channel:
SmithsonianNPM
EDAN-URL:
edanmdm:yt_dBXx8xwCiTU

Former Railway Post Office clerk interview: Healey, Booth and Hagy

Creator:
National Postal Museum  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2010-04-19T21:00:45.000Z
YouTube Category:
Education  Search this
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
See more by:
SmithsonianNPM
Data Source:
National Postal Museum
YouTube Channel:
SmithsonianNPM
EDAN-URL:
edanmdm:yt_LnTfz_9Ib7o

Former Railway Post Office clerk interview: Patton, Harvey, Mitterer and Coleman

Creator:
National Postal Museum  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2010-04-19T16:31:20.000Z
YouTube Category:
Education  Search this
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
See more by:
SmithsonianNPM
Data Source:
National Postal Museum
YouTube Channel:
SmithsonianNPM
EDAN-URL:
edanmdm:yt_QLvfg_YD1Eg

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Creator:
Finch College. Museum of Art  Search this
Varian, Elayne H.  Search this
Names:
Acconci, Vito, 1940-  Search this
Anderson, David K., 1935-  Search this
Benglis, Lynda, 1941-  Search this
Benyon, Margaret, 1940-  Search this
Bochner, Mel, 1940-  Search this
Brooks, James, 1906-1992  Search this
Castelli, Leo  Search this
Chase, Doris, 1923-  Search this
Cross, Lloyd G.  Search this
Davis, Douglas  Search this
Dwan, Virginia  Search this
Feigen, Richard L., 1930-  Search this
Glimcher, Arnold B.  Search this
Gottlieb, Adolph, 1903-1974  Search this
Graham, Dan, 1942-  Search this
Hollander, Irwin  Search this
Insley, Will, 1929-2011  Search this
Jackson, Martha Kellogg  Search this
Janis, Sidney, 1896-1989  Search this
Kirby, Michael  Search this
Levine, Les, 1935-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Mazur, Michael, 1935-2009  Search this
Meyer, Ursula, 1915-  Search this
Nauman, Bruce, 1941-  Search this
O'Doherty, Brian  Search this
Parsons, Betty  Search this
Richter, Hans, 1888-1976  Search this
Siegelaub, Seth, 1941-  Search this
Smith, Tony, 1912-1980  Search this
Sonfist, Alan  Search this
Weiner, Sam  Search this
Wise, Howard  Search this
Extent:
20.9 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Date:
1943-1975
bulk 1964-1975
Summary:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.
Scope and Contents:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)
Biographical / Historical:
The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.
Provenance:
The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.
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:
Video artists -- New York (State) -- New York  Search this
Museum administrators -- New York (State) -- New York  Search this
Museum curators -- New York (State) -- New York  Search this
Topic:
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Gallery directors  Search this
Gallery owners  Search this
Genre/Form:
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.finccoll
See more items in:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ed5f13a2-eeb3-452a-8735-204ff25576b5
EDAN-URL:
ead_collection:sova-aaa-finccoll
Online Media:

Oral history interview with Katharine Kuh

Topic:
Saturday review
Interviewee:
Kuh, Katharine  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
Art Institute of Chicago  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
First National Bank of Chicago -- Art collections  Search this
Katharine Kuh Gallery (Chicago, Ill.)  Search this
Mark Rothko and His Times Oral History Project  Search this
Vassar College  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Albright, Ivan, 1897-1983  Search this
Archipenko, Alexander, 1887-1964  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Avery, Milton, 1885-1965  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Berenson, Bernard, 1865-1959  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Max, 1891-1976  Search this
Hofmann, Hans, 1880-1966  Search this
Kepes, Gyorgy, 1906-2001  Search this
Klee, Paul, 1879-1940  Search this
Léger, Fernand, 1881-1955  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Moholy-Nagy, László, 1895-1946  Search this
Mérida, Carlos, 1891-1984  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
Paepcke, Walter Paul, 1896-1960  Search this
Porter, Eliot, 1901-1990  Search this
Ray, Man, 1890-1976  Search this
Rich, Daniel Catton, 1904-1976  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Stamos, Theodoros, 1922-1997  Search this
Stieglitz, Alfred, 1864-1946  Search this
Still, Clyfford, 1904-1980  Search this
Tamayo, Rufino, 1899-  Search this
Tobey, Mark  Search this
Tworkov, Jack  Search this
Weston, Edward, 1886-1958  Search this
Extent:
313 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 Mar. 18-1983 Mar. 24
Scope and Contents:
An interview of Katharine Kuh conducted 1982 Mar. 18-1983 Mar. 24, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Kuh speaks of her invalid childhood in Chicago, the development of her interest in art, classes in art history at Vassar College, and her career as curator of modern art at the Art Institute of Chicago. She recalls in particular the "Sanity in Art" movement against modern art in Chicago. Kuh describes her relationship with Mark Rothko and Rothko's relationships with Mark Tobey, Clyfford Still, Kate Rothko, Theodoros Stamos, Milton Avery, Stanley Kunitz, and Hans Hofmann.
Kuh discusses her parents, the family silk business, travelling in Europe as a child, life in Chicago, the effects of polio and other illnesses on her interests, and her student years at Vassar College. She remembers visiting Bernard Berenson in Italy with her family and again with Daniel Catton Rich, with whom she worked very closely at the Art Institute of Chicago. She speaks of the Katharine Kuh Gallery, which she started in the mid-1930s and its place in the vanguard of the Chicago art scene.
Kuh remembers the effects of the stock market crash on her personal situation, her marriage to businessman George Kuh, distaste for life in the suburbs, and her divorce. She discusses the Katharine Kuh Gallery and the actions taken against her business by members of the reactionary "Sanity in Art" movement (including a very funny anecdote concerning Carlos Merida). She speaks of the classes in modern art that she taught at her gallery and of some of the artists she exhibited there, including the photographers Ansel Adams, Alfred Stieglitz, and Edward Weston.
Kuh remembers the McCarthy era and the political conservatism in Chicago, including her testimony on behalf of Bill Zimmerman, Acting Commissioner of Indian Affairs. She criticizes blockbuster exhibitions and the changes in the role of a museum curator. She reminisces about building the collection at the Art Institute of Chicago and the art education program she ran there, and recalls Stuart Davis, Laszlo Moholy-Nagy, Gyorgy Kepes, and Ivan Albright.
Kuh remembers Laszlo Moholy-Nagy, Ludwig Mies van der Rohe, and Marcel Duchamp, as well as the collectors Walter Paepcke and Walter and Louise Arensberg (whose collection she surveyed in their home for an exhibition at the Art Institute of Chicago).
Kuh focuses on her memories of Mark Rothko, recalling when they met, their friendship, his manner of working, his feelings about his work, and his worries towards the end of his life. She talks about Clyfford Still, Barnett Newman, and Mark Tobey. Some parts of this tape repeat what she said earlier.
Kuh continues discussing Rothko, particularly his Houston chapel murals and the retrospective exhibition at MOMA in 1961. She remembers visiting Rothko's studio and describes his working methods. She relates Rothko's views on other artists, including Milton Avery, Clyfford Still, Turner, Robert Motherwell, and Adolf Gottlieb; parts repeat things said before. Kuh also discusses Rothko's wife and daughter.
Kuh recounts building the collection at the Art Institute of Chicago and speaks of the museum staff, trustees, and donors. She remembers Alfred Barr at MOMA.
Kuh continues speaking about the Art Institute of Chicago, describing the circumstances of her resignation and subsequent move to New York. She talks of knowing Peggy Guggenheim, Max Ernst, and Fernand Leger.
Kuh describes her work as a consultant to college museums and her writings. She discusses the field of art criticism and her career as art editor at Saturday Review. She recalls Clyfford Still's retrospective exhibition at the Metropolitan Museum of Art and his death.
Kuh describes her work as a collector for the First National Bank of Chicago.
Kuh recounts more about her work at Saturday Review and her resignation. She goes into great detail about her travels in Alaska and British Columbia surveying Northwest Indian art for a government report. She speaks again about the McCarthy era.
Kuh speaks again about the Katharine Kuh Gallery and the artists she exhibited there, including Josef Albers (and his Black Mountain College), Alexander Archipenko, Stuart Davis, Paul Klee, Alexander Calder, and Man Ray.
Kuh continues her discussion of artists she exhibited at the Katharine Kuh Gallery, including Mark Tobey, Paul Klee, and Isamu Noguchi.
Kuh continues talking about artists she exhibited at the Katharine Kuh Gallery, including David Smith, Ansel Adams, Edward Weston, Eliot Porter, Rufino Tamayo, and Jack Tworkov.
Biographical / Historical:
Katharine Kuh (1904-1994) was an art consultant, curator, and critic from Chicago and New York City.
General:
Originally recorded on 16 sound cassettes. Reformatted in 2010 as 31 digital wav files. Duration is 21 hrs., 52 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript: Patrons must use microfilm copy.
Rights:
Authorization to quote or reproduce for the purposes of publication requires written permission from Avis Berman. Contact Reference Services for more information.
Occupation:
Art critics -- Illinois -- Chicago  Search this
Art critics -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Art museum curators -- Illinois -- Chicago  Search this
Topic:
Abstract expressionism  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kuh82
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw941cbbacd-01e0-402c-828e-c3909d220c9b
EDAN-URL:
ead_collection:sova-aaa-kuh82
Online Media:

Worden Day papers

Creator:
Day, Worden, 1916-1986  Search this
Names:
Hans Hofmann School of Fine Arts  Search this
Montclair Art Museum  Search this
State University of Iowa  Search this
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Dehner, Dorothy, 1901-1994  Search this
Fish, Alice  Search this
Foster, Betty  Search this
Fuller, Sue (1914-2006)  Search this
Hofmann, Hans, 1880-1966  Search this
Lasansky, Mauricio, 1914-  Search this
Minewski, Alex, 1917-1979  Search this
Moy, Seong  Search this
Peterdi, Gabor  Search this
Rupprecht, Edgar A.  Search this
Rupprecht, Isabell  Search this
Sarton, May, 1912-  Search this
Schrag, Karl  Search this
Thurn, Ernest  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
3.5 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Woodcuts
Date:
circa 1935-1992
Summary:
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.

There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Scope and Contents:
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.

Included are biographical material consisting of resumes and an address book. Correspondence is with colleagues, curators, and museum directors including Will Barnet, Carl Zigrosser, May Sarton, Dorothy Dehner, Louise Bourgeois, Sue Fuller, among others. Writings by Day are about sculpture and painting, among them four unpublished manuscripts "Pop Art as an American Cultural Phenomenon," "What is a Print," "The Found Dimension- Aspects in the Development of Modern American Sculpture," and "New Expressions of Woodcut," and reviews for exhibitions written by Day for Art News. Also found in the collection are printed materials; scrapbooks; photographs of Day, her works and photograph albums; and three sketchbooks. Audiovisual material is arranged with biographical material and includes a taped interview on audio cassette with Day and one reel of motion picture film (also available as digital files), "Printmakers," presented by United States Information Service, 1961, showing American printmakers Mauricio Lasansky, Day, Karl Schrag, Seong Moy and Gabor Petredi at work and students in the School of Graphic Arts at the State University of Iowa, founded by Lasansky. Also arranged with biographical material is a file relating to an exhibition on the work of painter Vaclav Vytlacil organized by Day in 1975 at the Montclair Art Museum containing correspondence; letter fragments from Alex Minewski; writings by Vytlacil regarding his career and work with Hans Hofmann; an audio cassette; photographs of Vytlacil, Hofmann teaching in Munich, Ed and Isabell Rupprecht, Ernest Thurn, Betty Foster, and Alice Fish at the Hofmann School of Fine Arts, Munich; and the exhibition catalog.

There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Arrangement:
The collection is arranged as eight series

Series 1: Biographical Material, 1960-1986 (Box 1, FC6; 0.5 linear feet)

Series 2: Correspondence, 1953-1977 (Box 1; 1 folder)

Series 3: Writings, 1955-1985 (Box 1; 0.3 linear feet)

Series 4: Printed Material, 1949-1983 (Box 1; 0.3 linear feet)

Series 5: Scrapbooks, 1940-1984 (Boxes 1, 4; 0.5 linear feet)

Series 6: Photographic Material, 1935-1986 (Boxes 2-3; 0.5 linear feet)

Series 7: Sketchbooks, 1960-1986 (Boxes 3, 5; 0.4 linear feet)

Series 8: Unprocessed Addition, circa 1951-1992 (Box 7; 1.0 linear feet)
Biographical / Historical:
Worden Day (1916-1986) was a sculptor, painter, printmaker and curator in Montclair, New Jersey. Born in Columbus, Ohio, Day graduated from Randolph-Macon College in 1934. She then moved to New York City, and over the next few decades, studied drawing with Maurice Sterne and George Grosz; drawing, painting, and printmaking with William Von Schlegell, Harry Sternberg, Hans Hofmann, Will Barnet, and Vaclav Vytlacil at the Art Students League; and etching with Stanley William Hayter at the New School for Social Research. After earning her M.A. from New York University in 1966, Day taught as an instructor and lecturer in color theory, drawing, printmaking, sculpture, design, collage, American art history, modern art theory, and women artists. Her written reviews and essays were featured in publications such as Art News, Art Voices, and Impressions, and she had solo exhibitions throughout the United States, including at the Smithsonian Institution, Baltimore Museum of Art, Cincinnati Art Museum, and Montclair Art Museum.
Provenance:
The papers were donated to the Archives of American Art from 1972-1983 by Worden Day. Additional material was donated in 2017 by Constance Duhamel, Day's friend. Additional material was donated in 2020 by the Maier Museum of Art at Randoph College via Constance Duhamel.
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:
Landscape painters -- Massachusetts -- Provincetown  Search this
Art museum curators  Search this
Topic:
Art, American  Search this
Women artists  Search this
Prints -- Technique  Search this
Painters -- New Jersey  Search this
Printmakers -- New Jersey  Search this
Sculptors--New Jersey  Search this
Sculpture  Search this
Art, Modern  Search this
Painting  Search this
Pop art  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Woodcuts
Citation:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dayword
See more items in:
Worden Day papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a6c6f8cb-63d3-4da6-ba8e-3b86ac3fb343
EDAN-URL:
ead_collection:sova-aaa-dayword

Lowery Stokes Sims papers

Creator:
Sims, Lowery Stokes  Search this
Extent:
24.4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Video recordings
Date:
circa 1981-2017
Scope and Contents:
The papers of African American art historian, curator and art administrator, Lowery Stokes Sims, measure 24.5 linear feet and date from circa 1918-2017. Included are correspondence; photographs of Lowery and others at events; notes and journals;printed material; exhibition records and administrative records from the Metropolitan Museum of Art, The Studio Museum in Harlem, and the Museum of Art and Design and other organizations; VHS videos, DVD and audio cassettes of interviews with Sims regarding artists and exhibitions; and research files on artists.
Biographical / Historical:
Lowery Stokes Sims (1949-) is an African American art historian, curator and art administrator. Sims was the first African American Curator at the Metropolitan Museum of Art (1972-1999), then served as Executive Director, President then Adjunct Curator of the Permanent Collection of The Studio Museum in Harlem (2000-2007), and Senior Curator and then Chief Curator of the Museum of Art and Design (2007-2015).
Provenance:
The collection was donated in 2019 by Lowery Stokes Sims as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
This collection is access restricted; written permission is required. Contact Reference Services for more information.

Access, with permission, to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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
Arts administrators -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
African American art  Search this
African American art museum curators  Search this
Genre/Form:
Sound recordings
Interviews
Video recordings
Identifier:
AAA.simslowe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a66e8319-d9c1-4f8d-b005-08f8bc7cf659
EDAN-URL:
ead_collection:sova-aaa-simslowe

N W Ayer Advertising Agency Records

Creator:
Ayer (N W) Incorporated.  Search this
Names:
American Telephone and Telegraph Company -- Advertisements  Search this
Cunningham & Walsh.  Search this
Hixson & Jorgenson  Search this
United Air Lines, Inc. -- Advertisements  Search this
Ayer, Francis Wayland  Search this
De Kooning, Willem, 1904-1997  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Extent:
270 Cubic feet (1463 boxes, 33 map-folders, 7 films)
Type:
Collection descriptions
Archival materials
Business records
Interviews
Oral history
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks
Trade literature
Tear sheets
Advertisements
Date:
1817-1851
1869-2006
Summary:
Collection consists of records documenting one of the oldest advertising agencies created in Philadelphia. The company then moves to New York and expanses to international markets. During its history NW Ayer & Sons acquires a number of other advertising agencies and is eventually purchased. The largest portion of the collection is print advertisements but also includes radio and television. NW Ayer is known for some of the slogans created for major American companies.
Scope and Contents:
The collection consists primarily of proof sheets of advertisements created by NW Ayer & Son, Incorporated for their clients. These materials are in series one through thirteen and consist primarily of print advertisements. There are also billboards, radio and television commercials. The advertisements range from consumer to corporate and industrial products. The majority of the advertisements were created for Ayer's New York, Chicago, Los Angeles and international offices. Printed advertisements created by Cunningham & Walsh, Hixson & Jorgensen and Newell-Emmett are also included among these materials. Researchers who are interested in records created by Ayer in the course of operating an advertising agency will find these materials in Series fourteen-nineteen.

Series fourteen consists of advertisements created by NW Ayer & Son to promote their services to potential clients.

Series fifteen are scrapbooks of some of the earliest advertisements created by the company. Series sixteen are publications. Some of the publications were created by Ayer while others were about Ayer or the advertising industry in general. Provides good background materials and puts the company in perspective. Series eighteen are the legal records. Materials relating to employees including photographs, oral histories etc. are found in series nineteen.

Series twenty is one of the smallest amounts of materials and includes information relating to the history of NW Ayer & Son.

The container lists for series one-thirteen are part of a database and are searchable. The list has been printed for the convenience of the researcher and is included in this finding aid. Series fourteen-twenty container lists are also a part of the finding aid but are not in a searchable format.

Series 1, Scrapbooks of Client Advertisements, circa 1870-1920, is arranged into three boxes by chronological date. There are two bound scrapbooks and one box of folders containing loose scrapbook pages. NW Ayer & Son compiled an assortment of their earliest ads and placed them into scrapbooks. Besides the earliest advertisements, the scrapbooks contain requests to run advertisements, reading notices and listings of papers Ayer advertised in. The early advertisements themselves range from medical remedies to jewelry to machines to clothing to education and more. Most of the advertisements in the bound scrapbooks are dated.

Series 2, Proofsheets, circa 1870-1930, NW Ayer was fond of creating scrapbooks containing proofsheets. The series contains proofsheets created between 1892 and 1930, organized into 526 boxes. For convenience of storage, access and arrangement, the scrapbooks were disassembled and the pages placed in original order in flat archival storage boxes. The proofsheets are arranged by book number rather than client name. Usually the boxes contain a listing of the clients and sometimes the dates of the advertisements to be found within the box.

Series 3, Proofsheets, circa 1920-1975, is organized into 532 oversize boxes, and contain proofsheets and tearsheets created between 1920 and 1972. Within this series, materials are arranged alphabetically by company name (occasionally subdivided by brand or product), and thereunder chronologically by date of production. Many major, national advertisers are represented, including American Telephone & Telegraph, Armour Company, Canada Dry, Cannon Mills, Carrier Corporation, Domino Sugar, Caterpillar tractor company, Ford Motor Company, General Electric, Goodyear, Hills Bros. Coffee, Ladies Home Journal, National Dairy, Plymouth (Chrysler Corporation), Steinway, TV Guide, United Airlines and the United States Army. Also contained in this series are three scrapbooks of client advertisements including Canada Dry, Ford Motor, and Victor Talking Machine.

Series 4, 2001 Addendum, circa 1976-2001, is organized into ninety three oversized boxes,one folder and contains proofsheets for select Ayer clients, created between 1975 and 2001. Within this series, materials are arranged alphabetically by client name and there under chronologically by date of production. Major national advertisers represented include American Telephone & Telegraph, Avon, the United States Army, DeBeers Consolidated Diamond Mines, Dupont, TV Guide, Sealtest, Kraft Foods, Gillette, General Motors, Cannon Mills.

Series 5, Billboards, circa 1952-1956, consists of mounted and un-mounted original art/mock-ups. Twenty-two pieces of original art created as mock-ups for Texaco billboards.

Series 6, Film and Video Commercials, 1967-1970,

Series 7, Radio and Television Materials, 1933-1993, undated, is arranged into eight boxes and includes radio scripts, television scripts, and story boards for commercials.

Subseries 7.1, Scripts and storyboards for Radio and Television Commercials, dates Scripts for radio and television commercials includes title, date, length of commercial, advertising agency, client information

NW Ayer's radio and television materials mainly focus on the American Telegraph and Telephone account. Some of Ayer's materials relate to Bell Telephone Hours.

Storyboards are used in television and film to assist the director in working with crew to tell the story. To show the viewer through the use of figures, visual effects and camera angles. When directors first start thinking about their storyboard they create a story in their mind. They think of all the camera angles, visual effects and how the figures will interact in their mind. They try to create an extraordinary story in their head to attract the viewer (YOU) In order for the storyboard to be entirely effective it can't be a passive document. When done properly, a storyboard serves as a central design, meeting the needs of many team members including graphics artists, video personnel and programmers.

Another function of a storyboard is to help the team communicate during the training development process. This communication is very important in working with a large team as in the movie King, produced in 1996. Figures help the director explain to the crew how they are going to record the film and how to present it to the audience. Sometimes the director wants special effects to be added to the film, but his budget might not be that big so the director will have to change the story to fit their budget.

The Visual Effects are an important part in the storyboards it adds a special touch of creativity to your film. Camera angles are an important expects in your film because the camera angles determine where the viewing audience will look. If you want your audience to look at a certain object you must turn their attention to it by focusing on that object and maybe you might try blocking something out. Then you will have your audience's attention and you may do whatever else you have to, it could be scaring them are just surprising them or whatever you do.

Also included is talent information and log sheets relating to the storage of the commercials.

Bell Telephone Hour Program, 1942-[19??], The Bell Telephone Hour, also known as The Telephone Hour, was a five minute musical program which began April 29, 1940 on National Broadcasting Company Radio and was heard on NBC until June 30, 1958. Sponsored by Bell Telephone showcased the best in classical and Broadway music, reaching eight to nine million listeners each week. It continued on television from 1959 to 1968.

Earlier shows featured James Melton and Francia White as soloists. Producer Wallace Magill restructured the format on April 27, 1942 into the "Great Artists Series" of concert and opera performers, beginning with Jascha Heifetz. Records indicate that the list of talents on the program included Marian Anderson, Helen Traubel, Oscar Levant, Lily Pons, Nelson Eddy, Bing Crosby, Margaret Daum, Benny Goodman, José Iturbi, Gladys Swarthout and .The series returned to radio in 1968-1969 as Bell Telephone Hour Encores, also known as Encores from the Bell Telephone Hour, featuring highlights and interviews from the original series.

National Broadcasting television specials sponsored by the Bell System, 1957-1987includes information relating to Science series, Bell system Theshold Series, Bell telephone hour and commercial and public sponsored programs

Series 8, Chicago Office Print Advertisements, 1954-1989, is arranged alphabetically by the name of the client in ninety boxes and six oversize folders. Clients include Illinois Bell Telephone (1955-1989), Microswitch (1969-1989), Teletype (1975-1984), John Deere (1974-1989) and Caterpillar (1966-1972) are particularly well represented. Other clients of interest include Dr. Scholl's shoes (circa 1968-1972), the Girl Scouts (1976-1980), Sunbeam Personal Products Company (1973-1981), Bell and Howell (1974-1983) and Alberto Culver shampoos (1967-1971), Honeywell, Incorporated, Blue Cross and Blue Shield Associations, Kraft, Incorporated, Sears, Roebuck and Company, and YMCA.

Series 9, Los Angeles Office Materials, 1950s-1987, include printed advertisements created by this office and information relating to the employees.

Subseries 9.1, Print Advertisements, 1977-1987, printed advertisements arranged in one box alphabetically by client. There is a sparse sampling of clients from this particular Ayer branch office. The majority of the advertisements contained within this series are from Pizza Hut (1986-1987). Also included are Computer Automation (1977-1978), State of the Art, Incorporated (1982) and Toshiba (1986).

Subseries 9.2, Personnel Files, 1950s-1970s, includes cards of employees who worked in the Los Angeles office. Information on the cards includes name, address, telephone number, birthday, date hired, departure date and why (retired, terminated, resigned, etc) and position. Not all cards have all information. There is also a photograph of the employees on the cards.

Series 10, Foreign Print Advertisements, 1977-1991, undated, NW Ayer maintained partnerships with international companies such as Sloanas Ayer in Argentina, Connaghan & May Paton Ayer in Australia, Moussault Ayer in Belgium, NW Ayer, LTD. in Canada, GMC Ayer in France, Co-Partner Ayer in Germany, Wong Lam Wang in Hong Kong, MacHarman Ayer in New Zealand, Grupo de Diseno Ayer in Spain, Nedeby Ayer in Sweden, and Ayer Barker in United Kingdom. This group of material is a small sampling of advertisements created from these International offices. It is arranged alphabetically by client. There are quite a few automobile advertisements (i.e. Audi, Fiat, General Motors, Mercedes-Benz, and Volkswagen). In addition there are numerous advertisements for various personal items from MacLean's toothpaste to Quick athletic shoes to Labello lip balm, etc. Most of the advertisements have the creator's name printed on the advertisements.

Series 11, Cunningham & Walsh, Incorporated Materials, 1915-1987, undated contains 98 boxes 11 folders materials from the New York advertising agency acquired by NW Ayer in the 1960s. The company began with Newel-Emmett, an agency of nine men which broke up in 1949. Two of the men Fred Walsh and Jack Cunningham formed this agency in bearing their names in 1950. The agency created "let your fingers for the walking campaign for American Telephone & Telegraph, Mother Nature for Chiffon, and Mrs. Olson for Folgers's coffee and let the good times roll for Kawasaki motorcycle. In 1986, NW Ayer Incorporated purchased Cunningham & Walsh Incorporated.

Subseries 11.1, Print Advertisements, 1915-1987, are contained in ninety eight boxes of primarily print advertisements arranged alphabetically by client name. Clients that are particularly well represented are Graybar (electrical implements, circa1926-1937), Johns-Manulle (circa1915-1971), Smith and Corono typewriters (circa 1934-1960), Sunshine Biscuit Company (circa 1925-1961), Texaco Company (circa 1936-1961), Western Electric (circa 1920- 1971) and Yellow Pages (circa 1936-1971). Cunningham and Walsh also represented several travel and tourism industry clients, including Cook Travel Services (circa 1951-1962), Italian Line (circa 1953-1961), Narragansett and Croft (circa 1956-1960) and Northwest Airlines (circa 1946-1955). There are photographs of Texaco advertisements dating from 1913-1962. There is also a scrapbook of advertisements from the Western Electric Company dating from 1920-1922.

Subseries 11.2, Radio and Television Advertisements, 1963-1967, consist of materials created for Western Electric. Materials are arranged in chronological order.

Subseries 11.3, Company Related Materials, 1962-1986, undated include client lists, information relating to NW Ayer purchase and annual report 1962.

Series 12, Hixson & Jorgensen Materials, 1953-1971, a Los Angeles advertising company, merged with Ayer in 1969. This series is housed in one box. Within the box are four scrapbooks and folders with a hodgepodge of materials relating to advertising. Of most interest are the scrapbooks. Two scrapbooks deal with Hixson and Jorgensen's self promotion ad campaign "the right appeal gets action" (1953-1957). The other two scrapbooks contain news clippings about the company and its activities (1959-1971).

Series 13, Newell-Emmet, 1942-1957, founded in 1919 and governed in the 1940s by a partnership of nine men. The partnership broke up in 1949 when the men went their separate ways. The materials consist of print advertisements for one of client, Permutit Company, a water conditioning company. The materials are arranged in one box in chronological order.

Series 14, House Print Advertisements, 1870-1991, 16 boxes consists of advertisements or self-promotion advertisements to campaign for new clients. The series is arranged chronologically by date into fifteen boxes. Within the series are two scrapbooks containing self promotion ads from 1888-1919 and 1892-1895. Numerous house ads relate to Ayer's "Human Contact" campaign. In addition to the self promotion ads, Ayer ran advertisements expounding about particular concepts or themes for example, one month the concept would "understand" while another month would be "teamwork" and yet another would be on "imagination". Some of the self promotion ads target specific groups like Philadelphia businessmen. Other advertisements incorporate the fine arts.

Series 15, Scrapbooks, 1872-1959, relates to company events, records and news clippings about Ayer's history. The six boxes are arranged by chronological date. Two of the boxes focus solely on the death of founder F.W. Ayer (1923). Another box houses a scrapbook that showcases Ayer's annual Typography Exhibition (1931-1959). One box contains a scrapbook that specifically deals with correspondences relating to Ayer's advertising. Yet another box's contents are folders of loose pages from scrapbooks that have newspaper clippings, order forms, correspondences and other company records. In one box, a bound scrapbook houses a variety of materials relating to Ayer and advertising (i.e. newspaper clippings, competitor's advertisements, NW Ayer's advertisements, correspondences for advertisements, clippings regarding the "theory of advertising."

Series 16, Publications, 1849-2006, are housed in thirty four boxes and are arranged into three main categories.

Subseries 16.1, House Publications, 1876-1994, covers diverse topics; some proscriptive works about the Ayer method in advertising, some commemorating people, anniversaries or events in the life of the agency. Materials consist of scattered issues of the employee newsletter The Next Step 1920-1921. The materials are arranged in chronological order by date of publication. Ayer in the News, The Show Windows of an Advertising Agency, 1915, book form of advertisements published on the cover of Printer's Ink, highlighting Ayer's relations with advertisers. The Story of the States, 1916, Reprint in book form of a series of articles published in Printer's Ink for the purpose of adding some pertinent fact, progressive thought and prophetic vision to the Nationalism of Advertising highlights major businesses, manufacturer, natural resources and other qualities or attractions of each state. The Book of the Golden Celebration, 1919, includes welcome address and closing remarks by founder F. Wayland Ayer, The Next Step, 1920 employee newsletter with photographs, employee profiles, in-house jokes, etc., Advertising Advertising: A Series of Fifty-two Advertisements scheduled one time a week. Twenty-seven, thirty and forty inches, a day of the week optional with publisher, 1924

Subseries 16.2, Publications about NW Ayer, 1949-2006, includes a book first published in 1939. Includes articles, documenting events and is arranged chronologically by date of publication.

Subseries 16.3, General Publications about Advertising, 1922-1974, are arranged chronologically by date of publication and relate primarily to the history of advertising.

Subseries 16.4, Publications about Other Subjects, 1948-1964, include four books about the tobacco industry primarily the history of the American Tobacco Company and Lorillard Company from the Cunningham and Walsh library.

Series 17, Business Records, circa 1885-1990s

Subseries 17.1, Contracts, 1885-1908, undated, are arranged alphabetically and span from 1885-1908. The majority of the contracts are with newspaper and magazine publishers from around the country.

Subseries 17.2, General client information, 1911-1999, undated, including active and cancelled lists with dates, client gains, historical client list, (should move this to series 20) Ayer Plan User Guide Strategic Planning for Human Contact, undated

Subseries 17.3, Individual Client Account Information, 1950s-1990s, undated, contain information used by Ayer to create advertisements for some of its clients. American Telephone &Telegraph Corporate Case History, American Telephone &Telegraph Corporate advertisement memo, commissioned artists for DeBeers advertisements, DeBeers information relating to the creative process and photography credits, a case history for DeBeers Consolidated Mines, Ltd., The Diamond Engagement Ring, Managing Communication at all levels, DuPont publications, JC Penny Marketing Communication Plan Recommendation, Leaf, Incorporated, Saturn presentation, and USAREC oral presentation.

Subseries 17.4, Potential Clients, 1993, includes grouping has a questionnaire sent to Ayer by a potential client. Questionnaire response for Prudential Securities, 1993 Prudential Securities advertising account review, 1993.

Subseries 17.5, Financial Records, 1929-1938, includes balance sheet, 1929 May 1 Balance sheet and adjustments Consolidated statement of assets and liabilities, Expenses 191936-37 Business review and expenses, 1937 and 1938 Business review and expenses comparative statement, 1937 and 1938.

Series 18, Legal Records, circa 1911-1982, Ayer's legal records are arranged by twelve subject groupings within four boxes. The twelve groupings are advertising service agreements (circa 1918-1982), bylaws, copyright claims, correspondences, international correspondences, dissolution of trusts, stock information, agreements between partners, incorporation materials, reduction of capital, property information and miscellaneous materials. The bulk of the materials are the advertising service agreements. These agreements are between Ayer and their clients and state the services Ayer will offer and at what cost. The bylaws are Ayer's company bylaws from 1969 and 1972. The copyright claims are certificates stating Ayer's ownership over certain published materials (i.e. "Policy", Media Equalizer Model, and Don Newman's Washington Square Experiment). The correspondences relate to either the voting trust and receipts for agreement or the New York Corporation. The international correspondences are from either Ayer's Canadian office or London office. The dissolutions of trusts contains materials about the dividend trust of Wilfred F. Fry, the investment trust of Winfred W. Fry, the voting trust, and the New York corporation. The stock information has stock certificates and capital stock information. The agreements between partners (1911-1916) specify the terms between F.W. Ayer and his partners. The incorporation materials (circa 1929-1977) deal with Ayer advertising agency becoming incorporated in the state of Delaware. The reduction of capital grouping is a notification that shares of stock have been retired. The property information grouping contains property deeds and insurance policy (circa 1921-1939), a property appraisal (1934), and a bill of sale (1948). The miscellaneous grouping contains a house memo regarding a set of board meeting minutes and a registry of foreign companies in Commonwealth of Pennsylvania (1929-1954).

Subseries 18.1, Advertising Service Agreements, 1918-1982

Subseries 18.2, Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4, Correspondence, 1928-1933

Subseries 18.5, International Office Correspondence, 1947-1948

Subseries 18.6, Dissolution of Trusts, 1934-1937

Subseries 18.7, Stock Information, 1934-1974

Subseries 18.8, Agreements between Partners, 1911-1916

Subseries 18.9, Incorporation Materials, 1929-1977

Subseries 18.10, Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11, Property Information, 1921-1948

Subseries 18.12, Miscellaneous Materials, 1929-1977

Series 19, Personnel Records, circa 1889-2001, are arranged into eight groupings within eight boxes. The groupings are employee card files, photographs, Ayer alumni, biographies, speeches, recollections, oral histories, and miscellaneous. Typed manuscript of book A Copy Writer Speaks by George Cecil, NW Ayer, Incorporated copy head 1920s-1950s

Subseries 19.1, Employee card files, circa 1892-1915; 1929-1963, consists of index cards with the name, age, job title, date and wage increases, date of hire/fire, as well as remarks about the employee's service and/or reasons for seeking or leaving the job. Materials are arranged alphabetically by the last name of the employee within three boxes.

Subseries 19.2, Photographs, circa 1924-1984, undated, are housed in two boxes. The photographs grouped together by subjects i.e. personnel, company events, Ayer buildings, and miscellaneous. This grouping primarily consists of personnel photographs. Includes a glass plate negative dated 1924 of NW Ayer.

Subseries 19.3, Ayer Alumni, circa 1989-98, include employees who have left Ayer. There is a listing of Ayer "graduates" and their current job. Emeritus, Ayer's alumni newsletter 1989-1996, makes up the majority of materials in this grouping. The newsletter keeps the alumni up to date with the happenings of Ayer and what has become of former Ayer employees. Emeritus is a quarterly newsletter devoted to the activities, thoughts and feelings of Ayer alumni a body of people who consists of retirees and former employees.

Subseries 19.4, Biographical Information, circa 1889-1994, undated, prominent members of Ayer's operations had biographical sketches completed of them. This was true for the bio sketches of Robert Ervin, Louis T. Hagopian, and George A. Rink. There is a substantial file on Dorothy Dignam ("Mis Dig"), a leading woman in the advertising world from the 1930s to the 1950s. Also of interest is a video ("The Siano Man") compiled by Ayer employees to commemorate Jerry Siano's retirement from Ayer in 1994. The series is arranged alphabetically by last name.

Subseries 19.5, Speeches, circa 1919-1931; 1975, contains speeches made by Wilfred W. Fry and Neal W. O'Connor. Wilfred W. Fry had various speaking engagements connected with Ayer. Contained in this group is a sampling of his speeches from 1919 to 1931. Neal O'Connor's speech "Advertising: Who Says It's a Young People's Business" was given at the Central Region Convention for the American Association of Advertising Agencies in Chicago on November 6, 1975. The speeches are arranged alphabetically by the speaker's last name.

Subseries 19.6, Recollections, 1954-1984, undated, are arranged alphabetically by last name. These are recollections from Ayer employees about the company and its advertisements. Some recollections are specifically about certain types of advertisements, like farm equipment while others reflect on F. W. Ayer and the company.

Subseries 19.7, Oral History Interview Transcripts, 1983-1985; 1989-1991, include interviews with key NW Ayer personnel, conducted by Ayer alumnae Howard Davis, Brad Lynch and Don Sholl (Vice President creative) for the Oral History Program. The materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.8, Oral History Interview Audio Tapes, 1985-1990, include interviews on audiotape the materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.9, Internal Communications, 1993-1999, includes information sent to employees relating to retirements, management changes, awards won by the company, promotions, potential new accounts, free items, grand opening of Ayer Café, donation events, sponsorship programs, holiday schedules, discounts for employees from clients, Ayer joins MacManus Group.

Subseries 19.10, General Materials, 1940; 1970, includes agency directory entry including a list of the employees, 1970s, annual banquet program for the Curfew Club May 22, 1940 a group formed by the Philadelphia employee in 1938. It sponsored numerous sports, social and educational activities. Groups were formed in public speaking, music appreciation and a series of talks on Monday evenings title the modern woman. The front page was a series of talks for general interest. A list of officers, 1991, Twenty five year club membership, 1973 December 1, List of NW Ayer graduates, 1970, List of Officers, 1991 May 31, Obituary for Leo Lionni, 1999 October 17, List of photographers of advertisements, 2001

Series 20, Background and History Information, 1817-1999, undated includes a chronology, 1817-1990, quick reference timeline, 1848-1923, loose pages from a scrapbook containing examples of correspondence, envelopes, advertisements dating from 1875-1878; slogans coined by NW Ayer & Sons, Incorporated, 1899-1990, history of management, 1909-1923, articles and photographs about the building and art galleries, 1926-1976, publications about the Philadelphia building, 1929, pamphlet relating to memories of NW Ayer & Sons, Incorporated, 1930s-1950s, television history, 1940-1948, Article about the history of the company, 1950 January, pocket guide, 1982, AdWeek reports about standings for advertising agencies, information relating to Human Contact which is NW Ayer's Information relating to Human Contact, undated which is their philosophy on advertising.

Series 21, Materials Created by other Advertising Agencies, 1945-1978, undated, consists of print advertisements collected by Ayer from other major advertising companies. The companies include Doyle Dane Bernback, Incorporated, Leo Burnett Company, Grey Advertising Agency, D'Arcy Ad Agency, Scali, McCabe, Sloves, Incorporated and Erwin Wasey Company. The materials are arranged in alphabetical order by client and include products from Ralston Purina and Van Camp (Chicken of the Sea), Kellogg, American Export Lines and No Nonsense Fashions.

Series 22, 2010 Addendum of Print Advertisements, circa 1879s-1999, undated, includes material given to the Archives Center in 2010. It is organized into seventy one oversized boxes and contains proofsheets of print advertisements for select Ayer clients. These are arranged alphabetically by client name and include substantial quantities of materials from American Telephone &Telegraph (1945-1996), Bahamas Ministry of Tourism (1967-1987), Carrier (1971-1981), Citibank (1973-1991), DeBeers (1940s-1960s and1990s), Electric Companies Advertising Program [ECAP] (1942-1970s), General Motors (1989-1998), J.C. Penney (1983-1986), Newsweek (1966-1975), and Proctor and Gamble (1980s-1890s). There are also numerous other clients represented by smaller quantities of materials.

Subseries 22.1, Print Advertisements, 1930-1990, undated

Subseries 22.2, Print Advertisements on Glass Plate Negatives, 1879-1881, undated, include Cannon towels, Cheny Brothers silks, Cornish & Company organs and pianos, Enterprise Manufacturing Company, 1879 sad iron, an ad from Harper's Weekly 1881 for ladies clothing, Ostermoor & Company mattresses, Pear's soap, Porter's cough balsam, Steinway pianos.

Series 23, Microfilm of Print Advertisements, circa 1908-1985, consists of three boxes of printed advertisements for the American Telephone and Telegraph Company. Some of the same advertisements might also be found in series two, three and four.
Arrangement:
The collection is arranged into twenty-three series.

Series 1: Scrapbooks of Client Print Advertisements, circa 1870-1920

Series 2: Proofsheets, circa 1870-1930

Series 3: Proofsheets, circa 1920-1975

Series 4: 2001 Addendum, circa 1976-2001

Series 5: Billboards, circa 1952-1956

Series 6: Audiovisual Materials

Series 7: Radio and Television Materials, 1933-1993, undated

Series 8: Chicago Office Print Advertisements, 1954-1989

Series 9: Los Angeles Office Materials, 1950s-1987

Subseries 9.1: Printed Advertisements, 1977-1987

Subseries 9.2: Personnel Files, 1950s-1970s

Series 10: Foreign Print Advertisements, 1977-1991, undated

Series 11: Cunningham & Walsh Incorporated Materials, 1915-1987, undated

Subseries 11.1: Printed Advertisements, 1915-1987

Subseries 11.2: Radio and Television Advertisements, 1963-1967

Subseries 11.3: Company Related Materials, 1962-1986, undated

Series 12: Hixson & Jorgensen Materials, 1953-1971, undated

Series 13: Newell-Emmet, 1942-1957

Series 14: House Print Advertisements, 1870-1991

Series 15: Scrapbooks, 1872-1959

Series 16: Publications, 1849-2006

Subseries 16.1: House Publications, 1876-1994

Subseries 16.2: Publications about NW Ayer, 1949-1995

Subseries 16.3: General Publications about Advertising, 1922-2006

Subseries 16.4: Publications about other Subjects, 1948-1964

Series 17, Business Records, circa 1885-1990s

Subseries 17.1: Contracts, 1885-1908, undated

Subseries 17.2: General Client Information, 1911-1999, undated

Subseries 17.3: Individual Client Account Information, 1950s-1990s, undated

Subseries 17.4: Potential Clients, 1993

Subseries 17.5: Financial Records, 1929-1938

Series 18: Legal Records, circa 1911-1984

Subseries 18.1: Advertising Service Agreements, 1918-1982

Subseries 18.2: Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4: Correspondence, 1928-1933

Subseries 18.5: International Office Correspondence, 1947-1948

Subseries 18.6: Dissolution of Trusts, 1934-1937

Subseries 18.7: Stock Information, 1934-1974

Subseries 18.8: Agreements between Partners, 1911-1916

Subseries 18.9: Incorporation Materials, 1929-1977

Subseries 18.10: Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11: Property Information

Subseries 18.12: Miscellaneous Materials, 1929-1977

Series 19: Employee Materials, circa 1889-2001

Subseries 19.1: Employee Card files, circa 1892-1915; 1929-1963

Subseries 19.2: Photographs, circa 1924-1984, undated

Subseries 19.3: Alumni Publications, circa 1989-1998

Subseries 19.4: Biographical Information, circa 1889-1994

Subseries 19.5: Speeches, circa 1919-1931; 1975

Subseries 19.6: Recollections, 1954-1984, undated

Subseries 19.7: Oral History Interview Transcripts, 1983-1985; 1989-1991

Subseries 19.8: Oral History Audiotapes, 1985-1990

Subseries 19.9: Internal Communications, 1993-1999

Subseries 19.1: General Materials, 1940-2001

Series 20: History and Background Information about the Company, 1817-1999, undated

Series 21: Materials Created by other Advertising Agencies, 1945-1978, undated

Series 22: 2010 Addendum of Print Advertisements, circa 1879s-1990s, undated

Subseries 22.1: Print Advertisements, 1930-1990, undated

Subseries 22.2: Print Advertisements on Glass Plate Negatives, 1879-1881, undated

Series 23: Microfilm of Print Advertisements, circa 1908-1985
Biographical / Historical:
Founded in Philadelphia in 1869, NW Ayer & Son is one of the oldest and largest advertising agencies in America. For most of its history, it was the undisputed leader and innovator in the field of advertising. In 1876, NW Ayer & Son pioneered the "open contract", a revolutionary change in the method of billing for advertising which became the industry standard for the next hundred years. NW Ayer pioneered the use of fine art in advertising and established the industry's first art department. It was the first agency to use a full-time copywriter and the first to institute a copy department. The agency relocated to New York City in 1974. During its long history, the agency's clients included many "blue-chip" clients, including American Telephone & Telegraph, DeBeers Consolidated Diamond Mines, Ford Motor Company, Nabisco, R. J. Reynolds and United Airlines. However, in later years, the Ayer's inherent conservatism left the agency vulnerable to the creative revolution of the 1960s and 1970s, the advertising industry restructuring of the 1980s and the economic recession of the early 1990s. The agency was bought out by a Korean investor in 1993. In 1996, NW Ayer merged with another struggling top twenty United States advertising agency, Darcy, Masius, Benton & Bowles, under the umbrella of the McManus Group. Ayer continues to operate as a separate, full-service agency.

Through a series of buyouts and mergers, Ayer traces its lineage to the first advertising agency founded in the United States, a Philadelphia agency begun by Volney Palmer in 1841. Palmer began his career in advertising as a newspaper agent, acting as middleman between newspaper publishers and advertisers across the country. By 1849, Palmer had founded his own newspaper, V. B. Palmer's Register and Spirit of the Press, and had developed a complete system of advertising which included securing advertising space and placing ads in scores of commercial, political, religious, scientific and agricultural journals across the country. Palmer went one step further than the "space jobbers" of the day when he began offering "advertisements carefully drawn for those who have not the time to prepare an original copy." Always an enthusiastic promoter of advertising as an incentive to trade and American economic growth, Palmer promised advertisers that "every dollar paid for advertising in country newspapers will pay back twenty-fold" and encouraged skeptical consumers that "he who wishes to buy cheap should buy of those who advertise." When Palmer died in 1863, the agency was bought by his bookkeeper, John Joy, who joined with another Philadelphia advertising agency to form Joy, Coe & Sharpe. That agency was bought out again in 1868 and renamed Coe, Wetherill & Company. In 1877, Coe, Wetherill and Company was bought out by the newly formed NW Ayer & Son.

Francis Wayland Ayer was an ambitious young schoolteacher with an entrepreneurial streak. Having worked for a year soliciting advertisements on a commission basis for the publisher of the National Baptist weekly, Francis Ayer saw the potential to turn a profit as an advertising agent. In 1869, Ayer persuaded his father, Nathan Wheeler Ayer, to join him in business, and with an initial investment of only $250.00, NW Ayer & Son was born. Notwithstanding a smallpox epidemic in Philadelphia in 1871 and the general economic depression of the early 1870s, the agency flourished. The senior Ayer died in 1873, leaving his interest in the agency to his wife, but Francis W. Ayer bought her out, consolidating his interest in the company's management. In 1877, with Coe, Wetherill & Company (the successor to Palmer's 1841 agency) on the verge of bankruptcy and heavily indebted to Ayer for advertising it had placed in Ayer publications, Ayer assumed ownership of that agency. Thus did NW Ayer lay claim to being the oldest advertising agency in the country.

Both Nathan Wheeler and Francis Wayland Ayer began their careers as schoolteachers, and one of their legacies was a commitment to the cause of education: correspondence schools and institutions of higher learning were historically well-represented among Ayer clients. Just after World War I, the agency was heralded as "co-founder of more schools than any citizen of this country" for its conspicuous efforts to advertise private schools. Well into the 1960s, an "Education Department" at Ayer prepared advertisements for over three hundred private schools, camps and colleges, representing almost half the regional and national advertising done for such institutions. In fact, to its clients Ayer presented advertising itself as being akin to a system of education. In 1886, Ayer began promoting the virtues of the Ayer way advertising with the slogan, "Keeping Everlastingly at It Brings Success."

The agency's goals were simple: "to make advertising pay the advertiser, to spend the advertiser's money as though it were our own, to develop, magnify and dignify advertising as a business." Initially, Ayer's fortunes were tied to newspapers, and the agency began to make a name for itself as compiler and publisher of a widely used American Newspaper Annual. During the first years, Ayer's singular goal was "to get business, place it [in newspapers] and get money for it"; after several years as an independent space broker, however, Francis Ayer resolved "not to be an order taker any longer." This decision led NW Ayer and Son to a change in its mode of conducting business which would revolutionize the advertising industry: in 1876, Ayer pioneered the "open contract" with Diggee & Conard, Philadelphia raised growers and agricultural suppliers. Prior to the open contract, NW Ayer & Sons and most agencies operated as "space-jobbers," independent wholesalers of advertising space, in which the opportunities for graft and corrupt practices were virtually unlimited. In contrast, the open contract, wherein the advertiser paid a fixed commission based on the volume of advertising placed, aligned the advertising agent firmly on the side of the advertiser and gave advertisers access to the actual rates charged by newspapers and religious journals. The open contract with a fixed commission has been hailed by advertising pioneer Albert Lasker as one of the "three great landmarks in advertising history." (The other two were Lasker's own development of "reason-why" advertising copy and J. Walter Thompson's pioneering of sex appeal in an advertisement for Woodbury's soap.) Although the transition to the open contract did not happen overnight, by 1884, nearly three-quarters of Ayer's advertising billings were on an open contract basis. Since Ayer was, by the 1890s, the largest agency in America, the switch to direct payment by advertisers had a significant impact on the advertising industry, as other agencies were forced to respond to Ayer's higher standard. Just as important, the open contract helped to establish N W Ayer's long-standing reputation for "clean ethics and fair dealing" -- a reputation the agency has guarded jealously for over a century. The open contract also helped to establish Ayer as a full service advertising agency and to regularize the production of advertising in-house. From that point forward, Ayer routinely offered advice and service beyond the mere placement of advertisements. Ayer set another milestone for the industry in 1888, when Jarvis Wood was hired as the industry's first full-time copywriter. Wood was joined by a second full time copywriter four years later, and the Copy Department was formally established in 1900. The industry's first Art Department grew out of the Copy Department when Ayer hired its first commercial artist to assist with copy preparation in 1898; twelve years later Ayer became the first agency to offer the services of a full time art director, whose sole responsibility was the design and illustration of ads.

Ayer's leadership in the use of fine art in advertising has roots in this period, but achieved its highest expression under the guidance of legendary art director Charles Coiner. Coiner joined Ayer in 1924, after graduating from the Chicago Academy of Fine Arts. Despite early resistance from some clients, Coiner was adamant that "the use of outstanding palette and original art forms bring a greater return in readership, in impact and prestige for the advertiser." To this end, Coiner marshaled the talents of notable painters, illustrators and photographers, including N.C. Wyeth and Rockwell Kent (Steinway), Georgia O'Keefe (Dole), Leo Lionni (DuPont), Edward Steichen (Steinway, Cannon Mills), Charles Sheeler (Ford), and Irving Penn (DeBeers). Coiner believed that there was a practical side to the use of fine art in advertising, and his success (and Ayer's) lay in the marriage of research and copywriting with fine art, an arrangement Coiner termed "art for business sake." Coiner's efforts won both awards and attention for a series completed in the 1950s for the Container Corporation of America. Titled "Great Ideas of Western Man" the campaign featured abstract and modern paintings and sculpture by leading U.S. and foreign artists, linked with Western philosophical writings in an early example of advertising designed primarily to bolster corporate image. In 1994, Charles Coiner was posthumously named to the American Advertising Federation's Hall of Fame, the first full time art director ever chosen for that honor.

Coiner and fellow art director Paul Darrow also created legendary advertising with the "A Diamond Is Forever" campaign for DeBeers; ads featured the work of Pablo Picasso, Salvador Dali and other modernist painters. The "A Diamond is Forever" tagline was written in 1949 by Frances Gerety, a woman copywriter at Ayer from 1943 to 1970. In 1999, Ad Age magazine cited "A Diamond is Forever" as the most memorable advertising slogan of the twentieth century.

Coiner also earned respect for his volunteer government service during World War II; he designed the armbands for civil defense volunteers and logos for the National Recovery Administration and Community Chest. As a founding member of the Advertising Council in 1945, Ayer has had a long-standing commitment to public service advertising. In the mid-1980s, Ayer became a leading force in the Reagan-era "War on Drugs". Lou Hagopian, Ayer's sixth CEO, brokered the establishment of the Partnership for a Drug-Free America, a media coalition which generated as much as a million dollars a day in donated advertising space and time to prevent the use and abuse of illegal drugs. Famous names appear among NW Ayer's clientele from the very earliest days of the agency. Retailer John Wanamaker, Jay Cooke and Company, and Montgomery Ward's mail-order business were among the first Ayer clients. The agency has represented at least twenty automobile manufacturers, including Cadillac, Chrysler, Ford, General Motors, Plymouth, and Rolls-Royce. Other major, long-term clients through the years have included American Telephone & Telegraph, Canada Dry, Cannon Mills, Hills Bros. Coffee Company, Kellogg's, R. J. Reynolds, Steinway and Sons, United Airlines, and the United States Army. By the time of Ayer's hundredth anniversary in 1969, some of these companies had been Ayer clients for decades if not generations, and the longevity of those relationships was for many years a source of Ayer's strength.

But the advertising industry began to change in the late 1960s and 1970s, due in part to a "creative revolution." Small advertising agencies won attention with provocative copywriting and art direction that more closely resembled art than advertising. Advances in market research allowed clients to more narrowly tailor their advertising messages to distinct groups of consumers, and this led to a rise in targeted marketing which could more readily be doled out to specialized small agencies than to larger, established firms like NW Ayer & Son. The civil rights and anti-war movements also contributed to increasing public skepticism with the values of corporate America, and by extension, with some national advertising campaigns. Older, more conservative firms like Ayer were hard pressed to meet these new challenges.

About 1970, in an effort to meet these challenges and to establish a foothold on the West Coast, Ayer bought out two smaller agencies--Hixson & Jorgenson (Los Angeles) and Frederick E. Baker (Seattle). The agency relocated from Philadelphia to New York City in 1974 in an attempt both to consolidate operations (Ayer had operated a New York office since the 1920s) and to be closer to the historic center of the advertising industry. Riding the wave of mergers that characterized the advertising industry in the late 1980s and 1990s, Ayer continued to grow through the acquisition of Cunningham & Walsh in 1986 and Rink Wells in 19xx.

During this transitional period, Ayer received widespread acclaim for its work for the United States Army, which included the widely recognized slogan "Be All You Can Be". Ayer first acquired the Army recruitment account in 1967 and with help from its direct marketing arm, the agency was widely credited with helping the Army reach its recruitment goals despite an unpopular war and plummeting enlistments after the elimination of the draft in 1973. Ayer held the account for two decades, from the Vietnam War through the Cold War, but lost the account in 1986 amid government charges that an Ayer employee assigned to the account accepted kickbacks from a New York film production house. Despite Ayer's position as the country's 18th largest agency (with billings of $880 million in 1985), the loss of the agency's second largest account hit hard.

NW Ayer made up for the loss of the $100 million dollar a year Army account and made headlines for being on the winning end of the largest account switch in advertising history to date, when fast food giant Burger King moved its $200 million dollar advertising account from arch-rival J. Walter Thompson in 1987. Burger King must have had drive-thru service in mind, however, and Ayer made headlines again when it lost the account just eighteen months later in another record-breaking account switch. Another devastating blow to the agency was the loss of its lead position on the American Telegraph and Telephone account. Ayer pioneered telecommunications advertising in 1908, when the agency was selected to craft advertising for the Bell System's universal telephone service. Despite valiant efforts to keep an account the agency had held for most of the twentieth century, and for which they had written such memorable corporate slogans as American Telephone &Telegraph "The Voice with a Smile" and "Reach Out and Touch Someone", the agency lost the account in 1996.

After a wave of mergers and acquisitions in the late 1980s, the economic recession of the early 1990s hit Madison Avenue hard, and Ayer was particularly vulnerable. Despite the agency's long history and roster of "blue-chip" clients, Ayer was not known for cutting-edge creative work. Moreover, though the agency had offices overseas, Ayer had never built a strong multinational presence, and many of the smaller international offices were sold during the financial turmoil of the 1980s. This left a real void in the new climate of global marketplace consolidation. By about 1990, earnings were declining (although Ayer was still among the top twenty United States agencies in billings), and the agency was suffering from client defections, high management turnover, expensive real estate commitments and deferred executive compensation deals, all fallout of the high-flying 1980s. This was the atmosphere in 1993, when W.Y. Choi, a Korean investor who had already assembled a media and marketing empire in his homeland, began looking for an American partner to form an international advertising network. Jerry Siano, the former creative director who had recently been named Ayer's seventh CEO, was in no position to refuse Choi's offer of $35 million to buy the now floundering agency. The infusion of cash was no magic bullet, however. Choi took a wait-and-see approach, allowing his partner Richard Humphreys to make key decisions about Ayer's future, including the purging of senior executives and the installation of two new CEOs in as many years.

The agency's downward trend continued with the loss of another longtime client, the DeBeers diamond cartel in 1995. Adweek reported that Ayer's billings fell from $892 million in 1990 to less than $850 million in 1995. Several top executives defected abruptly, and the agency failed to attract major new accounts. Ayer was facing the loss not merely of revenue and personnel, but the loss of much of the respect it once commanded. Ayer remained among the twenty largest U.S. agencies, but an aura of uncertainty hung over the agency like a cloud. A new CEO was appointed, and Mary Lou Quinlan became the agency's first woman CEO in 1995. A year later, Ayer and another struggling top twenty agency, D'arcy, Masius, Benton & Bowles, combined as part of the McManus Group of companies. In 1998, the McManus Group had worldwide billings of more than $6.5 billion.

Under the McManus Group, Ayer was able to expand its international operations and begin to rebuild a stronger global presence. Several important new clients were won in 1997 and 1998, including Avon, General Motors, Kitchenaid, several Procter & Gamble brands and, most notably, Continental Airlines worldwide accounts. Born in the nineteenth century, Ayer may be one of a very few advertising agencies to successfully weather the economic and cultural transitions of both the twentieth and twentieth first centuries. Ayer was eventually acquired by the Publicis Groupe based in Paris, France which closed down the N.W. Ayer offices in 2002.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana (AC0060)

Hills Bros. Coffee Incorporated Records (AC0395)
Provenance:
The collection was donated by N W Ayer ABH International, April 15, 1975 and by Ayer & Partners, October 30, 1996.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Rights:
Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Advertising agencies  Search this
advertising  Search this
Genre/Form:
Business records -- 1840-2000
Interviews -- 1980-2000
Oral history -- 1980-1990
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks -- 1840-1990
Trade literature
Tear sheets
Advertisements
Citation:
NW Ayer & Sons, incorporated Advertising Agency Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0059
See more items in:
N W Ayer Advertising Agency Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8920ed035-d211-4a58-9047-b31fa79464bd
EDAN-URL:
ead_collection:sova-nmah-ac-0059
Online Media:

Interviews

Collection Creator:
Bowman, Ruth, 1923-  Search this
Extent:
9.2 Linear feet (Boxes 12-25)
21.99 Gigabytes (ER01-ER70)
Type:
Archival materials
Gigabytes
Date:
1963-1989
Scope and Contents:
With two exceptions, the interviews were conducted by Ruth Bowman. She is the subject of two interviews, and one KUSC "Live from Trump's" radio program was hosted by Myra Livingston.

In 1976, while attending an arts administration program offered by the British Arts Council, Bowman inteviewed museum administrators and educators in England (6 sounds cassettes).

Serving as an advisor to Metroplitan Museum of Art Director Thomas Hoving, Bowman interviewed more than a dozen people in 1976 concerning the benefits, drawbacks, and ramifications of the Annenberg Fine Arts Center proposed for The Metropolitan Museum of Art (12 sound cassettes). The controversial plan aroused much concern and Annenberg eventually withdrew his offer.

Among the interviews with miscellaneous individuals (4 sound reels, 6 sound cassettes, and 2 transcripts) , of particular interest is an interview with Noguchi concerning a possible commission for a sculpture at Bryn Mawr College, his mother's alma mater. A 1974 interview with Bowman concerns her work at the Los Angeles County Museum of Art.

Bowman was the host of "Sounds of Seeing," a radio show produced by KUSC radio in Los Angeles, 1979-1983. With funding from the National Endowment for the Arts, "Sounds of Seeing" aired Bowman's interviews with artists, art historians, museum curators and directors, conservators, local politicians, and others on a wide range of art related topics (7 sound reels and 69 sound cassettes). On "Live from Trump's," a KUSC radio program broadcast from Trump's Restaurant, Bowman conversed with guests about local exhibitions and other arts events.

Interviews with 12 American abstract artists were conducted by Ruth Bowman (Ruth Gurin at the time) as background research for her intended thesis on the subject. Plans changed, and the thesis she eventually wrote was "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971).

"Views on Art," her weekly radio show on WNYC, 1967-1973, featured interviews with artists, museum directors and curators, gallery owners and others who discussed their work and current exhibitions. Other topics covered include: art forgeries, underground movie making, museum management, art publishing, business and the arts, art and public relations, computers and the humanities, new art technologies, and trends in art education. (72 sound reels, 3 sound cassettes, and 1 transcript; 70 digital recordings).
Arrangement:
Interviews concerning the Annenberg Fine Arts Center, interviews of miscellaneous individuals, and WNYC "Views on Art" radio programs are alphabetized by interviewee. Those with museum administrators and educators are arraned chronologically, as are the interviews for KUSC radio shows "Sounds of Seeing" and "Live From Trump's." "Sounds of Seeing" interviews are housed in 1 folder and 4 smaller boxes within Box 14. Additional interviews recorded for other purposes are scattered among the subject files (series 4).
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. 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.
Collection Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2, Series 5
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b3acff47-4a0c-41ab-af5b-3f84d7f5b060
EDAN-URL:
ead_component:sova-aaa-bowmruth2-ref13

Anne Bowen Parsons collection of interviews on art

Interviewer:
Parsons, Anne Bowen  Search this
Names:
Artists' Union (New York, N.Y.)  Search this
Club (New York, N.Y.)  Search this
Federal Art Project  Search this
Baker, Mildred, 1905-  Search this
Barnet, Will, 1911-2012  Search this
Benson, Emanuel, 1904-1971  Search this
Brooks, James, 1906-1992  Search this
Burlin, Paul, 1886-1969  Search this
Cavallon, Giorgio, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Ernst, Jimmy, 1920-1984  Search this
Geist, Sidney  Search this
Gottlieb, Adolph, 1903-1974  Search this
Greene, Balcomb, 1904-1990  Search this
Gwathmey, Robert, 1903-1988  Search this
Hacker, Seymour  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Kadish, Reuben, 1913-1992  Search this
Krasner, Lee, 1908-1984  Search this
Lasker, Joe  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Jack, 1915-2010  Search this
Marca-Relli, Conrad, 1913-2000  Search this
McNeil, George, 1908-1995  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Morris, George L. K., 1905-1975  Search this
Nakian, Reuben, 1897-1986  Search this
Pavia, Philip, 1915-2005  Search this
Schanker, Louis, 1903-1981  Search this
Shahn, Ben, 1898-1969  Search this
Stamos, Theodoros, 1922-1997  Search this
Thaw, Eugene Victor  Search this
Tworkov, Jack  Search this
Vicente, Esteban, 1903-2001  Search this
Extent:
30 Items (transcripts)
Type:
Collection descriptions
Archival materials
Interviews
Date:
1967-1968
Scope and Contents:
The interviews are of artists, educators, art administrators, and dealers. Topics covered include the Federal Art Project, the Artists' Union, the Club, the influence of French emigre artists, and political activism among artists. The transcripts range from 1 to 4 pages in length.
Interviewees include: Mildred Baker, Will Barnet, Emanuel Benson, James Brooks, Paul Burlin, Giorgio Cavallon, Willem de Kooning, Jimmy Ernst, Sidney Geist, Adolph Gottlieb, Balcomb Greene, Robert Gwathmey, Seymour Hacker, Carl Holty, Harry Holtzman, Reuben Kadish, Lee Krasner, Joe Lasker, Ibram Lassaw, Jack Levine, Conrad Marca-Relli, George McNeil, Dorothy Canning Miller, George L.K. Morris, Reuben Nakian, Phillip Pavia, Louis Schanker, Ben Shahn, Theodoros Stamos, Eugene Victor Thaw, Jack Tworkov, and Esteban Vincente.
Provenance:
Donated in 1985 by Anne Bowen Parsons' son, Randall T. Parsons.
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:
Artists -- Interviews  Search this
Art dealers -- Interviews  Search this
Art teachers -- Interviews  Search this
Painters -- Interviews  Search this
Topic:
Art, American  Search this
Art and state  Search this
Museum curators -- Interviews  Search this
Museum directors -- Interviews  Search this
Printmakers -- Interviews  Search this
Publishers -- Interviews  Search this
Sculptors -- Interviews  Search this
Genre/Form:
Interviews
Identifier:
AAA.parsanne
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cebc01b2-2b58-431a-ad17-ddb4c9da09fe
EDAN-URL:
ead_collection:sova-aaa-parsanne

Oral history interview with William H. (Bill) Burgess, 1973 April

Interviewee:
Burgess, Bill  Search this
Interviewer:
Katzman, Lynn  Search this
Subject:
Studio Museum in Harlem  Search this
Type:
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with William H. (Bill) Burgess, 1973 April. Archives of American Art, Smithsonian Institution.
Topic:
African American art  Search this
African American educators  Search this
African American art museum curators  Search this
Theme:
African American  Search this
Record number:
(DSI-AAA_CollID)11457
(DSI-AAA_SIRISBib)212592
AAA_collcode_burges73
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212592

William C. Seitz papers, circa 1930-1995

Creator:
Seitz, William C. (William Chapin)  Search this
Subject:
Ashton, Dore  Search this
Banks-Woodson, Ellen  Search this
Gorky, Arshile  Search this
Stella, Frank  Search this
Seitz, Irma  Search this
Segal, George  Search this
Rosati, James  Search this
Monet, Claude  Search this
Krebs, Rockne  Search this
Gottlieb, Adolph  Search this
Elliott, Philip Clarkson  Search this
Duchamp, Marcel  Search this
D'Harnoncourt, Rene  Search this
Conner, Bruce  Search this
Baziotes, William  Search this
Barr, Alfred Hamilton  Search this
University of Virginia  Search this
Type:
Resumes
Poems
Photographs
Awards
Sound recordings
Interviews
Sketches
Notebooks
Drafts (documents)
Lectures
Citation:
William C. Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Virginia -- Charlottesville  Search this
Educators -- Virginia  Search this
Theme:
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)8462
(DSI-AAA_SIRISBib)210638
AAA_collcode_seitwill
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210638
Online Media:

Mitch Tuchman papers relating to the book Painters Painting, 1980-1989

Creator:
Tuchman, Mitch  Search this
Subject:
Albers, Josef  Search this
Castelli, Leo  Search this
De Antonio, Emile.  Search this
De Kooning, Willem  Search this
Frankenthaler, Helen  Search this
Geldzahler, Henry  Search this
Greenberg, Clement  Search this
Hess, Thomas B.  Search this
Johns, Jasper  Search this
Johnson, Philip  Search this
Kramer, Hilton  Search this
Leider, Philip  Search this
Motherwell, Robert  Search this
Nevelson, Louise  Search this
Newman, Barnett  Search this
Noland, Kenneth  Search this
Olitski, Jules  Search this
Pavia, Philip  Search this
Poons, Larry  Search this
Rauschenberg, Robert  Search this
Rivers, Larry  Search this
Rubin, William Stanley  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Stella, Frank  Search this
Warhol, Andy  Search this
Type:
Interviews
Citation:
Mitch Tuchman papers relating to the book Painters Painting, 1980-1989. Archives of American Art, Smithsonian Institution.
Topic:
Artists -- United States -- Interviews  Search this
Art -- Collectors and collecting -- Interviews  Search this
Art museum curators -- United States -- Interviews  Search this
Modernism (Art)  Search this
Abstract expressionism  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Theme:
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)6532
(DSI-AAA_SIRISBib)215804
AAA_collcode_tuchmitc
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215804

Marian Gore "Art Scene" interviews and papers, 1958-1969

Creator:
Gore, Marian L.  Search this
Subject:
Mallary, Robert  Search this
Lebrun, Rico  Search this
Kuntz, Roger  Search this
Luna, Mario  Search this
Leavitt, Thomas W.  Search this
Gerchik, Paul  Search this
Greene, Balcomb  Search this
Hopps, Walter  Search this
Hansen, Jurgen  Search this
Goeritz, Mathias  Search this
Elliot, James  Search this
Carter, Earl  Search this
Lipchitz, Jacques  Search this
Cremean, Robert  Search this
Brigante, Nicholas P.  Search this
Blair, Streeter  Search this
Ankrum, Joan  Search this
Albers, Josef  Search this
Siqueiros, David Alfaro  Search this
Albert, Michel (artist)  Search this
Wayne, June  Search this
Nevelson, Louise  Search this
Geoffrey, J. Iqbal  Search this
Vicente, Esteban  Search this
Wark, Robert R.  Search this
Schwaderer, Fritz (Fritz Karl)  Search this
Tamayo, Rufino  Search this
Robles, Esther  Search this
Schniede, Otto  Search this
Cuevas, José Luis  Search this
Ortiz, Emilio  Search this
Falkenstein, Claire  Search this
Comara Gallery  Search this
Dwan Gallery (Los Angeles, Calif.)  Search this
Ferus Gallery (Los Angeles, Calif.)  Search this
Silvan Simone Gallery  Search this
KPFK (Radio staion : Los Angeles, Calif.)  Search this
Ankrum Gallery  Search this
Ceeje Gallery  Search this
Type:
Sound recordings
Photographs
Interviews
Transcripts
Citation:
Marian Gore "Art Scene" interviews and papers, 1958-1969. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Curators -- California -- Los Angeles  Search this
Gallery owners -- California  Search this
Artists -- California -- Los Angeles  Search this
Record number:
(DSI-AAA_CollID)6118
(DSI-AAA_SIRISBib)216328
AAA_collcode_goremari
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216328
Online Media:

Marilyn Zeitlin research material, 1985-1991

Creator:
Zeitlin, Marilyn A., 1941-  Search this
Subject:
Camp, Jeffrey Thomas  Search this
Hall, Michael D.  Search this
Torres, Rigoberto  Search this
Ahearn, John  Search this
Alexander, Brooke  Search this
Alexander, Carolyn  Search this
Carpenter, Miles B. (Miles Burkholder)  Search this
Garcia, Raymond  Search this
Gregson, Chris  Search this
Type:
Interviews
Sound recordings
Citation:
Marilyn Zeitlin research material, 1985-1991. Archives of American Art, Smithsonian Institution.
Topic:
Group work in art  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Wood-carving -- Virginia  Search this
Latino and Latin American artists  Search this
Women museum curators  Search this
Women arts administrators  Search this
Theme:
Latino and Latin American  Search this
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)5568
(DSI-AAA_SIRISBib)214582
AAA_collcode_zeitmari
Theme:
Latino and Latin American
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214582

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