An interview with Alexis Smith conducted 2014 January 24 and April 14, by Hunter Drohojowska-Philp, for the Archives of American Art at Smith's studio, in Venice, California.
Ms. Smith discusses growing up in Southern California and her early years living with her parents on the grounds of Metropolitan State Hospital, a mental institution in Norwalk, California; her mother's death when Ms. Smith was 11; the family's time in Whittier and Palm Springs and being raised as an only child by her father; her early interest in French studies and travel to France as a student; her interest in studying art beginning with a John Coplans class at UC Irvine; her time at at UC Irvine in the early days of the university and her growing attraction to the life of an artist; the origin of her name Alexis Smith; and the encouragement of her fellow artists to continue pursuing her cut-up collages from literature, photos, magazines, and Hollywood ephemera. Ms. Smith also describes her time with her artist women's group in the 70s; her husband Scott Grieger; working for Frank Gehry; her showing with the Nicholas Wilder Gallery; her relationship with Chris Burden and her time with him during his period of performance pieces in the 70s; the Riko Mizuno Gallery; her work with terrazzo and its use for installations at the LA Convention Center, Ohio State University, and other installations; the appropriation of text and the assistance of Jerry Solomon utilizing custom frames in her artwork; the impact of women from history, media and literature on her art; her relationship with Coy Howard; the Holly Solomon Gallery; her Jane series; her On the Road series; her installation Snake Path at UC San Diego; her piece for SITE Santa Fe Red Carpet; teaching at UCLA; her installation of the piece Scarlet Letter at Las Vegas Central Library and its subsequent removal; her associations with Margo Leavin Gallery and Honor Fraser gallery; and the loss of her long-time studio space and the challenges of storing her artwork. Ms. Smith also recalls Judy Chicago, Robert Irwin, Vija Celmins, Larry Bell, Barbara Burden, Richard Sedivy, Avilda Moses, Craig Krull, and Allen Ruppersberg among others.
Biographical / Historical:
Alexis Smith (1949- ) is a collage, multimedia, and installation artist in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
General:
Originally recorded as 5 sound files. Duration is 3 hr., 11 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Collagists -- California -- Los Angeles Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Biographical material; correspondence with artists, galleries, and museums; photographs of Moses, Charles Eames, Frank Gehry, Kenneth Price, H. C. Westermann, members of the Tamarind Lithograph Workshop, 1968, and others; exhibition catalogs and announcements; and clippings.
Correspondents include Akron Art Institute, Alan Gallery, Albright-Knox Gallery, Brooke Alexander Inc., Allen Memorial Art Museum, Aquinas College (Mich.), Galleria dell 'Ariete, Jason Aver Gallery, Barone Gallery, Larry Bell, Billy Al Bengston, John Berggruen Gallery, Tony Berlant, Wally Berman, Irving Blum, Bocour Artist Colors, Inc., Brooklyn Museum, Dorothy Brown, Lydis Brown, Robert D. Brown, California State University (L.A), Vija Celmins, Norman Colp, Contemporary Arts Center, Corcoran Gallery of Art, James Corcoran Gallery, Roy De Forest, Mark Di Suvero, Dilexi Gallery, Documenta 5 (Greece), Dootson/Calderhead Gallery (Seattle, Wa.), Downey Museum of Art, Dunkelman Gallery, Editions Alecto of American, Ltd., Edizioni O (Milan), Robert Elkon Gallery, Everett Ellin Gallery, Sam Francis, Grapestake Gallery, Marcia Hafif, Hansen Fuller Gallery, Harry Holtzman, Walter Hopps, International Institute of Experimental Printmaking (Santa Cruz, Ca.), Ithaca College, Martha Jackson Gallery, Bernard Jacobson, Ltd. (London), Robert C. Kauffman, Leslie Kerr, Phyllis Kind Gallery, Robert Kinmont, Krikhaar Art Dealers (Amsterdam), La Jolla Museum of Contemporary Art, La Tortue Gallery, Galerie Dorothea Leonhart (Munich), Lippincott, Inc., Penny Little Fine Arts Service (Calif.), Los Angeles County Museum of Art, Alan Lynch, Christophe De Minel, Richard Minsky, Margaret Muller Galerie (Stuttgart), Multiples, Inc.,Hans Neuendorf Galerie (Hamburg), Newark Museum, Barnett Newman,Fine Arts Patrons of Newport Harbor, Oakland Museum, Mike Olodort, Constance Perkins, Philadelphia Museum of Art, Peter Plagens, Kenneth Price, Ad Reinhardt, Bruce Reynolds, Cesar Romero, Courtney Sale Gallery (Dallas), Alan D. Shean, Michael and Ileana Sonnabend, Galerie Darthea Speyer (Paris), Gene Sturman, Simon W. Taylor, Morgan Thomas, University of California at Los Angeles, U.C.L.A. Oral History Program (Michael Auping), University of New Mexico at Albuquerque, Larry Urrutia, H. C. Westermann, Nicholas Wilder Gallery, Malcolm Winton, and Theo Wujeik.
Biographical / Historical:
Painter; Venice, California. Moses was born in Long Beach, Calif., 1926. He studied, and later taught at the University of California, Los Angeles. He also taught at the Skowhegan School of Painting and Sculpture (Me.), and California State College.
Provenance:
Lent for microfilming 1980 by Ed Moses.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Use of original papers requires an appointment and is limited to the Washington, D.C. research facility. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Tibor de Nagy Gallery records, 1941-1993. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.
An interview of Helen Pashgian conducted 2012 July 11, by Hunter Drohojowska-Philp, for the Archives of American Art, at Pashgian's studio, in Pasadena, California.
Pashgian speaks of her parents and their backgrounds; her father's businesses; her grandparents; the influence of great grandmother; her brother; attending grade and high school; attending Pomona College; swimming and athletics; spending time at the beach; the influence of light on water; art classes; learning to look at art; attending Pomona; teaching; living in New York and Boston; working at an advertising firm as a secretary; attending graduate school; working for the Fogg Museum; quitting teaching and moving back to California; experimenting with glazes; California light; La Cienega; taking her work to galleries to try to get a show; Rex Evans; Felix Landau; being a woman artist; meeting Mia Farrow; experimenting with resin; hemispheres; support of parents; Caltech; Nicholas Tschoegl; Jet Propulsion Lab; Great Sphere; stolen art; Jack Brogan; working in resin; Jack Brogan; James Turrell and growing up in California; Balboa Island summer camp; meeting Judy Chicago; being a woman artist; Laguna Beach; Crystal Cove; 'finish fetish"; color field painters; California artists showing in New York; Jill Kornblee Gallery; spheres; Phenomenal exhibition; Baroque period; show at UC Irvine; corporate art collections; plastics technology; working with companies and engineers; epoxy company in Visalia; plastic work; Works Gallery; the early '90s in Southern California; hiatus; working with a fabricator; Pomona College board; L.A. Master Chorale; father's health and growing old; Ace Gallery; new work. Pashgian also recalls Seymour Slive, Vincent Scully, HelenGretchen Van de Kamp, Christopher Ward, Larry Gagosian, DeWain Valentine, Richard Diebenkorn, Roger Kuntz, Peter Alexander, Dave Elder, Bob Bassler, Richard Feynman, Larry Bell, Frank Gehry, Robert Irwin, Mary Corse, Archie Turrell, Miriam Schapiro, Elizabeth Elgin, Brooke Alexander, Wayne Thiebaud, Roger Kuntz, Helen Frankenthaler, Ellsworth Kelly, Nicholas Wilder Gallery, Donald Judd, Melinda Wortz, Robert Morris, Richard Serra, Dan Flavin, Leo Castelli, Jill Kornblee, Phyllis Plous, Melinda Terbell, Stella Polaris Gallery, Mark Moore, Lance Willis, Kettleman Hills, Michael Govan, and others.
Biographical / Historical:
Helen Pashgian (1934- ) is a sculptor in Pasadena, California. Hunter Drohojowska-Philp is a writer and art historian in Los Angeles, California.
General:
Originally recorded as 4 digital wav files. Duration is 3 hr., 11 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
An interview of Nicholas Wilder conducted 1988 July 18, by Ruth Bowman, for the Archives of American Art.
Wilder discusses his education; working for the Lanyon Art Gallery near San Francisco; opening the Nicholas Wilder Gallery in Los Angeles in 1965 and operating it until it closed in 1979; the Los Angeles art scene in the 60s and how it has changed; Charlie Cowles and the founding of ARTFORUM magazine; and artists his gallery handled including Bruce Nauman, Joe Goode and Tom Holland.
Biographical / Historical:
Nicholas Wilder (1937 or 1938-1989) was an art dealer and painter in Los Angeles, California and New York, N.Y.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 36 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Art dealers -- California -- Los Angeles Search this
Topic:
Art -- Collectors and collecting -- California -- Los Angeles Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
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:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
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:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
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:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
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:
Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Preservation Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of the Alan R. Solomon papers is provided by the Lichtenstein Foundation.
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.
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:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
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.
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:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
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.
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:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.
Katherine Crum papers regarding the Nicholas Wilder and the Nicholas Wilder Gallery measure 0.2 linear feet and date from circa 1964-2005. Included are gallery photographs, exhibition correspondence, lists of exhibitions at the gallery, printed material, exhibition files (with CDs) for "Wilder: A Tribute to the Nicholas Wilder Gallery", Los Angeles, 1965-1979, Franklin Parrasch and Joan T. Washburn Galleries; and for "The Rowan Collection: Passion and Patronage", Mills College,1999; and a file with images on CD of Nicholas Wilder Gallery photographs at the The Frank Thomas Archives.
Biographical / Historical:
Katherine Crum was owner and art dealer at the Nicholas Wilder Gallery, Los Angeles, California from 1964-1969 and director of the Mills College Art Museum, Oakland, California from 1991-2001.
Related Materials:
The Archives of American Art also holds the Nicholas Wilder Gallery records.
Provenance:
Donated in 2022 by Katherine Crum.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- California -- Los Angeles Search this
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
