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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
An interview of Chicana painter and educator Judithe Hernandez conducted in Chicago, Ill., 1998 Mar. 28, by Jeffrey Rangel.
Hernandez discusses her family background and encouragement to become professional; training at Otis Art Institute and admiration there for African-American teacher Charles White; the intellectual influence of Carlos Almaraz's father on her as well as him, artists in L.A. such as Magu and Patssi Valdez; working with Judy Baca on the Great Wall of Los Angeles project; description and characterization of members of Los Four and sexism in the work of some Chicano male artists; her disillusionment over the reception of Chicano art and her own work in particular, the fact that she was not included in the big Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors exhibition and catalogue; becoming an educator; and the debate with Shifra Goldman.
Biographical / Historical:
Judithe Hernandez (1948- ) is a painter and educator from Los Angeles, Calif. and Chicago, Ill. Hernández was a leading Latina artist in Los Angeles during the 1970s, an important decade in the development of the Chicano mural movement and Latino art in general. Hernández now teaches in Chicago, but during her time in Southern California she came to represent both Chicana and feminist viewpoints, and was an articulate spokesperson for those interests and the rights of individual artists to transcend political identity in their careers.
Provenance:
Donated 2001 by Jeffrey Rangel. From 1996-2000, Jeffrey Rangel was contracted by the AAA to conduct oral histories of Latino and Latina artists who worked in Los Angeles and were part Chicano art groups such as Los Four and Asco. This interview was conducted by Rangel independently for his own research. The interview was transcribed with funding from the Smithsonian Latino Initiative funds.
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.
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
An interview of Samuel R. Clayberger conducted 1981 November 4, by Paul Karlstrom, for the Archives of American Art.
Clayberger speaks of his early teaching career at Otis Art Institute; incoming students' lack of drawing and other fundamental skills; his approach to drawing a model; and the impact of the model's personality on his work.
Biographical / Historical:
Samuel R. Clayberger (1926- ) is a painter, illustrator, and educator of Los Angeles, California.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 3 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Found are personal letters, including one from Mabel's father, Luis F. Alvarez, as well as letters from art institutions regarding art exhibitions. Institutions include the University of California, Los Angeles, the Los Angeles Museum, Honolulu Academy of Arts, the Otis Art Institute, and the San Joaquin Pioneer Museum.
Collection Restrictions:
The collection is open for research. Use of microfilmed material requires an appointment and is limited to the Washington, D.C. research facility.
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:
Mabel Alvarez papers, 1898-1987. Archives of American Art, Smithsonian Institution.
Biographical material; correspondence, 1929-1969; diaries; travel journal; daily journals; photographs of Aldrin and his paintings; a list of prints by Aldrin; newspaper clippings; articles; and exhibition announcements and catalogs.
Biographical / Historical:
Painter, printmaker; Los Angeles, Calif. Aldrin was born in Sternsfor, Varmland, Sweden. He immigrated to the United States in 1911, first to Chicago before settling in Minneapolis. After WWI, he moved to Prescott, Arizona and then in 1923 to Los Angeles where he stayed until his death in 1970. He attended Otis Art Institute from 1923-1927, Santa Barbara School of the Arts from 1927-1930, and six months at California School of Fine Arts in San Francisco in 1929.
Provenance:
Papers donated by Vincent Aldrin, Anders Aldrin's son, in 1994, who received portions from the Aldrin estate from Betty Bentley (his sister); Inez Kimble (his sister); and Margaret Cromer (collector and friend of Aldrin's), prior to the donation.
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.
Edward Biberman. "Los Angeles and the art explosion" panel discussion, 1965 June 1 and 8. Edward Biberman papers, 1939-1985. Archives of American Art, Smithsonian Institution.
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:
Dorothy and Herbert Vogel papers, 1960s-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
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.
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:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Pool Fund.
Includes clippings, brochures, booklets, photographs and transparencies, correspondence, and
notes. Subjects include collecting contemporary art, soviet artists, photographs of artworks, art controversies, New York art galleries and art world, the Otis Art Institute, modern tapestries, Pioneer Square, potential artists, and Pilchuck Glass School.
Arrangement:
Folders are arranged alphabetically by subject.
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.
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:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Pool Fund.
The Aimée Brown Price research material regarding Carlos Almaraz measures 0.4 linear feet and dates from 1973 to 2021, with the bulk dating from 1974 to 1992. The collection includes letters, print and digital photographs, and printed materials received by Price from Almaraz; Price's own notes and writings on Almaraz's work; and photographs and printed material relating to Almaraz collected by Price.
Scope and Contents:
The Aimée Brown Price research material regarding Carlos Almaraz measures 0.4 linear feet and dates from 1973 to 2021, with the bulk from 1974 to 1992. The collection includes letters, print and digital photographs, and printed materials received by Price from Almaraz; Price's own notes and writings on Almaraz's work; and photographs and printed material relating to Almaraz collected by Price.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Aimée Brown Price (1939- ) is an American art historian based in New York City. Price met Almaraz while she was teaching at Otis Art Institute of Los Angeles County (now Otis College of Art and Design), where he was a student. She and her husband Monroe Price collected works by Almaraz, and Monroe provided pro bono legal representation to Almaraz and Los Four in their 1974 dispute with the Los Angeles County Museum of Art.
Carlos Almaraz (1941-1989) was a painter and muralist in Los Angeles, California. Almaraz was born in Mexico City, moved to Chicago in 1942, and settled in Los Angeles in 1949. He studied at California State College, the Otis Art Institute, and the University of California in Los Angeles. He moved to New York City in 1965, where he studied at the Art Students League and New School of Social Research. In 1970, Almaraz returned to Los Angeles. He became active with mural painting within the Mexican American community in Los Angeles. Along with Gilbert Lujan, Beto de la Rocha, and Frank Romero, Almaraz founded the artist collective Los Four. In the late 1980s, Almaraz was diagnosed with AIDS, and he died from complications of the disease in 1989.
Related Materials:
Also found in the Archives of American Art are the Carlos Almaraz and Elsa Flores papers. 1946-1996.
Provenance:
Donated in 2022 by Aimée Brown Price and Monroe Price.
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 historians -- New York (State) -- New York Search this
Muralists -- California -- Los Angeles Search this
The collection is access restricted, except for Box 8; written permission is required. Contact Reference Services for more information. Box 8, containing six journals and sketchbooks (volumes 79-84) and slides are not restricted.
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
Six journals and sketchbooks (volumes 79-84): Authorization to publish, quote, or reproduce requires written permission from Elsa Flores. Microfilm Reels 4578-4587: Authorization to publish, quote, or reproduce requires written permission from Elsa Flores. 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:
Carlos Almaraz and Elsa Flores papers, 1946-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The series consists of files for Bacerra's professional activities which include the exhibitions Craft Today USA (1989-1993) and Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000) containing correspondence, contracts, reports, and artist statements; material from Chouinard Art School where Bacerra was a student and later chair of the ceramics department from 1963 to 1971; and student roll books, correspondence, teaching notes containing formulas and other class notes, quizzes and student assignments, and identification cards from Otis Art Institute. Also included are photographs of Bacerra and his work, a small amount of correspondence, and printed exhibition materials that were compiled for a legacy film project by the Otis Art Institute honoring Bacerra.
Collection 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.
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:
Ralph Bacerra papers, 1957-2015. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Senga Nengudi papers, 1947, circa 1962-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce 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 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:
Senga Nengudi papers, 1947, circa 1962-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
Wallace Berman retrospective, October 24 to November 26, 1978 : an exhibition / initiated and sponsored by Fellows of Contemporary Art in cooperation with the Otis Art Institute Gallery