Skip to main content Smithsonian Institution

Search Results

Collections Search Center
22 documents - page 1 of 2

Oral history interview with Marnie Weber

Interviewee:
Weber, Marnie  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Extent:
6 Items (sound files (3 hrs., 5 min.), digital, wav)
70 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2016 February 10
Scope and Contents:
An interview of Marnie Weber, conducted 2016 February 10, by by Hunter Drohojowska-Philp, for the Archives of American Art at Weber's studio in Los Angeles, California.
Weber discusses growing up in Connecticut and being raised by her parents Evelyn and Charles D. Weber, who was an important art historian and expert in Chinese bronzes; her happy family life in Connecticut with her brother and friends; the family's subsequent residences in California, Hawaii and Asia as a result of Mr. Weber's different teaching positions; her time at high school in Manhattan Beach, California, and her burgeoning interest in theatrical and glam rock; the beginnings of her work with art in high school and her subsequent enrollment as an art student at USC and UCLA; her life as one of the few artists in downtown Los Angeles in the '70s and '80s; her time in the rock band Party Boys, their manager Jack Marquette, his club Anti-Club, and their performances and recordings in L.A. and time spent in London. Weber also describes the influences of Alexis Smith, George Herms and Chris Burden as art teachers, especially the influence of Ms. Smith as a woman artist and as an artist who works in collage; her early character-based performances in Los Angeles hotels; her character-based musical performances in art galleries and the use of collage work and theater in these shows; her time working as a gallery coordinator with Anne Ayres at Otis Art Institute; her work creating films and videos and use of large animal characters; her marriage to the artist Jim Shaw and the raising of their daughter Colette Weber Shaw; their friendships with Mike Kelley and other artists in Los Angeles; the formation of the theatrical rock band Spirit Girls, and their live performances and appearances in her films; her exploration of witches as characters in her two films Night of Forevermore and Day of Forevermore, the latter being a feature-length film shot primarily at Zorthian Ranch in Altadena, California; and the impact of the death of Mr. Kelley on her and Mr. Shaw and the subsequent work they did for Mr. Kelley's foundation. Weber also recalls Israel Kamakawiwo'ole, Donald Dunham, Gillean McLeod, Marc Kreisel, Michèle Lamy, Richard Newton, Rosamund Felsen, Patrick Painter as well as Paul McCarthy, Jacci Den Hartog, Bruce Licher, Rick Owens, Dani Tull, Tanya Haden, and Tamara Sussman, among others.
Biographical / Historical:
Marnie Weber (1959- ) is an installation artist, photographer, and musician in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
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.
Topic:
Installations (Art)  Search this
Musicians -- California -- Los Angeles -- Interviews  Search this
Photographers -- California -- Los Angeles -- Interviews  Search this
Women artists -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.weber16
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weber16

Oral history interview with Samuel Clayberger, 1981 November 4

Interviewee:
Clayberger, Samuel R. (Samuel Robert), 1926-2018  Search this
Interviewer:
Karlstrom, Paul J  Search this
Type:
Sound recordings
Interviews
Topic:
Educators -- California -- Los Angeles -- Interviews  Search this
Illustrators -- California -- Los Angeles -- Interviews  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12886
(DSI-AAA_SIRISBib)212319
AAA_collcode_claybe81
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212319

Oral history interview with John Mason

Interviewee:
Mason, John, 1927-2019  Search this
Interviewer:
Smith, Paul J.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Chouinard Art Institute (Los Angeles, Calif.) -- Students  Search this
Ferus Gallery (Los Angeles, Calif.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Otis Art Institute -- Students  Search this
Ballard, Richard  Search this
Coplans, John  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Hopps, Walter  Search this
Kienholz, Edward, 1927-  Search this
Koshalek, Richard  Search this
Marer, Fred  Search this
McClain, Mac  Search this
Melchert, Jim, 1930-  Search this
Peterson, Susan, 1925-2009  Search this
Price, Kenneth, 1935-2012  Search this
Sheets, Millard, 1907-1989  Search this
Soldner, Paul  Search this
Sullivan, Louis H., 1856-1924  Search this
Voulkos, Peter, 1924-2002  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
47 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2006 August 28
Scope and Contents:
An interview of John Mason conducted 2006 August 28, by Paul Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Smith's office, in New York, N.Y.
Mason speaks of his childhood in rural Nevada; early interests in photography and jazz; moving to Los Angeles to attend the Los Angeles County Art Institute, now Otis College of Art and Design; attending Chouinard Art Institute; experiences working at Vernon Kilns and with the head designer Elliot House; opening Glendale Boulevard Studio with Peter Voulkos; his association with Ferus Gallery; and teaching experiences at Pomona College, University of California at Berkeley, University of California at Irvine, and Hunter College. He also discusses the development of the Hudson River series exhibition; solo exhibitions at Los Angeles County Museum of Art, LA Louver Gallery, Pasadena Art Museum, now Norton Simon Museum of Art, and others; participation in group exhibitions such as, "Sculpture Off the Pedestal" at Grand Rapids Museum of Art; imagery found in his work including the orbit, the figure, the torque, the spear form, the vertical form, the cross or X form, symmetry and the monolith; an interest in Frank Lloyd Wright and Louis Sullivan; the architectural qualities in his work; the foresight of Buckminster Fuller; and the accelerating change in technology that has taken place over the course of his career. Mason recalls Susan Peterson, Kenneth Price, Paul Soldner, Mac McClain, Fred Marer, Millard Sheets, Edward Kienholz, Walter Hopps, James Melchert, John Coplans, Richard Ballard, Richard Koshalek, and others.
Biographical / Historical:
John Mason (1927-2019 ) was a ceramicist of Los Angeles, California. Paul Smith (1931- ) is Director Emeritus, American Craft Museum of New York City, N.Y.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hrs., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Ceramicists -- California -- Los Angeles -- Interviews  Search this
Sculptors -- California -- Los Angeles -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mason06
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mason06

Oral history interview with Emerson Woelffer

Interviewee:
Woelffer, Emerson, 1914-2003  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Creator:
Art Schools in California Oral History Project  Search this
Names:
Art Schools in California Oral History Project  Search this
Chouinard Art Institute (Los Angeles, Calif.)  Search this
Colorado Springs Fine Arts Center  Search this
Institute of Design (Chicago, Ill.)  Search this
Otis Art Institute  Search this
Extent:
55 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1999 March 26
Scope and Contents:
An interview of Emerson Woelffer conducted 1999 March 26, by Paul Karlstrom, for the Archives of American Art's Art Schools in California Project, in Woelffer's studio/home, Los Angeles, California.
Woelffer briefly discusses his own student experience at the Art Institute of Chicago (1933-1937), and focuses more on his teaching at Moholy Nagy's Institute of Design in Chicago, Colorado Springs Fine Arts Center (1954-1960) where he was head of the fine arts department, and the many years in Los Angeles as an educator at Chouinard Art School (now California Art Institute) and Otis Art Institute (now Otis College of Art and Design). Woelffer recalls Chouinard students who were the most "far out," among them Larry Bell, Joe Goode, and Ed Ruscha. He credited the free-wheeling stimulation of Los Angeles itself as the source for these experimental artists who were different from those in Chicago. In his final remarks, Woelffer emphasized the importance of drawing to the training of an artist.
Biographical / Historical:
Emerson Woelffer (1914-2003) was a painter and educator from Los Angeles, California. One of the leading senior modernists working in Los Angeles, Woelffer was invited in 1960, by Mitch Wilder, to head the fine arts department at Chouinard Art Institute where he taught until it was moved to Valencia and transformed into California Institute of the Arts (CalArts).
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 50 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. Other interviewees in the Art Schools in California Oral History Project include: Leo Holub, Charles Linder, Paul Carey (1993), and Paul Carey and Stephanie Caloia (1997), with funding provided by the Bente and Gerald E. Buck Collection.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art teachers -- California -- Los Angeles -- Interviews  Search this
Topic:
Art -- Study and teaching -- California  Search this
Function:
Art Schools -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.woelff99
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woelff99

Oral history interview with Frank Romero

Interviewee:
Romero, Frank  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Names:
Los Four (Art group)  Search this
Otis Art Institute -- Students  Search this
Almaraz, Carlos  Search this
Mugnaini, Joseph A.  Search this
Rocha, Roberto de la  Search this
Sanchez Luján, Gilbert  Search this
Sheets, Millard, 1907-1989  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 January 17-March 2
Scope and Contents:
An interview of Frank Romero conducted 1997 January 17-March 2, by Jeffrey Rangel, for the Archives of American Art, in Romero's studio, in Los Angeles, Calif.
Romero discusses his growing up in East Los Angeles and his large extended family; his earliest art studies in the public schools; attending the Otis Art Institute where he studied with Joe Mugnaini and had contact with Millard Sheets and Peter Voulkos; the "very polyglut culture" of East Los Angeles; the influences of television, western movies, rock-and-roll, and rhythm and blues on his early musical/artistic taste; time spent in New York; returning to Los Angeles in 1969; and his marriage and family.
He describes his move into Carlos Almaraz's house which became the informal meeting place of the artist group Los Four (Almaraz, Romero, Gilbert Sanchez Lujan, and Roberto "Beto" de la Rocha); the Los Four show at the Los Angeles County Museum of Art in 1974; and the stylistic aesthetics of Los Four.
Romero describes the "boys club" nature of Chicano art centers; his contributions to the Chicano art movement; his relationship to the Chicano/Mexican culture and mainstream U.S. culture; murals done by members of Los Four for the Inner City Mural Program; his work for the Metropolitan Transit Authority; the Murals of Aztlan exhibit in 1981 at the Craft and Folk Art Museum; and his shows at the ARCO Center for the Visual Arts. He concludes with his assessment of the Chicano arts movement, the relationship between economic and art cycles, and the role of the more established artists to those of a younger generation.
Biographical / Historical:
Frank Romero (1941- ) is a painter from Los Angeles, Calif.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 27 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. Funding for the interview provided by the Smithsonian Institution Latino Pool Fund.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Painters -- California -- Los Angeles -- Interviews  Search this
Hispanic American artists -- Interviews  Search this
Mexican American artists -- California -- Los Angeles -- Interviews  Search this
Hispanic American artists  Search this
Mexican American art -- California -- Los Angeles  Search this
Street art  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.romero97
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-romero97

Oral history interview with Michael and Magdalena Suarez Frimkess

Interviewee:
Frimkess, Michael, 1937-  Search this
Frimkess, Magdalena Suarez  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Clay Art Center -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Otis Art Institute -- Faculty  Search this
Otis Art Institute -- Students  Search this
University of California, Berkeley. History of Art Dept. -- Students.  Search this
Rosen, Clara  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
83 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 8-April 17
Scope and Contents:
An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.
Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.
Magdalena Frimkess also provided another informed perspective on the events described by her husband.
Biographical / Historical:
Michael Frimkess (1937- ) is a ceramist from Venice, California. Magdalena Frimkess is a ceramist from Venice, California. Paul J. Karlstrom is the director of the West Coast Resource Center, Archives of American Art, San Marino, California. Michael Frimkess was a leading innovator of the California fine art clay movement that grew up around Peter Voulkos and his "pot shop" at the Otis Art Institute. An element that distinguished the vessels that made Michael Frimkess's reputation was the surface decoration based on popular culture and a Pop Art sensibility. This signature style, consisting of small figures mimicking classical or pre-Columbian friezes, was further developed by Frimkess's wife Magdalena (Suarez Frimkess) who eventually, as Michael's multiple sclerosis progressed, did most of the painting of the vessels.
Magdalena was born in Venezuela and was sent to an orphanage at age 7, when her mother died and her father was unable to support her. Later she moved to Chile where her two children were born. When she was offered a fellowship to the Clay Art Center in New York her companion told her she would have to choose between that and him and the children. She reluctantly chose art, but kept up with her offspring who eventually moved to California. Her sculpture career was to a large extent subsumed after she met and married Michael Frimkess.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 2 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.
Topic:
Art -- Study and teaching -- Chile  Search this
Potters -- California -- Interviews  Search this
Pottery -- Study and teaching -- United States.  Search this
Ceramicists -- California -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.frimke01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-frimke01

Oral history interview with Samuel Clayberger

Interviewee:
Clayberger, Samuel R. (Samuel Robert), 1926-2018  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 November 4
Scope and Contents:
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.
Occupation:
Artists' models  Search this
Artists' models -- California -- Los Angeles  Search this
Topic:
Educators -- California -- Los Angeles -- Interviews  Search this
Illustrators -- California -- Los Angeles -- Interviews  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.claybe81
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-claybe81

Charles W. White papers

Creator:
White, Charles, 1918-1979  Search this
Names:
Belafonte Enterprises  Search this
Heritage Gallery  Search this
Otis Art Institute  Search this
Barthé, Richmond, 1901-1989  Search this
Catlett, Elizabeth, 1915-2012  Search this
White, Frances Barrett  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Scrapbooks
Date:
1933-1987
bulk 1960s-1970s
Summary:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Scope and Contents:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.
Related Materials:
The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Separated Materials:
The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.
Provenance:
Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.
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.
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:
Painters -- California -- Los Angeles  Search this
Printmakers -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
Genre/Form:
Interviews
Sound recordings
Scrapbooks
Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitchar
See more items in:
Charles W. White papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitchar
Online Media:

Otis Art Institute, Student Appraisals of Teaching

Collection Creator:
White, Charles, 1918-1979  Search this
Container:
Box 7, Folder 25
Type:
Archival materials
Date:
1972-1975
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. 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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
See more items in:
Charles W. White papers
Charles W. White papers / Series 5: Teaching Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-whitchar-ref344

Carlos Almaraz and Elsa Flores papers

Creator:
Almaraz, Carlos  Search this
Flores, Elsa  Search this
Names:
Los Four (Art group)  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
1946-1996
Summary:
The papers of painters and muralists Carlos Almaraz and Elsa Flores measure 7.9 linear feet and date from 1946 to 1996. The collection documents the careers of both artists through biographical material, correspondence, writings, professional files, personal business records, printed material and artwork.
Scope and Contents:
The papers of painters and muralists Carlos Almaraz and Elsa Flores measure 7.9 linear feet and date from 1946 to 1996. The collection documents the careers of both artists through biographical material, correspondence, writings, professional files, personal business records, printed material and artwork.

Biographical material includes documents regarding Almaraz's death, identification documents, and a few photographs and slides. Correspondence is with family, friends, galleries, museums, and arts organizations. Writings include nine journals belonging to Almaraz and Flores containing travel notes, daily activities and personal thoughts, as well as writings on other topics and writings by others. Professional files document the Los Four group, projects, events, exhibitions, and memberships with arts organizations. Personal business records include legal and financial material along with records relating to Almaraz and Flores's house in Kauai, Almaraz's scholarship fund, and for Almaraz Studio. Printed materials include publications featuring artwork and articles by or about Almaraz and Flores. Original artwork includes sketchbooks, drawings, cutouts, and a watercolor.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, 1946-1994 (Boxes 1, 8-9; 0.5 linear feet)

Series 2: Correspondence, 1974-1996 (Boxes 1-4, OV 10; 3.0 linear feet)

Series 3: Writings, 1972-1994 (Boxes 4, 8-9, OV 10; 0.8 linear feet)

Series 4: Professional Files, 1973-1994 (Boxes 4-5, 9, OV 11; 0.8 linear feet)

Series 5: Personal Business Records, 1974-1995 (Box 5; 0.4 linear feet)

Series 6: Printed Material, 1972-1995 (Boxes 6-7. 9, OV 10; 1.0 linear feet)

Series 7: Artwork, circa 1975-1996 (Boxes 7-9; 1.4 linear feet)
Biographical / Historical:
Carlos Almaraz (1941-1989) was a painter and muralist in Los Angeles, California. His wife Elsa Flores (1955- ) is also a painter and muralist. Almaraz and Flores collaborated on the mural California Dreamscape as part of the Chicano street arts movement.

Almaraz was born in Mexico City, moving to Chicago in 1942, and settling 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.

Elsa Flores was born in Las Vegas, Nevada. She studied at the Art Center College, California State University, and the Idyllwild School of Music and the Arts. Almaraz and Flores married in 1981 and their daughter Maya was born in 1983. They collaborated on California Dreamscape, a mural commissioned by the California Arts Council and is located in the Reagan State Building in Los Angeles. In the late 1980s, Almaraz was diagnosed with AIDS and died in 1989.
Related Materials:
Also found at the Archives of American Art is an oral history with Carlos Almaraz conducted by Margarita Nieto from February 6, 1986 to January 29, 1987 and an oral history with Elsa Flores conducted by Jeffrey Rangel from February 18, 1997 to April 30, 1997.
Separated Materials:
The Archives of American Art also holds microfilm of sketchbooks and notebooks (volumes 1-78) lent for microfilming (reels 4578-4587). Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Sketchbook and journal volumes 1-78 were lent for microfilming by Elsa Flores in 1991. Sketchbook and journal volumes 79-84 were donated, some by Carlos Almaraz in 1986 and the remainder in 1991 by Flores and microfilmed onto reel 4587, fr. 93-456. In 1997, additional papers were donated by Flores.
Restrictions:
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.
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.
Occupation:
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Hispanic American artists  Search this
Women artists  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
Carlos Almaraz and Elsa Flores papers, 1946-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.almacarl
See more items in:
Carlos Almaraz and Elsa Flores papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-almacarl

Oral history interview with Marnie Weber, 2016 February 10

Interviewee:
Weber, Marnie, 1959-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Type:
Interviews
Sound recordings
Topic:
Installations (Art)  Search this
Musicians -- California -- Los Angeles -- Interviews  Search this
Photographers -- California -- Los Angeles -- Interviews  Search this
Women artists -- California -- Los Angeles -- Interviews  Search this
Record number:
(DSI-AAA_CollID)16307
(DSI-AAA_SIRISBib)379306
AAA_collcode_weber16
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_379306

Millard Sheets papers

Creator:
Sheets, Millard, 1907-1989  Search this
Names:
Dalzell Hatfield Galleries  Search this
Millard Sheets & Associates Designs  Search this
Sheets, Mary Baskerville  Search this
Extent:
27.6 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Date:
circa 1907-2000
Summary:
The Millard Sheets papers comprise 27.6 linear feet of material dating from circa 1907 to 2000 with bulk dates spanning 1956 to 1981. The collection documents Sheets's career as a designer, painter, and muralist, and his personal and professional interests through correspondence, writings, lectures, printed material, drawings, slides, photographs, and ephemera. A small addition donated 2018 by Carolyn Owen-Toole, Sheet's daughter. There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Scope and Content Note:
The personal papers of Millard Sheets (1907-1990) measure 27.6 linear feet and date from circa 1907-2000, with bulk dates of 1956-1981. The collection reflects Sheets's career as a designer, painter, and muralist, as well as his other personal and professional interests, through correspondence, writings, lectures, clippings, blueprints, drawings, slides, photographs, and ephemera.

The Project Files comprise the largest group of materials in the collection and document design work undertaken by Sheets through his company Millard Sheets & Associates Designs. Sheets and his associates produced concept drawings and blueprints and supervised the construction for a wide range of design projects that ranged in scale from architectural plans for private residences to bid proposals for shopping malls and financial institutions located in California and the Southwest.

Sheets designed interior and exterior plans for over forty Home Savings and Loan bank branches in California. The distinctive modular design which Sheets created and then customized by integrating interior and exterior art elements that highlighted local historical events or natural features became synonymous with the image of Home Savings and Loan. Sheets also teamed up with the architect Edward Durrell Stone to produce a proposal for the Capitol Mall Project, an urban renewal project for the Redevelopment Agency of the City of Sacramento. Researchers will find correspondence, job costs and billing statements, and notes that trace the development of these and other building construction projects. In some instances the documents are supplemented by blueprints, photographs, and/or drawings of the project, but in many cases, visual documentation is missing.

The Project Files also document work done by Millard Sheets on public projects such as the Family of Man mural in the Los Angeles City Hall Annex, a mosaic dome in the National Shrine of the Immaculate Conception, Washington, D.C., and the Word of Life mural at the University of Notre Dame, Ind., along with numerous other murals and mosaics created for private individuals and corporations.

The Correspondence Series primarily reflects the interaction between Sheets and his clients, colleagues, and personal acquaintances. These files will prove valuable to researchers who are interested in the way that Sheets's beliefs about the role of art in everyday life impacted the way he conducted business and managed both large and small design projects. The correspondence also reflects Sheets's interest in popular American culture, travel, political issues of the day, and art collecting.

The Membership Files document the wide variety of interests that Sheets maintained through active membership in associations and organizations. The material in this series consists primarily of correspondence, minutes of meetings, and notes which Sheets created or used as he served as a board member or trustee on a number of organizational boards, such as the California Institute of the Arts, the Claremont Colleges, Virginia Steele Scott Foundation, Webb School of California, and Goodwill Industries of Southern California.

Also found in this series is material that documents his interest and participation in various recreational and professional organizations. Sheets maintained a long association with the Economic Roundtable, a group of businessmen who met regularly to give presentations and share discussion on contemporary political and social issues. Sheets was a frequent speaker and his talks given at the Economic Roundtables can be found in Lectures and Speeches, a subseries of the Writings Series.

Included in the Millard Sheets & Associates Designs, Inc. series are records that reflect the day-to-day operations of Sheets's design firm. Found here are chronological copies of correspondence that were sent out, files Sheets maintained on various independent contractors that the design firm frequently used, resumes and letters of recommendation that Sheets received regarding potential employees, as well as records relating to the cost and maintenance of Sheets's office building.

The Teaching and Workshop Files document the instructional activities undertaken by Sheets throughout his career in the arts. Although Sheets became pivotal in establishing a regionally recognized art department at Scripps College in Claremont, California, the files that reflect his academic position there are limited in scope and depth. Researchers will find more substantive the files that he maintained on the numerous art demonstrations and paintings workshops that he conducted privately throughout his career. Sheets traveled extensively around the world through his teaching activities and the files in this series track his path.

Closely related to the Teaching and Workshop Files is the Painting Trips series. The material in these files document Sheets's service as an American Specialist in the Bureau of Educational and Cultural Affairs of the USIS, Department of State. Sheets served two times as a cultural arts representative in Turkey in 1960 and in the former USSR in 1961. Sheets also made numerous trips to South East Asia, which had proved an area of fascination for him since his experiences as a war correspondent in Burma and India in World War II. The files in this series document his painting trips to Tahiti, the Pacific Ocean Rim, and Hawaii. Also found are files that detail his painting activities in Mexico.

The Exhibition Files reflect the records that Sheets maintained regarding his participation in art exhibitions, as well as his files on art shows that he personally directed or organized for public or private groups or organizations. Although Sheets exhibited his work predominantly in the West and Southwest, the files in this series demonstrate that he exhibited both nationally and internationally as well.

Also found within the records for this series are files relating to Sheets's representation of his artwork through established galleries and art agents. The Dalziel Hatfield Galleries of Los Angeles, California, served as his primary agent for most of his painting career. Correspondence between Sheets and the Hatfields provide insight into Sheets's development into a regionally and nationally significant watercolorist and painter. The files relating to the Kennedy Galleries in New York and the Circle Gallery in Chicago reflect Sheets's efforts to maintain a national presence in the arts community.

The Jury Files document Sheets's involvement as a juror in regional, as well, as national shows. The files reveal the great variety of professional watercolor and painting exhibitions in which Sheets participated as either a jury panelist or solo judge.

The Writings Files provide an excellent source for researchers interested in Sheets's philosophical beliefs about the relationship between art and everyday life. His articles, lectures, and speeches predominantly address the role of the artist, the relationships that exist between artists and the community, and the role that art can play in making a fuller, more productive life. Also found in the files of this series are articles written by others about Sheets.

The Biographical Material series provides a short introduction to Millard Sheets. The files consist of the calendars maintained by Sheets and his wife and staff, which were used to coordinate his many commitments and appointments. Also found in the files of this series are family chronologies that were created by Mary Baskerville Sheets. Medical records and resumes provide personal information about Sheets's background and health. A small file of military memorabilia provides information about Sheets's contributions to the war effort in World War II.

The Printed Matter series documents family activities and personalities through publicity clippings. Also found are exhibition catalogs and announcements that Sheets saved regarding other artists. Miscellaneous interests and activities of Sheets are found through magazine articles, brochures, and flyers.

The Photographs series includes photographic documentation for Sheets's artwork, horses, and major projects. A small group of photographs of Sheets are also in this series.

The files in the Artwork series include original drawings by Mary Baskerville Sheets and Millard Sheets.

There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Arrangement:
The collection is arranged into fifteen series. Small series, such as Biographical Material are generally based on type of document. Larger series, such as Correspondence or Project Files, are arranged alphabetically by name of correspondent or project. General correspondence has been made into its own series, but other series or subseries may also contain some correspondence. Within particular series, materials have been further divided into subseries which represent particular aspects of the project or event. For example, the Writings Series is further divided into subseries of books and articles, eulogies, and lectures and speeches. An outline listing series and subseries titles and dates follows.

Series 1: Biographical Material, 1907-1982, undated (boxes 1-2; 1.25 linear ft.)

Series 2: Correspondence, 1929-1990, undated (boxes 2-4; 2.75 linear ft.)

Series 3: Personal Business Records, 1933-1980, undated (boxes 5-6; 1.25 linear ft.)

Series 4: Membership Files, 1946-1982, undated (boxes 6-8; 2.5 linear ft.)

Series 5: Millard Sheets & Associates Designs, 1934-1982, undated (boxes 8-9; 1.0 linear ft.)

Series 6: Project Files, 1956-1981, undated (boxes 9-18; 8.25 linear ft.)

Series 7: Teaching and Workshop Files, 1932-1982 (box 18; 0.5 linear ft.)

Series 8: Painting Trips, 1959-1980, undated (box 18; 16 folders)

Series 9: Exhibition Files, 1932-1937, 1951-1988, undated (box 19; 0.75 linear ft.)

Series 10: Jury Files, 1941-1982 (boxes 19-20; 42 folders)

Series 11: Writings, 1936-1988, undated (boxes 20-22; 2.5 linear ft.)

Series 12: Printed Matter, 1936-1922, undated (boxes 22-23; 20 folders)

Series 13: Photographs, 1934-1983, undated (box 23; 17 folders)

Series 14: Artwork, circa 1929, undated (box 23; 2 folders)

Series 15: Unprocessed Addition, circa 1930-2000 (boxes 24, 26-30, OV25: 4.6 linear ft.)
Biographical Note:
"Your painting is a measure of your mind"-Millard Sheets

Millard Sheets, as one of the founding members of the "California Scene Painters," exerted a lasting influence upon subsequent generations of Western painters. He and the small group of painters who worked in California during the 1930s and 1940s, developed a new style of watercolor painting that was at the forefront of the American watercolor movement of the time, and that later gave rise to a subsequent generation of painters who became known as the California Regionalist school.

Sheets was born in Pomona, California on June 24, 1907. His mother died in childbirth, and his father, John Sheets, unprepared to raise a baby alone, sent Millard to Pomona, California to be raised by his maternal grandparents, Lewis and Emma Owen. Sheets's grandfather proved to be a guiding force in his life, and when Sheets's father remarried and offered Millard the opportunity to return to the Sheets household, Millard chose instead to remain with his grandparents.

Sheets's love of horses can be directly traced back to his childhood years spent living at his grandfather's horse ranch. Millard rode his first horse when he was three years old. Throughout his life, Sheets returned to the theme of horses in his paintings, as well as maintaining a private stable of horses, and raising and breeding racehorses.

His interest in art also began in childhood. When he was still a young boy, his two maternal aunts encouraged him to play with crayons and pencils. Sheets took his first painting lesson from a neighbor at the age of seven, and by 1919 he had already submitted artwork to the copy division of the Los Angeles County Fair fine arts show competition. He submitted a drawing he had copied of a tinted photograph of Lake KIlarney, California. Sheets won first prize in his division.

It was through this competition that Millard met Theodore B. Modra, a Polish artist who had retired to the Pomona area. After giving Sheets a lecture on the evils of copying art, Modra offered to give him art lessons.

Sheets continued to pursue his interest in art and enrolled in the Choinard School of Art in Los Angeles, California. By the time that he graduated in 1929, Sheets had also managed to come to the attention of Dalzell and Ruth Hatfield of the Dalzell Hatfield Galleries in Los Angeles, California. The Hatfields were one of the most influential art dealers in Southern California, and that same year, they sponsored Sheets in his first one-man exhibition in 1929. The exhibition brought Sheets to the attention of Western Coast art critics and launched Sheets on his painting career.

In 1929 Sheets also learned that he had won second place in the annual Edgar B. Davis art competition held in San Antonio, Texas. The award came with a cash prize and Sheets made plans to travel to Europe to study and paint. Shortly before his departure, however, he met an art student, Mary Baskerville, and they began a whirlwind romance. With Baskerville's enthusiastic support for European plans, and with her promise that she would wait for him, Sheets departed for New York and then Europe.

While overseas during 1929 and 1930, Sheets studied under Dorfinant, a master printer in Paris. Through his work at this studio workshop, he met Henri Matisse.

Five months after Millard returned to the California in 1930, Sheets and Mary Baskerville married. Sheets worked as the director of the Fine Arts Exhibition of the Los Angeles County Fair. In 1932 Sheets returned to school to study art and humanities at Scripps College in Claremont, California. After graduating from Scripps, school officials approached Sheets with an offer to set up a separate fine arts program and asked him to chair the new department. This was the beginning of a twenty year association with the school. In 1938, he also became the Director of Art at Claremont Graduate School.

Sheets left the school during the years of World War II to serve as a war-time artist and journalist for Life magazine, and from 1943-1944 was stationed on the Burma-India Front. His experiences in Asia appeared to affect him deeply. In contrast to his earlier works which featured backgrounds with neutral tones and brilliant shades that highlighted and punctuated the compositions, the paintings from the wartime featured somber tones. Sheets remarked of this time:

During the fighting and the time I spent in the C-B-1 theater, I was too shaken and intellectually stunned to do any complete paintings. I made many, many sketches, though, as well as a real effort to remember each scene that particularly affected me. Then, once I returned to America, I painted frantically, for months, exorcising demons. [Lovoos, Janice and Edmund F. Penney, Millard Sheets: One-Man Renaissance, Northland Press, Flagstaff, AZ, 1984]

Sheets returned from the war in 1944 and resumed his position at Scripps College until 1955 when he was approached by the Los Angeles County Board of Supervisors and asked to overhaul the fledgling Los Angeles County Art Institute. Sheets accepted the position and spent the next five years reshaping the mission and format of the school, renaming it the Otis Art Institute. In the years after Sheets left the directorship, the school eventually became part of the Parson's School of Design on the West Coast.

In 1953 Sheets founded the Millard Sheets Designs company. He hired between twenty-five and thirty artisans for large projects, with Susan Hertel, a former student of his, serving as his assistant in all the operations of the design studio. The working staff included engineers, registered architects, draftsmen, and artists, and the projects that the firm produced included murals, mosaics, stained glass, and sculpture for private homes and public and commercial businesses.

The design studio completed several major architectural projects throughout the late 1950s through the mid 1970s, including the design and construction of Cal Aero, a flight training school for the US Air Force, the National American Insurance Company offices for the California financier, Howard Ahmanson, Ahmanson Bank and Trust Company in Beverly Hills, many Home Savings and Loan Association Buildings, private residences, and the Scottish Rite Memorial Temples in Los Angeles and San Francisco, among many other projects.

Sheets also designed and completed mural and mosiac work for numerous public buildings in the Los Angeles area, as well as across the nation. Many of the murals and mosiacs were for those buildings designed by his firm while others were done as independent commissions.

In 1968 Sheets first proposed the murals he designed for the Los Angeles City Hall. His design was approved and he was awarded a commission to complete The Family of Man murals over the two main entrances to the Los Angeles City Hall. The murals were completed in 1971 and installed in 1972. Sheets also designed mosiacs and murals for the Mayo Clinic in Minnesota, the Library at Notre Dame University, the Scottish Rite Masonic Temple in Los Angeles, several Home Savings and Loan Association buildings in the Los Angeles area, the Detroit Public Library, and the Dome of the National Shrine of the Immaculate Conception in Washington, DC.

During the early 1960s Sheets participated in the American Specialist Program of the US Department of State. His first assignment was to Turkey in 1960, where he served as a visiting artist. The following year he went to the USSR in the same capacity.

During the early to mid 1950s Sheets became involved with Columbia Pictures and was technical advisor and production designer for a few years.

Millard Sheets was a member of the National Watercolor Society, the American Watercolor Society, the National Academy of Design, the Society of Motion Picture Art Directors, and the Century Association. Sheets actively promoted his own work and was a businessman, an active and prolific artist, instructor, and designer. Millard Sheets died on March 31, 1989 in Gualala, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels LA 10) including a biographical sketch, career resume, and a list of sheets' work prepared in 1964. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Millard Sheets lent material for microfilming in 1965. Mary B. Sheets, Millard's widow, donated the papers to the Archives of American Art in 1992. Carolyn Owen-Toole, Sheet's daughter, gave a small addition of material in 2018.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Study and teaching  Search this
Art -- California  Search this
Art and society  Search this
Horses -- Breeding  Search this
Watercolorists -- California  Search this
Muralists -- California  Search this
Art -- Philosophy  Search this
Designers -- California  Search this
Genre/Form:
Slides (photographs)
Photographs
Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheemill
See more items in:
Millard Sheets papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sheemill
Online Media:

Teaching Files

Collection Creator:
White, Charles, 1918-1979  Search this
Extent:
0.72 Linear feet (Boxes 6-7, 13)
Type:
Archival materials
Date:
1950-1979
Scope and Contents:
Teaching files relate primarily to White's teaching career at Otis Art Institute from 1965-1979, including administrative records such as board and committee memoranda, reports, meeting minutes, and fundraising material; printed material related to exhibitions and other events at the institute; and material related specifically to White such as performance evaluations, course assignments, and appraisals of his teaching by students. There is also material documenting the transfer of the Otis Charter to Parsons School of Design in 1979, with a note from Frances White stating that White was asked to be the official spokesperson for the faculty and students as they developed a strategy for the school's future.

In addition to the Otis Art Institute records there is a file on a 1977 workshop White taught at the Arkansas Art Center; a file on White's appointment to Howard University from 1978-1979 including a copy of a June 1979 letter in which White states his intent to resign due to ill health; and a file containing certificates from the University of the State of New York Private Trade School Teacher's Course qualifying Charles White to teach at the Workshop School.
Arrangement:
Series is arranged by institution. Otis Art Institute files, which form the bulk of the series, are arranged alphabetically by folder title and chronologically thereafter.
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. 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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitchar, Series 5
See more items in:
Charles W. White papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-whitchar-ref12

Otis Art Institute, Student Project Proposals and Statements

Collection Creator:
White, Charles, 1918-1979  Search this
Container:
Box 7, Folder 26
Type:
Archival materials
Date:
circa 1973
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. 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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
See more items in:
Charles W. White papers
Charles W. White papers / Series 5: Teaching Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-whitchar-ref349

Artist Files

Collection Creator:
White, Charles, 1918-1979  Search this
Type:
Archival materials
Date:
circa 1933-1982
Scope and Contents:
This series consists primarily of announcements and exhibition catalogs documenting White's interest in other Black artists of his generation and younger, many of whom were friends and colleagues of his such as Bing Davis and Betye Saar, and some of whom were his students at Otis Art Institute.

Of particular note are the catalog from Romare Bearden's first New York exhibition at Samuel M. Kootz Gallery; a WPA student art exhibition at the South Side Community Art Center in Chicago; and a catalog for a 1933 Harmon Foundation Exhibition of Work by Negro Artists.
Arrangement:
Arrangement follows what is believed to be the original arrangement and folder titles which separated printed material about Black artists from material about other artists. Artist files are arranged alphabetically by artist name.
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. 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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitchar, Subseries 7.3.2
See more items in:
Charles W. White papers
Charles W. White papers / Series 7: Printed Material / 7.3: Other Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-whitchar-ref815

John M. White papers

Creator:
White, John M., 1937-  Search this
Extent:
2.2 Linear feet ((on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1949-1985
Scope and Contents:
REELS 3999-4001: Photocopies of school records from 1945; an award certificate, 1970; a resume, 1972; a contract with Art/Video Productions for co-partnership with Gerald L. Rosen and Andy Eason to produce interview videos; clippings, 1969-1975; 2 diaries, 1974 and 1975; correspondence with friends and associates, 1963-1985; 2 typescripts by White: "R. M. Shindler - An Architectural Analysis and Interpretation" and "Performance Chronology"; 14 notebooks, undated and 1965-1976; notes written as a student at the Patri School of Art Fundamentals, 1962-1965, and at the Otis Art Institute, 1964-1969; miscellaneous notes, 1949-1975; and subject files for 25 performance/installation works of art including "Dirt Event, Bronson Canyon", "Boulder Delivery", "Time and Space", and "Art Walk", 1968-1978, containing letters, notes, drawings, and printed material.
REEL 1817 (fr. 1229-1230): Photograph of John White performing "Conceptual Striptease (Clothing as Form)," 1971, Los Angeles, Calif. Photographer unknown. Photo was previously microfilmed under Photos of Artists II and has since been scanned and returned to the White papers.
Biographical / Historical:
Conceptual artist; Venice California.
Provenance:
Donated 1979 & 1981 by John M. White. Photograph donated with papers 1979 and microfilmed with Photographs of Artists-Collection II in 1980.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Conceptual artists -- California -- Venice  Search this
Topic:
Art, American -- California -- Venice  Search this
Conceptual art  Search this
Identifier:
AAA.whitjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitjohn

Oral history interview with Emerson Woelffer, 1999 March 26

Interviewee:
Woelffer, Emerson, 1914-2003  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Institute of Design  Search this
Colorado Springs Fine Arts Center  Search this
Chouinard Art Institute  Search this
Otis Art Institute  Search this
Art Schools in California Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Study and teaching -- California  Search this
Record number:
(DSI-AAA_CollID)11975
(DSI-AAA_SIRISBib)225021
AAA_collcode_woelff99
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_225021
Online Media:

John M. White papers, 1949-1985

Creator:
White, John M., 1937-  Search this
Topic:
Art, American -- California -- Venice  Search this
Conceptual art -- California -- Venice  Search this
Record number:
(DSI-AAA_CollID)7459
(DSI-AAA_SIRISBib)209617
AAA_collcode_whitjohn
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209617

Gurdon G. Woods papers, 1948-1987

Creator:
Woods, Gurdon G., 1915-  Search this
Subject:
DeFeo, Jay  Search this
Siegriest  Search this
Siegriest, Lundy  Search this
San Francisco Art Institute  Search this
Otis Art Institute  Search this
Type:
Drawings
Topic:
Art -- Study and teaching -- California  Search this
Art festivals  Search this
Sculpture, American -- California  Search this
Sculpture, Modern -- 20th century -- California  Search this
Record number:
(DSI-AAA_CollID)10386
(DSI-AAA_SIRISBib)213742
AAA_collcode_woodgurd
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213742

Luvena Vysekal newspaper clippings and photos relating to Edouard Vysekal, 1910-1942

Creator:
Vysekal, Luvena Buchanan, 1873-1954,  Search this
Subject:
Vysekal, Edouard A.  Search this
Record number:
(DSI-AAA_CollID)6249
(DSI-AAA_SIRISBib)216573
AAA_collcode_vyseluve
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216573

Modify Your Search







or


Narrow By
  • Archives of American Art