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Ankrum Gallery records

Creator:
Ankrum Gallery  Search this
Names:
Art Dealers Association of America  Search this
Black Arts Council (Washington, D.C.)  Search this
California Arts Council  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Krannert Art Museum  Search this
Laguna Art Museum (Laguna Beach, Calif.)  Search this
Paramount Pictures  Search this
San Diego Museum of Art  Search this
Staempfli Gallery (New York, N.Y.)  Search this
Storm King Art Center  Search this
Almaraz, Carlos  Search this
Andrews, Benny, 1930-2006  Search this
Ankrum, Joan  Search this
Bauer, Richard, 1944-  Search this
Block, Irving  Search this
Broderson, Morris, 1928-2011  Search this
Caryl, Naomi  Search this
Casey, Bernie  Search this
Duveneck, Frank, 1848-1919  Search this
Feitelson, Lorser, 1898-1978  Search this
Groth, Bruno  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Herschler, David  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirshhorn, Olga  Search this
Homer, Jessie  Search this
Jackson, Suzanne, 1944-  Search this
Johnson, Buffie  Search this
Lundeberg, Helen, 1908-1999  Search this
Mesches, Arnold, 1923-  Search this
Miller, Henry, 1891-  Search this
Palm Springs Desert Museum  Search this
Schuler, Melvin  Search this
Secunda, Arthur  Search this
Shores, Kenneth, 1928-  Search this
Varda, Jean  Search this
Zev  Search this
Extent:
41.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1900-circa 1990s
bulk 1960-1990
Summary:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.

Missing Title

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
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.
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:
Artists -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Scrapbooks
Photographs
Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ankrgall
See more items in:
Ankrum Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d89bb020-f420-4b01-9a0f-f1d5132866c4
EDAN-URL:
ead_collection:sova-aaa-ankrgall
Online Media:

King W. Vidor papers

Creator:
Vidor, King, 1894-1982  Search this
Names:
Associated American Artists  Search this
Big parade (Motion picture)  Search this
Metaphor: King Vidor meets with Andrew Wyeth (motion picture)  Search this
Benton, Thomas Hart, 1889-1975  Search this
Rivera, Diego, 1886-1957  Search this
Sheets, Millard, 1907-1989  Search this
Wood, Grant, 1891-1942  Search this
Wyeth, Andrew, 1917-2009  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Motion pictures (visual works)
Video recordings
Typescripts
Date:
1936-1982
Summary:
The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.
Scope and Contents:
The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.

Correspondence is mainly between Vidor and multiple galleries and artists whose artworks Vidor collected, and includes single letters from artists Grant Wood, Thomas Hart Benton, and Andrew Wyeth. Lengthy correspondence with Associated American Artists is found among other correspondence with galleries. Loan requests from museums borrowing from Vidor's painting collection, and image requests for reproduction rights for paintings owned by Vidor from various publishers are also found, as well as a few sheets of notes related to valuation of paintings.

Printed material includes exhibition catalogs for Millard Sheets and Diego Rivera, clippings on a variety of subjects, including a long article about his film project Metaphor published in the Los Angeles Herald Examiner, and periodicals with articles about the artist Grant Wood.

Scattered slides are mostly of unidentified artwork.

Material related to Metaphor, Vidor's film project with Andrew Wyeth include photographs of Wyeth and Vidor in Pennsylvania, stills from Vidor's 1925 film The Big Parade, and a still from Metaphor. Production notes include detailed footage and edit notes as well as typescripts of draft narration. Some production notes are arranged as a group, and others are arranged with documentation of the original film containers in which they were found. Motion picture film found in the collection includes a print of the final version of the film, edit master film material (A and B rolls), outtakes, and trims.
Arrangement:
The collection is arranged as 4 series. Digital photographs of original film containers are filed in Series 4.

Series 1: Correspondence, 1941-1982 (Box 1, 1 folder)

Series 2: Printed Material, 1936-1980 (Box 1, 3 folders)

Series 3: Slides, 1964 (1 folder; Box 1)

Series 4: -- Metaphor: King Vidor Meets Andrew Wyeth -- (1980), 1976-1980 (1.9 linear feet; Box 1, FC 1-17)
Biographical / Historical:
King Vidor was an American film director whose prolific career began in 1913, during the silent era, and continued through 1959 when he stopped directing large scale film projects. In addition to his prolific film career, Vidor was an avid collector of American Art who owned works by Thomas Hart Benton and Grant Wood, among others.

Vidor's final film, Metaphor: King Vidor Meets Andrew Wyeth (1980), is a documentary in which he and Wyeth discuss the impact of Vidor's most celebrated film of the silent era, The Big Parade, on Wyeth's painting. The project began when Wyeth wrote a lengthy letter to Vidor crediting his film, which Wyeth claimed to have watched over a hundred times, with having had a direct impact on the compositions of his paintings, which he only noticed after the fact when his wife, Betsy, pointed it out to him.

When Wyeth contacted Vidor for permission to use clips from The Big Parade in a documentary project by the Metropolitan Museum of Art to accompany a 1976 exhibition of these works, Two Worlds of Andrew Wyeth: Kuerners and Olsons, instead of lending his film to that effort, Vidor went to Chadds Ford, Pennsylvania to film Wyeth himself. Together, the two set out to make a documentary telling the story of the aesthetic relationship between their work, with Vidor directing. The film was completed in 1980 but was never commercially released.

Vidor died in 1982.
Related Materials:
There is an oral history interview with King Vidor held by Columbia University.
Provenance:
Donated 1985 by the King Vidor Trust.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Pennsylvania  Search this
Topic:
Filmmakers -- California -- Los Angeles  Search this
Art, American -- Collectors and collecting  Search this
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Genre/Form:
Photographs
Motion pictures (visual works)
Video recordings
Typescripts
Citation:
King W. Vidor papers, 1936-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vidoking
See more items in:
King W. Vidor papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b3a1f770-e016-4f3e-995d-081b5eac2c55
EDAN-URL:
ead_collection:sova-aaa-vidoking

Oral history interview with Hans Burkhardt, 1974 November 25

Interviewee:
Burkhardt, Hans Gustav, 1904-  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Bordeaux, Jean-Luc  Search this
Burkhardt, Thordis W., 1908-1993  Search this
Gorky, Arshile  Search this
Tobey, Mark  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Hans Burkhardt, 1974 November 25. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- California -- Los Angeles -- Interviews  Search this
Educators -- California -- Los Angeles -- Interviews  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Printmakers -- California -- Los Angeles -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12117
(DSI-AAA_SIRISBib)212077
AAA_collcode_burkha74
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212077
Online Media:

Oral history interview with John Outterbridge

Creator:
Outterbridge, John, 1933-2020  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Names:
American Academy of the Fine Arts -- Students  Search this
Chicago Academy of Fine Arts -- Students  Search this
Compton Communicative Arts Academy  Search this
Pasadena Art Museum  Search this
Alexander, Peter, 1939-  Search this
Coplans, John  Search this
Di Suvero, Mark, 1933-  Search this
Dickson, Charles  Search this
Gilmore, Robert  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Rauschenberg, Robert, 1925-2008  Search this
Sera, Richard  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
13 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1973 January 3
Scope and Contents:
Interview of John W. Outterbridge conducted 1973 January 3, by Allen Bassing, for the Archives of American Art.
Outterbridge speaks of his family background and how that influenced him to lean toward the arts; attending Agriculture & Technical University and majoring in engineering even though he wanted to become an artist; joining the Army in order to get the G.I. Bill so he could afford school; painting during his three-year stint in the service, and how his company commander admired his work and got him a studio; attending the Chicago Academy of Art, then the American Academy of Art after leaving the military; moving to Los Angeles to pursue a career as an artist full-time; quitting painting and deciding to focus on sculpture; working at the Pasadena Art Museum, and how it disturbed him that there weren't any Black artists being represented in the shows he was installing there; getting involved with the Compton Communicative Arts Academy just as it was starting; and the present situation of the Compton Communicative Arts Academy and where he sees it going. He recalls Andy Warhol, Peter Alexander, Richard Serra, Robert Rauschenberg, Mark di Suvero, John Coplans, Judson Powell, Noel Puerefoy, Charles Dickson, Bobby Gilmore, and many others.
Biographical / Historical:
John Outterbridge (1933-2020) was an art administrator, painter, and sculptor from Los Angeles, California.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
African American military personnel  Search this
Genre/Form:
Interviews
Identifier:
AAA.outter73
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw909ebd196-ac6f-4c3f-8b60-786de9253c6b
EDAN-URL:
ead_collection:sova-aaa-outter73
Online Media:

Lucinda H. Gedeon research material on Charles W. White

Creator:
Gedeon, Lucinda H.  Search this
Names:
University of California, Los Angeles  Search this
White, Charles, 1918-1979  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1940-1997
bulk 1980-1981
Summary:
The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions; a card file catalogue of works by Charles White; photographs and negatives; printed material; transcripts of interviews; bibliographic information; and writings.
Scope and Contents:
The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions regarding Charles White works in their collections; a card file catalogue of works by White; photographs and negatives of works by White; printed material including exhibition materials and magazine and newspaper clippings; transcripts of interviews with White and other individuals; bibliographic information; and writings about White.
Arrangement:
Due to the small size of this collection, the papers are arranged in one series.

Series 1: Lucinda H. Gedeon Research Material on Charles W. White, 1940-1997, bulk 1980-1981 (Boxes1-2; 1.4 linear feet)
Biographical / Historical:
Lucinda H. Gedeon is a retired art historian in Vero Beach, Florida. Previously the director of the Neuberger Museum at the State University of New York, Purchase, and later of the Vero Beach Museum of Art, Gedeon earned both a master's degree and a doctorate at UCLA. She completed her master's thesis on the work of Charles White.

Charles W. White (1918-1979) was an African American painter. White was born in Chicago and attended the Art Institute of Chicago. He worked as an artist for the Works Progress Administration and later taught first at Dillard University, then at Otis Art Institute from 1965 until his death in 1979.

White exhibited widely and his work is held at a number of institutions. He was elected to the National Academy of design in 1972.
Related Materials:
Also found in the Archives of American Art are the Charles W. White papers, circa 1930-1982, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Provenance:
The Lucinda H. Gedeon research materials on Charles W. White were donated to the Archives of American Art by Lucinda H. Gedeon in 2007.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Art historians -- Florida  Search this
Museum directors -- Florida  Search this
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Women art historians  Search this
African American artists  Search this
Women muralists  Search this
Genre/Form:
Interviews
Citation:
Lucinda H. Gedeon research material on Charles W. White, 1940-1997, bulk 1980-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gedeluci
See more items in:
Lucinda H. Gedeon research material on Charles W. White
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cfef48ad-58ac-4312-8f1f-31bf5ba4f195
EDAN-URL:
ead_collection:sova-aaa-gedeluci
Online Media:

Oral history interview with Charles W. White

Interviewee:
White, Charles, 1918-1979  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
27 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 March 9
Scope and Contents:
An interview of Charles Wilbert White conducted 1965 March 9, by Betty Hoag, for the Archives of American Art. White speaks of his youth in Chicago and early interest in art; early encounters with racism; his early training in art; working on the Federal Art Project; his U.S. Army service; going to Mexico; his ventures in graphic arts; subject matter which inspires him; coming to California; the politics of government subsidy of the arts; and mural projects he worked on. He recalls Harry Sternberg.
Biographical / Historical:
Charles W. (Wilbert) White (1918-1979) was a painter and educator from Los Angeles, California.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 17 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Educators -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- United States  Search this
Art -- Philosophy  Search this
African American artists  Search this
African American painters  Search this
African American military personnel  Search this
African American educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.white65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91c04bb42-c4b7-4037-b898-aa2d0b820b79
EDAN-URL:
ead_collection:sova-aaa-white65
Online Media:

John Outterbridge papers

Creator:
Outterbridge, John, 1933-2020  Search this
Names:
Watts Towers Art Center  Search this
Angelou, Maya  Search this
Bradley, Tom, 1917-  Search this
Hines, Gregory  Search this
Marley, Bob  Search this
Otis, Johnny, 1921-  Search this
Simone, Nina, 1933-2003  Search this
White, Charles, 1918-1979  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Place:
Watts (Los Angeles, Calif.) -- Buildings, structures, etc
Date:
1953-1997
Summary:
The papers of Los Angeles African American painter, sculptor, and arts administrator John Outterbridge measure 4.8 linear feet and date from 1953 to 1997. The papers include biographical material, correspondence, writings, professional and project files, Watts Towers Arts Center files, exhibition files, printed material, photographs, a scrapbook, and one motion picture film reel.
Scope and Contents:
The papers of Los Angeles African American painter, sculptor, and arts administrator John Outterbridge measure 4.8 linear feet and date from 1953 to 1997. The papers include biographical material, correspondence, writings, professional and project files, Watts Towers Arts Center files, exhibition files, printed material, photographs, a scrapbook, and one motion picture film reel.

Biographical material includes life documents, awards, interview transcripts, a few sketches, teaching certificates, and a motion picture film reel entitled John Outterbridge: Black Artist.

The bulk of the correspondence consists of letters to John Outterbridge from family, artists, colleagues, museums, and universities. Notable correspondents include Maya Angelou, Johnny Otis, and Charles White.

Writings include teaching notes, an artist statement, nine typescript essays by Outterbridge, as well as papers written by students, and poems by various artists.

Professional and project files document Outterbridge's involvement in conferences, symposiums, membership records, and fellowships. There are grant and job applications, contracts, correspondence, project plans, and administrative records. There is documentation of the Metro Art for Rail Transit project and of his work as director of the Communicative Arts Academy. Outterbridge's directorship of the Watts Towers Arts Center (WTAC) are arranged in a separate series; files document administration, annual programs and events, and special projects.

Exhibition files are found for several exhibitions in which Outterbridge participated in the mid-1990s. Printed material includes clippings about John Outterbridge and the Watts Towers Arts Center, exhibition catalogs, announcements, books, and magazines.

There is one scrapbook that contains clippings, award certificates, and photographs of the Watts Towers Arts Center events. There are photographs of Johnny Otis, Nina Simone, and L.A. Mayor Tom Bradley.

Photographs are of John Outterbridge and his artwork, studio, family, friends, and events. Among those depicted in the photographs are Bob Marley and Gregory Hines.
Arrangement:
This collection is arranged as 9 series.

Missing Title

Series 1: Biographical Material, 1953-1997 (0.7 linear feet; Box 1, OV 6, FC 9)

Series 2: Correspondence, 1970-1997 (1.1 linear feet; Boxes 1-2, OV 7)

Series 3: Writings, circa 1980-1996 (0.2 linear feet; Box 2)

Series 4: Professional and Project Files, circa 1970-1997 (0.5 linear feet; Boxes 2-3, OV 8)

Series 5: Watts Towers Arts Center, 1976-1997 (0.4 linear feet; Box 3)

Series 6: Exhibition Files, 1992-1996 (0.2 linear feet; Box 3)

Series 7: Printed Materials, 1968-1997 (1.1 linear feet; Boxes 3-4)

Series 8: Scrapbook, 1968-1997 (0.5 linear feet; Box 5)

Series 9: Photographs, 1953-1995 (0.2 linear feet; Box 4-5)
Biographical / Historical:
John Outterbridge is an African American painter, sculptor and arts administrator in Los Angeles, California.

John Wilfred Outterbridge was born in Greenville, North Carolina in 1933. He attended Agricultural and Technical University in Greensboro, North Carolina and studied engineering for one year before joining the U.S. Army in 1953. He served two years in Europe where he started painting street scenes in his spare time. His paintings were liked and his Captain found a studio space for him, where he painted murals and artwork in offices, clubs, and American schools.

Outterbridge decided that he needed a formal education in art and after his discharge from the Army in 1955, he relocated to Chicago and enrolled first in the Chicago Academy of Art, and later in the American Academy of Art. He became active in the Chicago art scene and opened a gallery with artists John Pinkney, Elliot Hunter, and Jose Williams. While attending school, he also worked for a graphic arts firm running errands and as a Chicago Transit Authority bus driver.

Outterbridge married his wife Beverly in 1960 and they moved to Los Angeles in 1963. He worked at a production studio for a while and got an offer from another studio to become its art director. After a few years, Outterbridge took two years off and began experimenting with with other medium, such as found objects and sculpture.

Outterbridge then took a job in the art installation department of the Pasadena Art Museum where he met artists such as Peter Alexander, Richard Serra, Robert Rauschenberg, and Andy Warhol while helping with their exhibits. In addition to working on installations, Outterbridge taught sculpture classes at the museum and at several colleges such as Pasadena City College, Claremont College, Cal State Dominguez Hills, and University of California at Irvine.

From 1969-1975, Outterbridge was the director of the Compton Communicative Arts Academy. From 1975-1993, Outterbridge was the director of the Watts Towers Arts Center, a focal point in Los Angesle for African American visual and theatrical arts and the sponsor of the Watts Towers Jazz Festival and Day of the Drum Festival. He retired in 1993 to dedicate more time to his art.

Outterbridge's art can be found at the California African American Museum and the Los Angeles County Museum of Art. He has received awards throughout his career including fellowships from the Fulbright Foundation, Getty Foundation, and the National Endowment for the Arts. He received an honorary doctorate from Otis College of Art and Design in 1994.
Related Materials:
The Archives of American Art also has an oral history interview with John Outterbridge conducted by Allen Bassing in 1973.

A copy of the film John Outterbridge: Black Artist is available in the Samella Lewis papers, in the Rose Library at Emory University.
Provenance:
The John Outterbridge papers were donated to the Archives of American Art by John Outterbridge in 1997.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California  Search this
Arts administrators -- California -- Los Angeles  Search this
Topic:
Sculptors -- California -- Los Angeles  Search this
Artists' studios -- Photographs  Search this
Towers -- California -- Los Angeles  Search this
African American artists  Search this
Genre/Form:
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.outtjohn
See more items in:
John Outterbridge papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a172f43c-33be-45e4-87fb-14ed23fc3008
EDAN-URL:
ead_collection:sova-aaa-outtjohn
Online Media:

Charles Henry Alston papers

Creator:
Alston, Charles Henry, 1907-1977  Search this
Names:
City University of New York. City College -- Faculty  Search this
Bearden, Anna Alston  Search this
Bearden, Romare, 1911-1988  Search this
Browne, Byron, 1907-1961  Search this
Lawrence, Jacob, 1917-2000  Search this
Logan, Myra, 1909-1977  Search this
Welty, Eudora, 1909-2001  Search this
Woodruff, Hale, 1900-1980  Search this
Wright, Louis T. (Louis Tompkins), 1891-1952  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1924-1980
Summary:
The scattered papers of African American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston measure 0.9 linear feet and date from 1924-1980. Included are biographical materials, correspondence, commission and teaching files, writings and notes, printed materials, and photographs. Notable correspondents include Romare Bearden, Byron Browne, Jacob Lawrence, and Hale Woodruff.
Scope and Content Note:
The scattered papers of African American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston (1907-1977) measure 0.9 linear feet and date from 1924-1980. The bulk of the collection documents his personal and professional relationships with figures of the Harlem Renaissance. Researchers should note that this collection contains very little documentation on Alston's actual federal WPA work with the Harlem Art Workshop, the Harlem Artists Guild, or his Harlem Hospital murals completed in 1940. A photograph of Alston in 1937 is likely the only reference to the actual WPA murals in this collection.

Scattered correspondence includes general correspondence; letters concerning Alston's artistic endeavors; and personal letters from friends and family. Found is a copy of a thank you note from Eudora Welty to John Woodburn for a jacket design presumably by Alston; letters from Harlem Renaissance figures and personal friends Romare Bearden, Byron Brown, Jacob Lawrence, and Hale Woodruff.

Commission files are for Alston's murals including those in the Golden State Mutual Life Insurance building in Los Angeles, California (1947); and the addition to the Harlem Hospital (1965); and the Family and Criminal Courts Building in the Bronx, New York (1976). There is one file concerning teaching at City College New York (CUNY).

Writings and notes includes scattered notes and three short stories probably by Alston entitled "Bitsy O'Wire," "Body and Soul," and "Gigi."

Printed materials include illustrations by Alston in the Columbia University literary magazine, The Morningside, and medical illustrations done for Dr. Louis T. Wright. Also found are scattered clippings, exhibition announcements, press releases, and materials from the First Conference on Aesthetic Responsibility.

Photographs are of Alston, Alston with his wife, Myra Logan, his mother Anna Alston Bearden, Romare Bearden, and Hale Woodruff. Photographs of note include one of Alston holding a self-portrait, and one of the artist in 1937 with works that are most likely preliminary sketches of his WPA murals at Harlem Hospital. There are also photographs of Alston's works of art.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Information, 1924-1977 (Box 1; 3 folders)

Series 2: Correspondence, 1931-1977(Box 1; 7 folders)

Series 3: Commission and Teaching Files, 1947-1976 (Box 1; 4 folders)

Series 4: Writings and Notes, circa 1940s-1970s (Box 2-3; 4 folders)

Series 5: Printed Material, 1928, 1946-1980(Box 2-3; 5 folders)

Series 6: Photographs, 1925-1968 (Box 2; 2 folders)
Biographical Note:
Charles Henry Alston (1907-1977) worked primarily in New York city as a painter, muralist, illustrator, and educator. He was part of the Harlem Renaissance movement in the 1930s and helped form the Harlem Art Workshop and the Harlem Artists Guild.

Charles Henry "Spinky" Alston was born in Charlotte, North Carolina on November 28th, 1907. His parents were the Reverend Primus Priss and Anna Miller. After the death of his father, Alston's mother married Henry Pierce Bearden (Romare Bearden's uncle) in 1913 and the family moved to New York City.

At DeWitt Clinton High School in New York, Alston served as art editor of the school's literary magazine. Alston majored in fine arts and history at Columbia University, graduating in 1929. He became active in the Harlem community and accepted a position as director of Utopia House, a boy's camp, where he started an art program. He returned to Columbia and recieved a Masters degree in art education from Columbia's Teachers College. While still a student, he illustrated album covers for jazz musician Duke Ellington and book covers for poet Langston Hughes.

Alston played a major role in the Harlem Renaissance Movement of the period. During the Great Depression, he and sculptor Henry Bannarn directed the Harlem Art Workshop which was funded by the Works Progress Administration Federal Art Project. There he taught and mentored African American painter Jacob Lawrence and Romare Bearden, among others.

In the 1950s, Alston embarked on a series of portraits of African American figures. He also taught at the Art Students League and later with the City College of New York (CUNY). Along with his wife, Myra Logan, a surgeon at Harlem Hospital, Alston lived in Harlem and remained an active member of the community until the end of his life. Charles Alston died in 1977.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Charles Henry Alston, one conducted by Harlan Phillips on September 28, 1965 and another by Al Murray on October 19, 1968.

Additional Charles Henry Alston papers are located at the University of North Carolina's Southern Historical Collection at the Louis Round Wilson Special Collections Library.
Separated Material:
In 1970, Charles Alston loaned materials for microfilming, including correspondence with Henry Epstein, Langston Hughes, Robert Riggs, Harry Sternberg, J. Johnson Sweeney, Hale Woodruff and others. Also loaned for microfilming were sketchbooks, printed materials, and photographs. Subsequently, some of the photographs were later donated by Alston's sisters. The loaned materials are available only on microfilm reel N70-23 at Archives of American Art offices, and through interlibrary loan. These materials are not included in the container listing of this finding aid.
Provenance:
Charles Alston lent portions of the collection for microfilming in 1970. Aida Winters and Rousmaniere Alston Wilson, Charles Alston's sisters, donated additional materials to the Archives of American Art in 1982 and 1984.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Harlem Renaissance  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American sculptors  Search this
Genre/Form:
Photographs
Citation:
Charles Henry Alston papers, 1924-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alstchar
See more items in:
Charles Henry Alston papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9659f264f-7afb-4e05-bf28-ed3872b7cfea
EDAN-URL:
ead_collection:sova-aaa-alstchar
Online Media:

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
African American educators  Search this
African American painters  Search this
African American printmakers  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
GUID:
https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648
EDAN-URL:
ead_collection:sova-aaa-whitchar
Online Media:

Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson

Creator:
White, Charles, 1918-1979  Search this
Williamson, Mel  Search this
Names:
White, Frances Barrett  Search this
Williamson, Lorraine, 1926-2018  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1956-1961
Summary:
The Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson measure 0.2 linear feet and date from 1956 to 1961. The collection includes twenty-eight letters written by Charles and Frances White to Melvin (Mel) and Lorraine Williamson shortly after their arrival in California. Approximately half of the letters are written by Charles, the other half by Frances, and two letters are written jointly. Most are signed from "Chas & Fran." Also included in the collection are photographs that Charles and Frances sent the Williamsons of their home and Charles' studio, and printed material including clippings and exhibition brochures.
Scope and Contents:
The Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson measure 0.2 linear feet and date from 1956 to 1961. The collection includes twenty-eight letters written by Charles and Frances White to Melvin (Mel) and Lorraine Williamson shortly after their arrival in California. The letters refer to financial and personal struggles, as well career triumphs and current events. In addition to their shared Chicago background, both the Whites and Williamsons were interracial couples. The letters include references to racial and social dynamics, especially comparing California to New York. Approximately half of the letters are written by Charles, the other half by Frances, and two letters are written jointly. Most are signed from "Chas & Fran."

The collection also contains photographs, negatives, and slides depicting Charles and Frances with friends, their home, and Charles' studio. Many photographs include explanatory notes. Also included are clippings and exhibition brochures for Charles White's 1958 exhibition at ACA Gallery, as well as Anton Refregier's Recent Paintings exhibition.
Arrangement:
This collection is arranged as one series.
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 throughout the country, settling in California in 1956. He taught at the Otis Art Institute from 1965 until his death. White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles and Frances Barrett White (1926-2000) married in 1950. They relocated to Los Angeles in 1956. Frances Barrett White was a social worker and educator who spent her early years in New York City. In 1994, she published a book, Reaches of the Heart: A Biography of Charles White.

Melvin Williamson (1923-1995) was an artist, author, and the art director of Viking Press. He attended the Art Institute of Chicago before moving to New York.

Lorraine Rosen Williamson (1926-2018) was an educator and a docent at the Jewish Heritage Museum in New York City.
Related Materials:
The Archives of American Art also holds the Charles W. White papers, the Lucinda H. Gedeon research material on Charles White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Provenance:
The Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson were donated to the Archives of American Art in 2019 by Lisa Rosenburg, Melvin and Lorraine Williamson's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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  Search this
Art directors -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
African American painters  Search this
Interracial marriage  Search this
Citation:
Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, 1956-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.willimel
See more items in:
Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cada476b-1aa8-4a5b-af2e-eb0d4fe59b1b
EDAN-URL:
ead_collection:sova-aaa-willimel
Online Media:

Hassel Smith papers, circa 1900-2004, bulk 1930-1995

Creator:
Smith, Hassel Wendell, 1915-2007  Search this
Subject:
Fitz Gibbon, John  Search this
Emmerich, André  Search this
Gimpel, Charles  Search this
Still, Patricia  Search this
Thiebaud, Wayne  Search this
Swanson, Kathryn  Search this
Wollard, Robert  Search this
Butterfield, Jan  Search this
Still, Clyfford  Search this
Bischoff, Elmer  Search this
Anglim, Paule  Search this
Gimpel Fils  Search this
New Arts (Art gallery)  Search this
San Francisco Art Institute  Search this
Type:
Interviews
Sound recordings
Sketches
Transcripts
Christmas cards
Photographs
Citation:
Hassel Smith papers, circa 1900-2004, bulk 1930-1995. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Educators -- California -- Berkeley  Search this
Artists' studios -- Photographs  Search this
Abstract expressionism  Search this
Women artists  Search this
Art -- California -- San Francisco Bay Area  Search this
Art, American  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5714
(DSI-AAA_SIRISBib)208552
AAA_collcode_smithass
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208552
Online Media:

Florence Millner Arnold papers, 1900-1994

Creator:
Arnold, Florence M. (Florence Millner), 1900-1994  Search this
Type:
Sketchbooks
Video recordings
Interviews
Citation:
Florence Millner Arnold papers, 1900-1994. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5821
(DSI-AAA_SIRISBib)208661
AAA_collcode_arnoflor
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208661

Mel Ramos papers, 1959-1984

Creator:
Ramos, Mel, 1935-  Search this
Subject:
Lichtenstein, Roy  Search this
Alloway, Lawrence  Search this
Wesselmann, Tom  Search this
Thiebaud, Wayne  Search this
Type:
Works of art
Interviews
Citation:
Mel Ramos papers, 1959-1984. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- California  Search this
Pop art  Search this
Hispanic American artists  Search this
Theme:
Latino and Latin American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13505
(DSI-AAA_SIRISBib)208776
AAA_collcode_ramomel
Theme:
Latino and Latin American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208776

Bettina Brendel papers, 1937-2000

Creator:
Brendel, Bettina, 1922-  Search this
Type:
Scrapbooks
Citation:
Bettina Brendel papers, 1937-2000. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6798
(DSI-AAA_SIRISBib)208925
AAA_collcode_brenbett
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208925

Buffie Johnson papers, circa 1920-2010

Creator:
Johnson, Buffie, 1912-2006  Search this
Type:
Photographs
Citation:
Buffie Johnson papers, circa 1920-2010. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6887
(DSI-AAA_SIRISBib)209016
AAA_collcode_johnbuff
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209016
Online Media:

Molly Saltman "Art and Artists" interviews, 1966-1967

Creator:
Saltman, Molly, 1915-2010  Search this
Subject:
Falkenstein, Claire  Search this
Feitelson, Lorser  Search this
Hamilton, Richard  Search this
Hopper, Dennis  Search this
Levine, Jack  Search this
Lytton, Bart  Search this
Macdonald-Wright, Stanton  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Nyiri, Joseph  Search this
Partch, Harry  Search this
Price, Vincent  Search this
Secunda, Arthur  Search this
Wayne, June  Search this
White, Charles  Search this
Art and artists (Radio program)  Search this
Type:
Interviews
Lectures
Sound recordings
Citation:
Molly Saltman "Art and Artists" interviews, 1966-1967. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Art--Collectors and collecting--Interviews  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7179
(DSI-AAA_SIRISBib)209316
AAA_collcode_saltmoll
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209316

Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Creator:
Hammersley, Frederick, 1919-2009  Search this
Subject:
McLaughlin, John  Search this
Stone, Susie  Search this
Benjamin, Karl  Search this
L.A. Louver Gallery  Search this
Pomona College (Claremont, Calif.)  Search this
Type:
Diaries
Drawings
Scrapbooks
Interviews
Sketchbooks
Sound recordings
Video recordings
Citation:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009. Archives of American Art, Smithsonian Institution.
Topic:
Computer Art  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7270
(DSI-AAA_SIRISBib)209421
AAA_collcode_hammfred
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209421
Online Media:

Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002

Creator:
Feitelson, Lorser, 1898-1978  Search this
Lundeberg, Helen, 1908-1999  Search this
Subject:
Seldis, Henry  Search this
Rattner, Abraham  Search this
Moran, Diane De Gasis  Search this
McLaughlin, John  Search this
McCoy, Esther  Search this
Lundeberg, Helen  Search this
Langsner, Jules  Search this
Longstreet, Stephen  Search this
Hammersley, Frederick  Search this
Kadish, Reuben  Search this
Butterfield, Jan  Search this
Benjamin, Karl  Search this
Sheets, Millard  Search this
Miller, Dorothy Canning  Search this
Federal Art Project (Calif.)  Search this
Type:
Sketches
Poetry
Writings
Drawings
Sound recordings
Photographs
Citation:
Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7341
(DSI-AAA_SIRISBib)209494
AAA_collcode_feitlors
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209494
Online Media:

John McLaughlin papers, 1922-1979, bulk 1936-1976

Creator:
McLaughlin, John, 1898-,  Search this
Subject:
Tamarind Lithography Workshop  Search this
Type:
Sketches
Photographs
Citation:
John McLaughlin papers, 1922-1979, bulk 1936-1976. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- California -- Los Angeles  Search this
Painting, Abstract -- California -- Exhibitions  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7963
(DSI-AAA_SIRISBib)210131
AAA_collcode_mclajohn
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210131
Online Media:

Joyce Treiman papers, 1942-1990

Creator:
Treiman, Joyce Wahl, 1922-1991  Search this
Type:
Drawings
Sketchbooks
Sound recordings
Video recordings
Citation:
Joyce Treiman papers, 1942-1990. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American -- California  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8494
(DSI-AAA_SIRISBib)210670
AAA_collcode_treijoyc
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210670

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